Artist: Sculptured
Label: The End
Release Date: 11/9/99
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Title: Apollo Ends Artist: Sculptured Label: The End Release Date: 11/9/99 |
Judgment Committee Reviews | Rating |
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Abyss's Review:
Any band that can infuse a horn section (actual horns, mind you, not a keyboard trick) into brooding metal is OK in my book. And Sculptured does just that. These guys are really all over the place, which during its best moments is genius, and at its worst tedious. Luckily for this band (and my ears) it is more often the former. Haven't heard anything this experimental since Mr. Bungle's Disco Volante, and while this album is not quite as eclectic as that one, it is a sonic experience you haven't had before.
"Any band that can infuse a horn section into brooding metal is OK in my book." Upon initial listen many might feel that this music is just thrown together, so this album is definitely not for the impatient metalhead. Upon repeated listenings I found myself falling deeper into the sonic canvas that they are painting. They forego the easy catch of repeated riffs and go for a more compository feel, at times reminding me of a metallic Phish. The guitars are softened by the layers going on around them, but they are not diluted. In fact, while I usually feel that nothing should be allowed to detract from the guitar, I enjoy every time that the trumpet and trombone come in (maybe I wouldn't have quit trombone in 8th grade if we were taught shit like this). During my first listen, I remember thinking that the horns didn't seem supported by the rest of the music, but now that I know the album better, I can't see why I ever though that.
Trying to describe this disc is very difficult because it is so truly unique. The guitar work seems mostly inspired by doom, and both growling and clean vocals are draped over it beautifully. Add to the mix the horns, which mostly sing melodic, exclamatory bursts, but sometimes even drift into John Zorn inspired solos, as well as a stop/go rhythm section to keep the pace, and that's about as close as one can come to describing what I'm listening to right now, but it still doesn't do it justice. The only way to know what I'm talking about is to listen to it for yourself because it is so rare that something this unique comes around.
"It is so rare that something this unique comes around." With the exception of a few parts that seem to drone on a bit, this is one of the most refreshing albums I've heard in a long time. While there are no doubt a lot of metalheads that just won't get what's going on here, the few of us that do can look forward to ever-increasing rewards with every listen. This is the kind of disc that has so much in it, you won't get tired of it for a long, long time. For open-minded metalheads only.
Death's Review:
Unconventional. Ambitious. Artistic. All of these words describe Apollo Ends. Sculptured employ a unique stylistic amalgamation in achieving their evolved and unrestrained form, at once born of power, melodic death, psychedelic, jazz and prog metal influences. Vocals range from death metal growl to borderline power metal and back again. Surely, be forewarned: this is advanced material for even the most sophisticated listener, requiring patience through the requisite multiple listens. Still, an underlying sense of a deeper ultimate virtue is immediately apparent.
"Unconventional. Ambitious. Artistic. All of these words describe Apollo Ends." Unfortunately, the listenability of the record may hinge on one's tolerance for several deficiencies in the album's instrumentations and physical execution. While Sculptured's musically loose approach adds a welcome heightened human element to the more progressive passages, there is a real sense of a sluggishness in the performance throughout. Several of the riffs, particularly those underlying the often flat and misplaced sounding trumpet / trombone parts, are curiously boring and overly simplistic. And groove is definitely tough to come by, as the changes seem almost purposely designed to interrupt any sense of continuity these songs might otherwise achieve. But perhaps it is all just a part of the morose design, as more traditionally structured songs like "Between Goldberg" show that Sculptured can play it (relatively) straight as well as experimental.
The color scheme and layout of Apollo Ends's packaging nicely complement the album's interesting "morning" lyrical theme. Metaphors for the changing tide of darkness and light, and an obsession with rebirth and the everything related to the sun, dance about the record while functioning more like an additional instrument than a traditional lead vocal track. This overall artistic vision envelops the entire Apollo Ends experience, and the music should not be considered apart from these additional elements.
"I simply do not have the patience or the desire to stick with this release long enough to obtain maximum benefit." Overall, I recognize and appreciate the artistry and innovation that Sculptured employ. At the same time, I know that, as a listener, I am more interested in crushing riffs, killer double bass and heavily emoted vocals than I am in avant garde exerimental musings. I simply do not have the patience or the desire to stick with this release long enough to obtain maximum benefit. So, while it is clear that Sculptured break new ground and deserve greater recognition in the coming months, it is equally clear that this record is not aimed at a listener with my general tastes.
Hel's Review:
This is an album that combines several diverse musical genres. It can be called nothing less than inventive. On the very first track, "Washing My Hands of It," you get a good glimpse of what is to come. Yes, melodic death metal guitars and . . . horns? There is a little of everything metal and much that is not, and most of it is performed with skill.
"while it is a little too 'experimental' for me, some may find value here." Unfortunately, on the whole, I found Apollo Ends to be disjointed and random. While the musicians may individually be very talented, together they produce music that is overwhelmingly jumbled and senseless. I like a lot of variety, a lot of different parts in songs, different timings and instruments. But at least once per song, I was jerked up and had to ask, "where the hell did that come from?" Often, these changes ended up at dead ends, and ultimately left me confused.
But I love all that is metal, too much to let that fully overwhelm the truth which is, what does make sense is mostly pretty good. I qualify this so carefully because there are occasional sour notes, but I will leave open the possibility that these are intended for artistry and not bad mistakes.
So, to bring this to a swift conclusion, while it is a little too "experimental" for me, some may find value here.
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