### Meshuggah: Koloss

#### 04/04/12 || Smalley

Now this review is the reason why a site like GlobalD exists… well, one of the bigger reasons, at least. Plz don’t call me on this shit. But anyway, this one is important, not just ‘cuz it’s chock-full of always-high quality (with one notable exception) Smalley writing, but also because it covers a brand-spanking new release from one of the most unique, imitated, and iconic major metal bands relevant today, Sweden’s own Meshuggah. Not to imply that the ‘shuggs are universally-loved, however; kind of like with Dream Theater, on one side, you have your metalheads who swear by everything the band releases, and on the other, you have your people who just can’t get into their style or understand the appeal… and then on yet another side, you have yer people who enjoy some of what the band does, but not all of it, and doesn’t act like they’re the Second Coming or whatever. They’re what we’ll just call “the reasonable side”.

…a side which, until very recently, I was not a part of, since for the longest time, I just could-fucken-NOT enjoy Meshugg. Yes, I was a hater. Believe me, I tried like hell to like ‘em; I listened to various songs off of most of their full-lengths, and even watched/listened to the vids for “New millennium cyanide Christ” & “Bleed” on a loop, the former for its humor value, the latter for its hypnotically repetitive images/music. Still, while I may have found those songs interesting, I didn’t really find them entertaining, which is the important thing. Fortunately, I finally broke through that aural dam recently, just in time to review the band’s 7th full-length, “Koloss”. Now mind you, “broke through” does not mean I love (or even like) every single thing they’ve done; I still don’t enjoy the first two records, and there is generally at least one track (if not multiple ones) that I find boring on the “Chaosphere” – “obZen” era. Or should I say, “Chaosphere” – “Koloss” era, since there are a few disappointing aspects here as well.

But despite all of that, “Koloss” is ultimately a very good new release, one that the insane Meshuggah faithful should gobble up like a fresh cup of psych meds. We open with “I am colossus”, a minimalist, oozing-tempo track that would be dull if not for that oh-so-choppy, unique Meshugg-chugg the band is so famous for, the same one that unintentionally launched a bastard sub-“genre” (emphasis on the sub part). Anyway, while “I am…” could’ve done with some more energy, it remains a solid way to open up the record, and follow-up “The demon’s name is surveillance” fixes the speed question, with intense, machine-precision riffing/drumming, and a relentless vocal performance from Kidman. This one just really has that strength-thru-repetition quality going for it, with performances that never let up, and just never stop wearing you down over its 4+ minutes (but in a good way).

On the other hand, I’m not as keen to “Do not look down”; while still decent, the riffs here feel too restrained, with too much emphasis on groove, and not enough on just good ol’ fashioned “heavy”, and the guitarwork here has this neutered sound. Not to suggest the rest of the album sounds perfect though, as “Koloss” went with this overly-polished, lacking in punch sound; some more grit definitely would’ve been welcome. It isn’t intolerable by any stretch, but the album succeeds more despite of its production rather than because of, and is instead salvaged by the songwriting. Still, “Behind the sun” does get us back to going strong, with a dementedly quiet, sparse intro, before it explodes into compellingly slow, lumbering riffage, that still retain a deeply atmospheric feel, due to the unique guitar sounds utilized. Fucken nice.

“Marrow” lightens things up again with a punchier tempo, a more “playful” groove (if you can call anything ‘shugg does playful), and cool stop-start vocal rhythms from Kidman, and follow-up “Break those bones whose sinews gave it motion”, while its use of repetition could’ve been better, still succeeds through the “malfunctioning machine” feel it captures through the guitarwork. “Swarm” is a standout cut due to its high energy, but not because of that speedy opening riff, but for the highly groovy, choppy one that comes later, and for the level of intensity it sustains the all the way. Finally, the one-two track punch of “Demiurge” & “Vigil” closes us out strong with creepy, ethereal atmospherics and pounding riffage/drumming in the former, and classy, sober clean guitar in the latter, kind of like the way Decapitated ended “Carnival is forever” with “Silence”. Now, as far as I know, Meshuggah didn’t just lose a drummer in a bus crash and have a singer still severely brain-damaged 5 years onward, so I dunno what they’d be depressed about, but it is still welcome to hear ‘shugg inject some sound variety; I’m one of those people who enjoyed the addition of “Planet caravan” at the end of FBD, after all.

So in the end, while I don’t expect “Koloss” to instantly convert every metalhead who currently dislikes Meshuggah, without a doubt, it’s a very compelling, well-executed, (and yes) entertaining album, and it always gladdens my heart to see a high-profile metal band stick to their style and keep on recording unique shit, carrying the banner of metal upwards and onwards for all of us who dig it. Nice fucken work.

- Information
- Released: 2012
- Label: Nuclear Blast
- Website: www.meshuggah.net
- Band
- Jens Kidman: vocals, guitars
- Fredrik Thordendal: guitars, keyboards, backing vocals
- Mårten Hagström: guitars, backing vocals
- Dick Lövgren: bass
- Tomas Haake: drums, spoken word

- Tracklist
- 01. I Am Colossus
- 02. The Demon’s Name Is Surveillance
- 03. Do Not Look Down
- 04. Behind The Sun
- 05. The Hurt That Finds You First
- 06. Marrow
- 07. Break Those Bones Whose Sinews Gave It Motion
- 08. Swarm
- 09. Demiurge
- 10. The Last Vigil