Rapid-fire reviews: “Alegorías” and “Something to Do With Death”

Niño Koi – Alegorías

Straight from some place called Costa Rica (maybe you’ve heard of it?) comes Niño Koi and their debut epic Alegorías. Labeled under “post-rock,” which, for those keeping track, is a rather booming genre filled with a multitude of impressive bands that more-or-less end up leaving a lasting impression on up-and-coming artists looking for inspiration. However, these guys blew the scene and made their own music without writing in a “box” just to satisfy genre-oriented hipsters and audiophiles.

Sadly, originality doesn’t really go the mile it should, so sometimes you actually have to write good material and play your instruments better than everyone else (the music industry is weird like that.) With that said, this band falls a bit short in the “I really dig this album; I’m going to keep listening!” department: the first track sets an interesting mood by using sound-bits from a flight attendant whose robotic voice describes the process of preparing a plane for liftoff, which is joined by a rather lethargic bass drum before jumping into some dreamy guitar riff. Too bad, though, because the band dumps that beautiful atmosphere for something less spectacular only a few minutes in.

Even saddier-er is that the next good song happens to be the third track in, but it’s seriously awesome and worth the wait. Text doesn’t really describe music that well unless you start making up words, but it involves some really serious guitar work and some awesome work on the drums. Just the way all the instruments come together is really unique and worth the listen.

Angel Eyes Something to Do With Death

If I had to get into a fight with someone, I’d be jamming to this album.

Best described as a hybrid of hardcore and post-rock, Angel Eyes plays long, droning music with insane walls-of-sound that rival that of even the most extreme metal bands. This band has such a crazy range; one song is atmospheric reverb, and the next is a full-on assault to the senses for 14 minutes.

If I had to pick a song that would play to the apocalypse, it’d be “By the Time He Was My Age, Orson Welles Had Made Citizen Kane.” When it comes to brutality, this song has it covered: the introduction tricks you into thinking it’s going to be some kind atmospheric waltz through boring-land, then some distorted vocals kick in along with a really ticked-off guitar.

Overall, this album dominates in just about every aspect. Highly recommended to fans of Isis, Pelican, and Protest the Hero


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