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Squaremeter, "War of Sound"
Ant-Zen
Mathis Mootz writes evil, destructive music that is fun in a devilishway. Under the guise of Panacea he has released some of the nastiest,heaviest, and most spectacularly dark recordings I've heard.Squaremeter has, on the other hand, been something of a detour: themusic is less rhythmic, more abstract, and not so much demented as itis creepy. The gap between these two monikers is beginning to close. War of Soundis an all-out melodic attack that churns out rhythmic pulses,middle-eastern flourishes, and an unrelenting air of doom. The entirealbum feels like a slow march through the desert. There are longstretches of beat-less music that are full of pulsing, Arabian-likesound. Once the tension has reached its boiling point, Mootz bringsdown his iron fist in subtle, measured movements. First comes thebouncing synthesizers moving in dramatic tonal shifts, then there's ahint of war-drums deep and full, and then all hell breaks loose. By thetime everything settles down there's already a counterstrike building.There is a continuity that runs through every track that supplies astrong thematic base. This allows for each song to build off theprevious one. Although nothing moves at a quick pace here, there is adensity to every second of sound that makes it feel powerful andcaustic. The vocal samples that run through it are a little annoying atfirst but with repeated listens they sink into and fit well with themusical themes. I think this album should come packaged with a viking'shelmet and a broadsword, though: Mootz's evil has sunk into my bones.
Mathis Mootz writes evil, destructive music that is fun in a devilishway. Under the guise of Panacea he has released some of the nastiest,heaviest, and most spectacularly dark recordings I've heard.Squaremeter has, on the other hand, been something of a detour: themusic is less rhythmic, more abstract, and not so much demented as itis creepy. The gap between these two monikers is beginning to close. War of Soundis an all-out melodic attack that churns out rhythmic pulses,middle-eastern flourishes, and an unrelenting air of doom. The entirealbum feels like a slow march through the desert. There are longstretches of beat-less music that are full of pulsing, Arabian-likesound. Once the tension has reached its boiling point, Mootz bringsdown his iron fist in subtle, measured movements. First comes thebouncing synthesizers moving in dramatic tonal shifts, then there's ahint of war-drums deep and full, and then all hell breaks loose. By thetime everything settles down there's already a counterstrike building.There is a continuity that runs through every track that supplies astrong thematic base. This allows for each song to build off theprevious one. Although nothing moves at a quick pace here, there is adensity to every second of sound that makes it feel powerful andcaustic. The vocal samples that run through it are a little annoying atfirst but with repeated listens they sink into and fit well with themusical themes. I think this album should come packaged with a viking'shelmet and a broadsword, though: Mootz's evil has sunk into my bones.
