Album Review: CHOTTO SUKI Mother Nature’s Silver Seed

Chotto Suki

Being a huge fan of No Problema Tapes, I often check out their new releases or releases I haven’t given a listen to yet.  That being said, Chotto Suki’s “Mother Nature’s Silver Seed” is the latest release from the Chilean label, so of course I had to give it a listen.  At first listen, this project by Suki himself is not what I would expect to hear from an ambient artist, based off the experience I have with the electronic music subgenre so far.  The use of real life action-based samples along with polarizing tracks and song structures gives a different take on the ambient, atmospheric sound No Problema Tapes artists usually show in their releases.  “Mother Nature’s Silver Seed” has many faces as the core sound of the project rapidly changes from track to track. I usually never break down an album track by track, but in this situation, it’s almost necessary to process this album by analyzing each individual song first then the entire project as a whole.

The album starts off strong with an instantly memorable song titled “Night Drive”.  “Night Drive’s” ominous sound made from steady bass lines and peculiar percussion, mixed with their sample of a guy getting in a car and the album art that depicts a Japanese city at night gives me a Bladerunner vibe while listening.  You instantly feel immersed in the music, artwork, and project as a whole, which instantly allows the listener to visualize multiple scenes while listening to this entire record.

“Landescape” quickly moves to a atmospheric, natured influenced track that imagines me getting out of the eerie city into a gorgeous, Amazonian landscape (pun intended) where all I hear is a calming synth, a beautiful guitar, and the nature around me.  I personally wish this track was longer as it is captivating, complex, artfully crafted, and above all, simply beautiful, and it’s mere 3:20 in playing time does not give it enough justice.  It’s hard to not declare “Mother Nature’s Silver Seed” as an instant classic ambient album, even after hearing just the first two tracks, and “Landescape” provides enough proof on its own that this release is not one to be overlooked.

The title track, “Mother Nature’s Silver Seed”, is very similar to “Landescape”, but the vibe transitions from a happy, nature atmosphere, to a more serene, atmospheric one. The new sound and vibe experienced allows me to visualize walking through the Amazonian land to now come across a deserted village that appears to be abandoned, with precious items left behind due to an abrupt desertion. The popping of what sounds like a vinyl record being spun heightens the pensiveness of this song and actually serves as a very smooth transition through this eclectic in sound album. The layered soundscapes also sound beautiful and help connect the use of similar sounding synths in the previous track to what you hear on this song, “Mother Nature’s Silver Seed”.

“On the Way Back” also finds a way to bridge the gap between two polarizing tracks. Moving from the abandoned village pictured in the self titled track to what I envision would be a song set to stargazing, “On the Way Back” uses more bass heavy soundscapes that embody a similar structure and sound to what is heard on the previous track, but when comparing them side by side, the difference between the two songs is very prominent. However, this is without a doubt one of the most mesmerizing songs heard on the album as I instantly imagine lying down on an empty field and looking up at the vast, never-ending universe above.

“Subterranean Homesick Feel” does a stellar job at transitioning from “On the Way Back” to itself as it uses the rain sample heard in the last minutes on “On the Way Back”, but instead as the track starts, the intensity of the storm greatly begins to increase. The track then takes on an almost horror like aspect as chilling effects, builds, and soundscapes are used along with a sample of two individuals interacting, giving the track a suspenseful feel. A lighter lead soundscape intertwines with menacing instrumental tracks that give a feeling of eminent danger. The change from a relaxing, stargazing scene instantly switches to that of distortion and paranoia as the mood switches to that of walking through the city in the artwork with an eerie feeling of being followed. “Subterranean Homesick Feel” is a track that could easily be heard in a modern suspense-filled horror movie.

As “Subterranean Homesick Feel” comes to an abrupt close, which is only fitting with it’s horror-esque sound, “The Wanderer” eases in with sounds of a crashing wave only to bombard you with a chugging distorted guitar that parallels its predecessor in album track list succession. The intensity soon mellows out and fades into a relaxing sample of motorcycles going by and other various city sounds. The eerie feeling of walking through the city heard before has now turned into walking through a club, being smothered by the crowdedness, and of course loudness of the environment, only to wind up outside in a more calm, peaceful environment of the city.  If you are still wondering as to how diverse this album is, just listening to “The Wanderer” alone will give you a great perspective as to how fast the mood can shift.

“Urban Maze”, despite its name, has a composition of mostly isolation. Using primarily one hauntingly sounding soundscape throughout its short duration, gives a feeling as if the neon signs of the city are glaring down so intensely on the people walking below that the lights have almost become an artificial sun for the city streets. The idea of less is more is perfectly showcased in this song as a short composition with few tracks creates a powerful and memorable song.

“Looking For Corinthians”, like most tracks on this release, sounds nothing like the song before it. Using a combination of bells, lighter pads, and soundscapes, and of course smooth yet noticeable bass lines, helps create a peaceful atmosphere nothing like what was heard on “Urban Maze”. Even various arpeggiator synths help give this a lighter sound compared to the harsh noise heard in the previous track. You can picture the city in the artwork during the day and how the peaceful regularness of the environment can be therapeutic.

Not only do I think that “Landing Smoothly, Captain” should be the first song on the album, but I also believe that it should be an entirely separate project. Obviously each track is different from each other on “Mother Nature’s Silver Seed”, but the unique sound and atmosphere heard in this track is vastly different than the rest of the album as a whole, not to mention that “Looking For Corinthians” would be a fine closer to the project if “Landing Smoothly, Captain” was separated and made into it’s own release. The entire buildup with the samples of footsteps and the computer’s voice, the slowly rising synths and basses, and the entire sound that is reminiscent of soundtracks heard on fantastic movies like “Gravity” and “Interstellar” make me believe that a song this unique and absolutely beautiful should be rewarded with a separate release. Not to take away from the rest of the album, as there isn’t a bad song on this entire project, I just personally believe “Landing Smoothly, Captain” seems a little out of place on “Mother Nature’s Silver Seed”. Even the visualization, which greatly benefits from the computer’s narrated sample, depicts a futuristic space ship landing on a new, uncharted planet, which is extremely different than what is visualized throughout the rest of the album. “Landing Smoothly, Captain” is Chotto Suki’s “Palm Mall” and it has instantly become one of my favorite ambient songs I have ever heard.

In conclusion, “Mother Nature’s Silver Seed” truly is a musical journey. This album is without a doubt an example of not only how versatile ambient artists like Chotto Suki can be, but it also shows the complete power and beauty that ambient, atmospheric music can truly encompass when done right.  A lack of percussion really brings the pads, synths, basses, and samples to the forefront of the music and exemplifies the power that instrumental ambient and atmospheric projects can have.  Personally, I will definitely look into what else Chotto Suki has released in the past, and I really hope that he eventually writes the soundtrack to a major film one day, as I believe his superb songwriting and composing skills would result in another fantastic piece.  I give “Mother Nature’s Silver Seed” an 8.7/10 and I have attached the stream of the album below for those to check out to hear how stellar this project truly is.  If you would like to purchase this album on digital format or even cassette tape, a link to No Problema’s merchandise store is also attached below.  While you’re on this site, however, check out what other albums we’ve reviewed lately and check back in for more posts we will have on the site soon!

No Problema store:

https://noproblematapes.bandcamp.com/album/mother-natures-silver-seed

 

“Mother Nature’s Silver Seed”:

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Track(s) of the Day Tuesday: FIT FOR AN AUTOPSY Black Mammoth and TREEREFLECTION Morning

Last week we unfortunately missed the deadline to add a new post to the segment “Track of the Day Tuesday”.  So today, in order to make up for last week, we have two tracks that you absolutely need to check out!

The first track you should give a listen to today is Fit For An Autopsy’s “Black Mammoth”.  Fit For An Autopsy is a band that I have recognized for years as one of the greatest modern deathcore bands.  Their profound lyricism and bone-crushing riffs and breakdowns have separated Fit For An Autopsy (FFAA) from the average modern deathcore band.  That being said, my standards for any material released by FFAA is extremely high, especially after their third full length record, “Absolute Hope, Absolute Hell”, was a very subpar follow up to one of greatest deathcore albums ever to be released, “Hellbound”.  So, when Fit For An Autopsy released “The Great Collapse” last Friday, my skepticism for whether or not FFAA will be able to redeem themselves was very high.  To my surprise, however, they greatly surpassed these expectations, and the track, “Black Mammoth”, was one of the leading factors that influenced this positive impression.

“Black Mammoth” is a track that discusses the vast negative impact of the Dakota Access Pipeline and how the destruction of the environment for various, insignificant reasons in situations similar to the Dakota Access Pipeline case study are not only drastic and inhumane towards those who live in these areas, but they also directly result in negative and irreversible consequences that affect all humans and inhabitants of this planet.  Even though FFAA is known for their remarkable lyricism, I was still pleasantly shocked to see them discuss such a significant topic in one of their tracks.  Not only is it rare that Fit For An Autopsy will discuss environmental issues in their music, but it is also extremely rare for environmental issues to be mentioned in metal music period!  Using their platform and limited space on their fourth full length album to discuss this prominent issue that we face today on a daily basis has caused my respect for Fit For An Autopsy to grow immensely.  Lyricism and lyrical message set aside, the instrumentation heard on “Black Mammoth” is easily the best performance on the entire record.  The melodic, yet still heavy riffs intertwine perfectly with Joe Badolato’s great vocal delivery, resulting in both a successful track and a record that surpasses its predecessor greatly.  Today you need to give this New Jersey based deathcore band a listen starting with the music video for “Black Mammoth” attached below.

The only thing more polarizing than extreme metal is ambient and soothing, soundscape filled electronic music.  After you have listened to the brutally heavy track that is “Black Mammoth” you should listen to the simply relaxing track “Morning” by TREEREFLECTION.  TREEREFLECTION is yet another fantastic artist represented by the successful Chilean vaporwave label, No Problema Tapes.  TREEREFLECTION, like the other well known artists on No Problema Tapes, writes primarily in atmospheric ambient music that heavily relies on the use of soundscapes and various pads.  What makes TREEREFLECTION stand out amongst the other No Problema artists is the incorporation of samples of sounds heard in nature and even slight but noticeable beats that help give “Morning” an electronic music vibe.  This style of songwriting is soothing, relaxing, stress relieving, and in my opinion, helps greatly with focusing on work.  I unfortunately could not find a stream of the song “Morning” individually, so instead I’ve attached the entire album, “Overcast” below.  Without a doubt, “Morning”, along with any other track heard on “Overcast”, is something you need to listen to today.

Even though “Morning” and “Black Mammoth” are two completely different songs, they are both “The Track of the Day Tuesday” and you absolutely need to give them a listen.  Whether it’s the genre defining song writing or even the impactful lyrical content on “Black Mammoth”, or the relaxing, blissfulness of “Morning”, it’s fair to say that these tracks are phenomenal and easily the two songs you should listen to today.  Check our past “Track of the Day Tuesday” installments to see what other songs we recommend you listen to, and of course, let us know what tracks you think should be featured on future “Track of the Day Tuesday” posts!

500 Word Review: Travis Scott “Birds in the Trap Sing McKnight”

birds-in-the-trap

Earlier this year, innovative trap artist, Travis Scott, released his sophomore full length album, “Birds in the Trap Sing McKnight”.  Following his 2015 debut studio album, “Rodeo”, which is probably one of my favorite rap albums of all time and without a doubt a masterpiece, “Birds in the Trap Sing McKnight” faced both high anticipation and standards before its release a few months ago.  Personally, I found the release to be significantly different from “Rodeo”, but also very good in its own way.  There were only a few moments that I was not too fond of, but whenever I came across a brief section that was sub par, it was quickly followed by amazing sections that continue to solidify Travis Scott’s greatness.  Before hearing “Birds in the Trap Sing McKnight”, my favorite Travis Scott tracks were “Antidote” and “I Can Tell”, so going into the sophomore record I was hoping to hear tracks similar to the sound and song structure heard on these songs.

As I hoped, “Birds in the Trap Sing McKnight” featured a lot of tracks that sounded like “Antidote” and “I Can Tell”, and even at some points, sounded like “90210”.  The hazy, mesmerizing trap sound that Travis is known for, and the sound that is also heard on the “Rodeo” songs previously mentioned, are also heard on “Birds in the Trap Sing McKnight”, and in the process it helps create some phenomenal tracks.  The only problem is that every song features this sound and there is hardly any diversity in this aspect of this project.  Don’t get me wrong though, I really enjoyed “Birds in the Trap Sing McKnight”, and this specific style of Travis Scott’s songwriting, but it’s the only prominent aspect of Travis Scott’s unique song structure that is exemplified on this new album.  This is a little disappointing because the diversity of “Rodeo” made it the masterpiece that it is today.  “Birds in the Trap Sing McKnight” is still ridiculously impressive, but the lack of diversity makes it slightly worse than “Rodeo”.  However, the expansion of this hazy sound heard on “Birds in the Trap Sing McKnight” is still very interesting because its essentially Travis exploring and experimenting with this hazy, eerie, reverb and auto-tune filled sound that makes “Birds” one of the best trap releases you’ll ever hear!  In fact, “Birds in the Trap Sing McKnight” features my favorite song Travis has ever written.  “Coordinate”, the third track on the sophomore full length album, has easily become my favorite Travis Scott track, surpassing the stellar track, “Antidote”.  “Birds in the Trap Sing McKnight” is definitely not a bad album, and this further development of hazy and ominous trap music is something I have really enjoyed, but a little more diversity in sound could have made this project become yet another ground breaking album by Travis Scott.

It’s impossible to deny that Travis was able to have an extremely impressive list of artists record guest vocals for this project, Whether or not you like the differences between “Birds” and “Rodeo”.  Fantastic features from artists like Andre 3000, Kid Cudi, Kendrick Lamar, Bryson Tiller, Young Thug, and the Weeknd heard on “Birds in the Trap Sing McKnight” make songs like “The Ends”, “Through the Late Night”, and “Goosebumps” staples for Travis’s discography.  As if this list of genre leading artists wasn’t enough, “Birds” also features legendary producer Mike Dean, who helped record the record alongside Travis.  These notable features are great additions to Travis’s sound, and I hope that an immense amount of iconic features becomes a constant for all Travis Scott albums.

In conclusion, I give Travis Scott’s “Birds in the Trap Sing McKnight” an 8.5/10.  Every song may sound similar to one another, but this constant sound and style in songwriting is phenomenal.  Travis’s ability to take his signature sound heard on some of the most prominent tracks on “Rodeo” and fully experimented with it for “Birds” is something I found extremely interesting.  I highly encourage everyone to listen to this and if you have already gave the project a listen, I definitely suggest that you revisit it, especially since it took me a few listens to truly appreciate this latest project from Travis Scott.  Below I’ve attached the full stream of Travis’s latest album.  According to some of his recent tweets, his third album, “AstroWorld”, is still scheduled for a 2017 release date, and once more information is released about the upcoming record, we’ll be sure to let you know!  2016 was our first year in business and it was a very successful year for us at Erik’s Album Reviews!  Due to the hard work of our staff and the constant support from our readers, we were able to see widespread viewership in 39 countries over 6 different continents!  We are extremely thankful for this success and we can’t wait to see what 2017 has in store for us!  Be sure to check back in for more music reviews, content, and of course, our Albums of the Year list, which is due out very soon!

 

Track of the Day Tuesday: OFF LAND Inertia

off-land

This week the “Track of the Day Tuesday” features Massachusetts’ own Off Land and his track, “Inertia”.  “Inertia”, the second song on the project, “Slow Waves”, is an ambient electronic song released through the Chile based label, No Problema Tapes.  The track is a prominent example of ambient vaporwave as it incorporates an atmospheric sound accompanied by various soundscapes, soothing samples, and harmonizing pads and other soft leads that make this song, and this project, an instant classic.  However, even though this track is under the category of vaporwave, I believe a more better fitting description could easily be music that is simply relaxing and calming.

I personally found this project while browsing through random bandcamp based vaporwave labels.  By discovering No Problema Tapes, I was able to find amazing artists like Off Land, Sangam, Rhucle, and many others!  Today, you need to check out “Inertia”.  Off Land’s signature sound and style of music is something that any music fan can enjoy.  It literally does not matter who your favorite artist is, or what genre of music you listen to, if you are a fan of music, you will be a fan of Off Land.  Check out “Inertia” on the stream of “Slow Waves” below and don’t forget to visit next Tuesday when we discuss the next “Track of the Day Tuesday”!

Classic Album Review: FALLUJAH The Flesh Prevails

fallujah-thefleshprevails

I hadn’t listened to Fallujah before I heard “The Flesh Prevails”. I believed what I was told and anticipated a polished progressive metal album with a deep atmosphere. I knew my expectations had got the best of me from the first volley of machine gun double bass. After accepting that Fallujah was in fact a death metal band, I strapped in and started again. Even with my expectations out of the way, I found myself dissatisfied. While there isn’t anything terribly wrong with the album, there isn’t much to praise either.

“The Flesh Prevails” is by no means a poor album. It is a valiant attempt at the difficult task of combining atmosphere with sheer brutality, but fails to seamlessly unite the two themes. Instead, atmospheric trances are often interrupted by grisly vocals, and soaring guitar leads compete with the domineering rhythm guitar. Their use of contrasting elements is, at best, partially effective at lending gravity to critical moments. An overabundance of bends, reverb, pinch harmonics and sparkly tremolo is often their idea of ambience. This style works in small doses, but gets tiresome too. On the other hand, the pensive atmosphere gives the album a wonderful sense of organic flow. But at the same time, its unity is cause for giving songs lack of distinction from each other.

Fallujah was certainly successful in making their music powerful. Each component is complicated, or simply busy enough to contribute to the sense of onslaught. Alex Hoffmann’s vocal delivery, both punishing and gorgeous to behold, is the backbone of the album’s muscle. Even though I can only make out one out of every ten words heard, it does not detract from the vocals’ emotion.

The instruments donate to the cause as well, but fall victim to the botched production job. They have a noticeably sterile sound. The drum kit and bass guitar in particular feel very synthetic, reminiscent of crappy post-hardcore metal bands. Double bass is heard without end and is regularly just a source of noise. However, the band does make interesting use of it in moments such as the blazing drum fills in “Sapphire”. The other instruments receive their moments in the spotlight too. The guitar isn’t at its best in the solos or nonchalant shredding, but in its excellent regular lead lines, like those amid “The Night Reveals”. The bass has increasingly more involved parts as the album goes on, being featured in the beginning of “Levitation”, but it occasionally gets swamped by the other instruments. Despite any setbacks, the album is full of moments of true brutality that manage to hold an elegant air.

In the end, “The Flesh Prevails”, is restrained by the production effort. The guitars and drums are turned up to eleven and are both in competition with Hoffmann’s voice. The volume is taxing and distracting, but the down time we get from “Alone with You” and “Allure” helps some. The production really gave this album a flat tire. Perhaps with better mixing and mastering, Fallujah could have achieved a more persuasive atmosphere and a palatable drum kit. Perhaps it could have been great.

 

Score: 7.2/10

 

Album Review by Zach Norton, December 2016

“The Flesh Prevails”:

 

Vinyl and Cassette News: Burial’s “YOUNG DEATH / NIGHTMARKET” Accidently Gets Released Early On Vinyl

burial-2016

In case you missed it, Burial, the legendary English electronic producer and recording artist, recently released his latest project “YOUNG DEATH / NIGHTMARKET (HDB100).  The short EP, which was officially released only a few days ago, features an experimental ambient sound accompanied with reverb filled synths and multiple, altered samples that give the project an overall sound unique to Burial himself.  This new EP is very fascinating and is both relaxing and compelling, causing the listener to feel at ease yet never lose interest or focus on the material.

The release itself is stellar, and I will most likely follow up this post with an official review of the project, but the most prominent news to come from this release actually isn’t about the material, but how it was distributed.  Days before the EP was supposed to have a surprise release, it suddenly surfaced on Discogs.  Stunned, Burial fans quickly reacted to this update and wondered if this was a legitimate, new release from Burial and where they could get themselves a copy of this record.  It was soon realized that the Discogs update was made in response to a Toronto record shop, called Sonic Boom Records, accidentally selling the release early on Black Friday.  Sonic Boom Records, who received the new 12″ records by mail, assumed the new release was a Black Friday secret listing and because of this 5 copies were accidentally sold to Toronto customers.  This project, which was eventually officially released on Burial’s official Bandcamp page on November 28th, is the first solo project of 2016 by the British artist.  Once the vinyl EP was officially released it quickly sold out on Burial’s site and has since been selling extremely fast at local record shops in both North America and Europe.  There are still numerous places that have a copy left to purchase, including the 53 individual listings on Discogs selling the 12″ for as little as $8.57, however this record will definitely sell out completely eventually.

If you are an electronic music fan you need to listen to this release.  In my opinion, this will most likely be one of the best EPs you hear all year.  If you are unfamiliar with Burial this is a very good place to start, however his discography is extremely immense and filled with great material, so checking out any release from the South London based artist is highly recommended.  The link to purchase the 12” vinyl record from Discogs is attached below along with the full EP stream.  Give it a listen, check out the other electronic reviews and music content posted on this site, and be sure to visit often for more electronic, vinyl, and cassette news!

https://www.discogs.com/Burial-Young-Death-Nightmarket/release/9412422