earthtone9 - arc' tan' gent Album Review

tat twam asi
evil crawling i
p.r.d chaos
approx.purified
walking day
star damage (for beginners)
ni9e
yellow fever
alpha-hi
binary 101

(47m:28s)

Available on C+P Copro Records on the 25th September, 2000

Wow, if you want to know what hard work is about, just take a look at earthtone9. If they're not touring they are producing first-rate albums and here we have their third in just over two years. It's been recorded at Philia Studios, Henley on Thames and Backstage Studios, Ripley with the production by Andy Sneap.

This album is going to surprise, even frighten a few people, as it shows a level of maturity and progression that is rarely even considered, let alone achieved in this genre. The band have without doubt broadened and strengthened their overall sound for the better, building on the solid foundations of "lo-def(inition) discord" (#1) and "off kilter enhancement" (#2). They have taken greater chances, with a number of more probing songs, from both the band and the listeners point of view, that change the balance of their sound and finds them exploring further the delicate and tantalising side of their music.

However it wasn't love at first sight, as on the first couple of listens, it was only the tracks that I'd already heard live that screamed for my attention. "tat twam asi", "evil crawling i", "approx.purified" and "star damage" all stood out and rocked, but that is less than half the album. The other tracks smouldered slowly and it wasn't until the fifth or sixth airing that it all made sense. Then the quality of song such as "walking day", "yellow fever" and in particular "binary 101" start to shine through, burning deep into your mind. I guess the point is that the album as a whole takes time to get into, it's not instant so don't force it, give it space and it will pay dividends.

I am really proud of these blokes, the standard of musicianship here is breathtaking, you can feel the evolution of each and every members talents. Karl shows he has an awesome voice that can truly sing as well as cremate with growling intensity. Simon's drumming really impresses with not just quality, but also invention. Then there's the guitars of Oz and Joe that range from generating pure energy to crafting passionate character. On top of all that the production is superb, with Andy Sneap doing a fine job of bringing out the earthtone9 sound without influencing it too much.

My only worries are that people will not give the album the time it deserves. It's just that it may take a little before it gives back and this is something not always considered by today's metal fans. I hope they will realise that a band cannot just keep writing songs around the same format without becoming stale. That's bad for the band, bad for us (the fans) and can often signal the beginning of the end. They have to be able to write what's within themselves, without the constricting boundaries of a genre or expectations, and when they do, then we all benefit with the treasures they produce. This genre is one that's supposed to be for individually, supporting what's different and standing up for what you believe, yet at times I see some of the most blatant bigotry. Don't let yourself be guilty of that, allow the music to expand and evolve, listen to it, give it space and then absorb it. I've found from experience, albums that take very little effort to get in to are the ones that I soon get bored with. The ones that take a few plays before you discover what they're really about are the albums that stay with you for life, the classics, and for me this album has that feel about it! The feel of a classic to be.

The first track on the album and the lead-in vocals impart you with a reassuring but false sense of security, a gentle melodic skip down a English country lane. Then before you can realise, the ground beneath your feet has opened up and you are plunging into a chasm of sound, the intense power of guitars, drums and ripping vocals. Plunging to your death, maybe ...'as we move through consciousness'.. but then you are floating on a breath-taking chorus as it latches on to you and entwines itself into your mind and will not let go, it just constricts tighter and tighter.

This song is so anthemic, it has a splendid fusion of traditional rock values and modern metal rawness, mixed in a hardcore blender. A song that also works very well in the live environment, it is truly a pleasure to listen to.

Starts with a riff that stalks low in the grass before pouncing on you as the drums kick-in. Once pinned down then the vocals just tear out your jugular. The riff remains king until it breaks into a soothing melodic chorus but only for an instant as the jaws of the returning riff sink deeper and the vocals rip still further. The drums throughout keep a pacey rhythm but its the slick cadence change that infiltrates almost at the death, finishing off any remaining desire to struggle.

This track shows a good amount of the earthtone9 we know and love but does hint at the way their music is progressing. One of the more straight forward and aggressive tracks on the album, it will help bridge the gap as more of their new material is played live.

An upbeat riff (almost "U2" in style) opens the song, initially fooling you, before diving into a deep valley of slow atmospheric and moody guitar combined with ghostly vocals, the song turns almost Toolesque. Gliding on the breeze, a smooth turn and we are quickly soaring high into the air launched from the drums on a driving riff centred around a powerful chorus ...briefly... before returning back to the hollow where the atmosphere is restored. But it's not for long as the zenith makes a gesture and we're heading off toward the skies, powering higher in a steady rhythm before disappearing into a fading light.

Definitely a lighter moment, but still keeping it's energy and heaviness, this is the first track to take some assistance from Ishmael Lewis (Liberty 37).

approx.purified
From the outset this is immediately in your face, the anger and aggression pours out giving a deep sense of belligerence, but carrying a majestic atmosphere and then into the (fast becoming) earthtone9 eastern signature. This song is like an intensely enraged Englishman on a cheap package holiday in Turkey ...
it doesn't apologise for what it is, it pushes you aside if you dare to challenge, but when it calms down it is as gentle as a lamb and looks further than the cheap beer and sunshine.

This is more of a straight forward growl, but the mix of violence and ambience on display demonstrates the bands ability to produce more than one dimension in their music. That aggression allows it to play very well in the live environment, and I can see this becoming a crowd favourite. It's a track that has grown more and more on me as I realise it's brute power, to the point where it's tugging at the tails of my favourite two or three.

A gentle and very melodic beginning, again managing to create a enchanting atmosphere, and building up a gradation of textures in the song including (dare I say it) some stunning vocals. Fine melodic guitars, rambling bass lines, tight drum patterns with masses of symbols and all controlled by vocals to die for. There are highs and lows that more than once conclude in a sea of earthtonal feedback. This is a genuinely well crafted song, layered with skill and it punctuates this album so well. It is a quieter and more mature component, positioned perfectly and helps accentuate the uncontrollable anger and brutal elements that still dominate the album.
A voice clearly from planet Cylon performs the introduction (which goes to show how far this bands popularity has now spread). A cracking riff opens and no messing the band go straight to business, this shows the pure essence of what initially attracted me to earthtone9, the full on aggression and intensity that they produce. If that was not enough, those superb drums, sliding into tempo changes mid-verse just adds a desire to hear it again, as they key the whole sound together with the slickness of the rhythm. But, then there's the chorus, it's so catchy, so memorable, mixing and contrasting with the verse, like pleasure and pain. This is probably my favourite track of the album and it is definitely one of the more easily accessible. This is where we find Simon entertaining the Cylon that introduced 'Star damage'. Not just in any fashion, oh no, he generates an almost alien sounding drum fest of sampled madness and not content with that, apparently invites a friend in the semblance of Gemma from Imogen (ex-Chasm). It is here they create a curious hors d'oeuvre for the next track. For me this shows the second glimpse of Tool influence on this album. It's an unhurried smouldering song that takes a winding path, snaking through so many excellent melodies and in doing so building up a tremendous ambience ...'and you can blame the weatherman, but it's pouring down inside'... This is also the second song with a contribution from Ishmael Lewis (of Liberty 37 fame) and this time he has written and performed the vocals. And exceptional they are to, complimenting the album nicely, but giving an extra facet to an already gleaming diamond. A solitary guitar opens, then bass and drums enrol into a discharge of sound as the song briefly opens up, before changing for more of the earthtonal eastern feeling. This is the pattern of the song that slowly builds to a climactic crescendo and an abrupt ending, and where the vocals fluctuate between the eastern wailing and gruff Middleton growls. If I am honest, I think this is actually my least favourite track, as it doesn't hold my attention and has nothing really outstanding to commend it. It not a bad track, it's just that the standard of this album is phenomenal and it becomes a little jaded in rich company.

Gentle pulsing guitar notes tentatively feel their way to begin, tendrils that reach out to an exotic and most familiar riff that brings to mind a well thumbed Page from the book of DADGAD. A curling bass pulls in the vocals, which are full of feeling and emotion. It builds, as a heavier chugging guitar joins and then after opening up briefly it returns to the sonic vocals. Smooth and dynamic they touch you ... tonal ... all the time building ... atmospheric, soaring textured chords and complimentary rhythms make the story unfold. Some fine fretwork and first-rate vocals adds to the momentum as the crest is reached. Then the most spine-tingling riff waves you goodbye and dissolves everything except the drums that are left standing alone. This is superb and gets better the more I listen to it. An absolute milestone in my book, although atypical for the genre, it just demonstrates the progression of this band. At over 8 minutes long it's a structured and very mature song, another well written piece and a cool classic that brings a gratifying ending to an excellent album. The album is to contain a substantial booklet that contains a collection of excellent picture panels for the songs and from what I have seen it looks cool. To see larger images of the artwork on this page click here or click on the images themselves (there are some large images and they may take awhile to load). So, to close another chapter in the book of earthtone9 evolution. A chapter that has unearthed an album that contains a plethora of melody but without losing the important aggression, attitude and power. One that takes a few chances but shows a huge progression both individually and as a band. And one that has produced a damn fine album, an album that I can't recommend highly enough and an album that I'm sure is going to live with me for a long, long time. Rigsby. 02/08/2000 (Received) 13/08/2000 (Reviewed) I would like to thank "Jose Griffin" @ C+P Copro Records and of course "Oz" for being so kind as to send me a promo copy of the album.
[ BACK ]