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Artist: KRELL
Album: ...A Universe To Synchronise
Year: 2007
I discovered Krell, from San Sebastian – Spain, a while
ago on MySpace. I still remember it quite well – I found
a friend request of them, checked out their music and
fell in love with it. Now, the page gets a lot of friend
requests each day, and I don’t check every single
profile out – because it should take ages. For some
strange reason, I felt the urge to check out what the
Hell Krell should be offering us. Is it some telepathic
force? Maybe, maybe not. Fact is that the three guys who
are known as Krell together turned out to be really nice
people. Furthermore, a review of a four-track demo was
written and followed by an interview. That’s all? No,
not really. I kept a closer eye on them, as impressed as
I was by their demo. A new song was popping up, and one
more and one more... and then finally the news reached
me that they were recording their debut album. At the
day this review has been written, the album has just
came out. It contains seven tracks (including three new
versions of songs that were on their demo) and has been
blessed with the name ‘...A Universe To Synchronise’.
The album opens with ‘Souleater’. It opens with gentle
keylines and bashing programming works. After, it kicks
off with danceable electronics and powerful guitarwork.
The vocal lines are recogniseable and clean. There’s
different styles of electronic works hidden all over the
track. ‘Too Real’ opens very synth pop based, which
continues all over the track. It’s a danceable track
with easy going programming and sampling works, brought
together with catchy vocal lines and wicked and diverse
guitarwork. Probably the most accessable track of the
release. The third song, simply called ‘III’, is more
atmospheric. The clean vocals sound more dark (also
because of the keylines and the future pop likely
sampling), and the diverse (and differently used)
guitarwork is ingenious: the wicked solo’s support the
keylines fully, while the more distorted parts take care
of more power and darkness. Overall, the song still
remains danceable despite everything, which (combined
with the dark attitude) might please some of the goths
out there pretty much. ‘Inoculation of Sound’ follows,
which turns out to be a really powerful track. It opens
with heavy guitarwork and powerful synths and
programming. The track contains harsh EBM elements
within the programming works, while the heavy distorted
guitars give the track a certain metal attitude.
Everything is tied together by clean though very strong
vocal lines, which are gentle without losing the
original powerful attitude of the music. ‘Out of your
Play’ is the next track. It opens with gentle
electronics, which are made a little more darker by the
clean and dark guitarwork. When the song really kicks
off, it’s been given a more darker attitude. It contains
of dark and powerful music parts, swapped with gentle,
synth pop likely couplets and very wicked programming
works. The clean guitarparts are extremely wellchosen,
while the more distorted parts are used as support in
stead of as a spine, which fits the song really well.
‘Say Hello Say Goodbye’ is again more midtempo and
synthpop based, and is an easy listening and danceable
track overall. The guitar/keyboard combination in the
beginning sounds very modern, while the guitarwork all
over the track is blessed with a more old school sound.
‘Tale of a Common Day’ opens with a very weird sounding
accoustic guitar. After the first verse, some wicked
electronics and killer guitarwork and programming are
added. The chorus is catchy, and gets followed by some
wicked combination of clean vocal works and guitar
solos.
‘...A Universe To Synchronise’ turns out to be a diverse
album, with brutal parts, danceable parts, easy
listening parts and atmospheric parts. Next to this, the
song structure is one of the most wicked and original
I’ve heard in the last few years, specially when it
comes to new bands and debut albums (no matter if you
like it or not, you cannot deny this fact). ‘Out of your
Play’ is the best example on this quest, without saying
that it’s the most complex track on the album. If I had
to pick a favourite track, I’d probably pick this one,
although it’s really hard to pick one among these great
tracks.
When I compare the tracks on this release that also were
on the four-track demo with the demo versions, I see
nothing but improvements as well. First of all, these
tracks are blessed with a better production. Second,
they did some small (or less smaller) changes on each
track. ‘Souleter’ is made more atmospheric and more
powerful, and ‘III’ has way more wicked guitarwork,
which is also better for the dark attitude of the track.
‘Out of your Play’ might still sound pretty much the
same, but when you pay a closer listen to the details
you hear more wicked guitar and keyboard tricks, and way
better programming works.
“Don’t you have any bad words or bad notices on this
record at all then? Come on, there must be something...”.
Well, if you really want to know, there isn’t anything
bad to find in here. The vocal works, the guitar works,
the electronic sampling, keylines and the programming...
it just all fits perfectly together. This band already
had proven their songwriting skills on their preverious,
self-titled promo, and confirmed and improved it even
more on ‘...A Universe To Synchronise’. Record labels
all over the planet, I challenge you. This band is still
unsigned, and you won’t find talents (with an unique
style!) like this every day. Ready to send them on a
world tour, or don’t you have the balls for it?
Vote: 100 / 100
Review by: Gerardo |
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01. Souleater
02. Too Real
03. III
04. Inoculation of Sound
05. Out of your Play
06. Say Hello Say
Goodbye
07. Tale of a Common Day |
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