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▓█░ ░█▀ ▀█░ ░█▓
░ ██ ██ Artist: Windbruch ██ ██
▓ █░░ ■█ Album: Collision of the Worlds █■ ░░█
■ █▓▀ █ Year: 2010 █ ▀▓█ ░
█ ▓ Rel. Date: 2010-04-25 ▓ █
▒ ▒ Genre: Black Metal ▒ ▒
█▄ ░ Label: Sun & Moon Records ░ ▄█
░ █▄ ░ Source: CD ░ ▄█
░ █▓ Type: Album ▓█ ░
▓ █ Quality: VBR, 44.1kHz, Joint Stereo █ ░ ▓
▓ █ █ ░ ▓
▄ ■ ■ ▓ ■
░█ █░ ▀
█ To embrace adventure is to become daring and with █
█ the increase in popularity of a genre, or █
█ sub-genre, this forces musicians who wish to break █
█ the mould to become more daring in what they █
█ attempt to do and, unfortunately, this doesnÆt █
█ always pay off. It isnÆt unheard of for bands to █
█ take a few attempts at creating the ôperfectö █
█ full-length after a string un uninspired releases. █
█ On the basis of this debut record, entitled █
█ æCollisions of the WorldsÆ, this is precisely what █
█ it might take for Windbruch, a Russian one-man █
█ depressive black metal band, to become a force and █
█ to have an admired impact on the rest of the █
█ scene. For me, though I do admire the attempt at █
█ doing something different from the standard, this █
█ debut is far too disjointed for me to allow it an █
█ admission onto the list of definitive records █
█ within this sub-genre. Considering the █
█ competition, WindbruchÆs main man, named I.O., █
█ will need to take a few steps to stop the █
█ potential rot that might set in where these █
█ disjointed elements play too forceful a part in █
█ the records make-up. █
█ I.O. is a resourceful character, relying on an █
█ unpolished skill of being an adventurer when it █
█ comes to gracefully switching between sub-genres █
█ in black metal. From an atmospheric standpoint, to █
█ one of a traditionally bleak depressive viewpoint, █
█ I.O. likes to vary the direction of which his █
█ sound is headed in and with this comes a dangerous █
█ sense of tempting fate. By adhering to one or more █
█ sub-genres like this, I.O. is pushing himself and █
█ the limits to which he can stretch the influences █
█ behind this band. The record, for example, uses █
█ far too many cliched samples of falling rain in █
█ order to impact upon the atmosphere and enhance █
█ it. I feel if he had kept to focusing on the █
█ instrumentation and not on the samples, this █
█ record would have progressed on towards a far █
█ brighter conclusion, rather than leaving me █
█ sitting on the fence. After the pointless █
█ introductory song, this argument is felt in full █
█ force when æDay II (Inhale - Exhale) comes about. █
█ There seems to be some sort of concept behind the █
█ record, though this is never explained. Given the █
█ nature of the song titles which, bar the final █
█ song (which is a cover of a Akira Yamaoka song), █
█ there seems to be a familiar pattern occurring and █
█ I.O. is apparently allowing us to see his vision █
█ of life. Again, given the nature of the song █
█ titles when translated into English (as theyÆre █
█ originally in his native language - Russian), it █
█ would appear that I.O. is expressing the motions █
█ during the breakdown of a social relationship with █
█ a member of the opposite sex, though I could be █
█ wrong. ItÆs not unlike depressive black metal █
█ bands to have lyrical themes which describe the █
█ exhausting, tumultuous nature of a breakdown in █
█ communications with a partner. A number of bands █
█ have chosen to write about their feelings █
█ regarding the departure of a loved one and, █
█ unfortunately, this type of lyrical theme isnÆt █
█ looked down upon too kindly by the public eye. In █
█ fact, artists are often ridiculed for being far █
█ too publicly emotional. █
█ Of course, this is an assumption on my part, but █
█ there definitely seems to be a theme within the █
█ lyrics, whatever they may be, going by the song █
█ titles. The music itself is hardly any different █
█ to what one would normally expect to hear on a █
█ venture like this, though I.O. has an annoying █
█ habit of focusing far too much on those bloody █
█ samples! As I said earlier, take the second song █
█ as an example of this. He builds momentum with an █
█ achingly beautiful guitar lead after an overused █
█ sample brings introduces us into his world, but █
█ after a few minutes of successful riffs and █
█ generating a moody atmosphere with which we can █
█ revel in, he stamps on the atmosphere, causing it █
█ to flatten out with the use of silly samples. █
█ Using them far too often just isnÆt practical. It █
█ ruins the mood and can set a song back a few █
█ minutes if they take over the entire song, which █
█ is the case in relation to songs like æDay II █
█ (Inhale - Exhale)Æ. Despite this of course, I.O. █
█ does have the strength to reign supreme within █
█ this sub-genre because he has a knack for writing █
█ superb song structures with expressive juxtaposed █
█ ideas like bleak rasping vocals that depict █
█ despair and pain, and a soothing bass section █
█ which sounds all mighty over the clean production █
█ style. █
█ █
█ A lot of the record seems to be far too █
█ experimental, which is an odd feeling considering █
█ the repetitious center and familiar feeling I get █
█ from the music, having heard this clean approach █
█ being done before. I.O. seems to enjoy his █
█ instrumental songs, of which a few are introduced █
█ into the fray. Emotionally, for me, they have █
█ little impact. It detracts from the ôtrueö songs █
█ of the record whereby I.O. performs his piercing █
█ vocal work and distortion driven work. Even more █
█ confusing than this is the fact that a few new █
█ influences are felt in the final few songs, █
█ whereby I.O. tends to move towards the new popular █
█ way of expressing oneself - post-rock/shoegaze █
█ inspired black metal, where the roots take a less █
█ punishing way of chipping at the listeners heart █
█ strings. The experimentation, as you might be able █
█ to tell, takes place in far too odd a fashion for █
█ it to feel warranted, or needed within the grand █
█ scheme of things. Those last two songs, in █
█ particular, have no real place on the record, █
█ given what has come before it. They stand out like █
█ a sore thumb and in doing so, again undo a lot of █
█ the good work that happens before it, making this █
█ truly a world where a lot of unfortunate █
█ collisions occur. A very uneven debut, but does █
█ show signs of potential. █
▓ ▓
▒ ▒
░ 1. Day I (With the Sunrise) 2:28 ░
░ 2. Day II (Inhale - Exhale) 6:24 ░
░ 3. Day III (Onslaught) 10:12 ░
░ 4. Day IV (On the Edge) 5:27 ░
░ 5. Day V (She is Forgotten) 6:27 ░
░ 6. Day VI (Collision of the Worlds in Your 6:14 ░
░ Mind) ░
░ 7. Day VII (Stairway to Heaven) 2:39 ░
░ 8. Theme of Laura (Akira Yamaoka cover) 3:36 ░
░ 43:27 ░
░ ▒ ▒
▓ █ ░ ▓ ░
■ █▄ ░ ██
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This NFO File was rendered by NFOmation.net
ÜÛÛÛÛÛÜ °ÛÛÛÛÛÜ ÜÛÛÛÛÜ°ÛÜ °ÛÜ ÜÛÛÛÛÛÜ ÛÛÛÜÛÛ ÜÛÛ ÜÛÜ ÜÛÛÛÛÛÛ ÜÛÜ ÜÛÛÛ
°ÛÛÛÛ°ÛÛßÛÛÛÛ² ßÛÛ ÜÛÛ°ßÛÛÛÛÛ ÛÛÛÛ ÛÛÛ² ÛÛÛÛÛÛ²ÛÛ ²ÛÛÛÛÛÛÛ ÛÛÛ²°ßÛßÛÛÛÛ ÛÛÛ²
ÛÛÛ² ²ÛÛÛ° ÛÛ ÛÛÜ ÜÛÛ²ÛÛ ²ÛÛÛ²ÛÛ° ²ÛÛÛ°ÛÛÛ°ÛÛÛÛÛÛÛÛÛÛÛÜ ÛÛÛ°ÛÛÛ°
ÛÛÛ° ÜÛÛÛ ÛÛÛ ÜÛß° ÛÛÛÛÛÛÛÛ°ÛÛ ÛÛÛÛÛÛÛÛÛÜ ²ÛÛ°ÛÛÛ ÛÛÛ²ÛÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛ
ÛÛÛ ÛÛÛ° ÛÛÛÛÛÛÛ ÛÛÛ² °ÛÛ ÛÛ ÛÛÛÛÛÛ² °ÛÛ ßÛÛ ÛÛÛ°ÛÛÛ²ÛÛÛÛÛÛ ÛÛÛ²ÛÛÛ
ÛÛÛ ÛÛÛ ÛÛÛÛÛÛÛÛ°ÛÛÛ° ÛÛÛ ÛÛÜ ÛÛ²ÛÛÛ° ÛÛÜ ÛÛ°ÛÛ² ÛÛÛ ßßÛÛÛÛ ÛÛÛ°ÛÛÛ
ÛÛÛ ÛÛÛ ÛÛÛ²°ÛÛÛÛÛÛÛ° ÛÛÛ ÛÛÛ²ÛÛ ÛÛÛ ÛÛÛ²ÛÛ²ÛÛ° ÛÛÛ ²ÛÛÛÛ ÛÛÛ ÛÛÛ
²ÛÛ² ÛÛÛ ÛÛÛ° ²ÛÛÛÛÛÛ ÛÛÛ ²ÛÛÛÛ ²ÛÛÜ ²ÛÛÛÛÛÛÛÛ ÛÛÛ ²ÛÛÛ ÛÛÛ ÛÛÛ
ÛÛÛ°ÛÛÛ ÛÛÛ °ÛÛÛÛÛÛ ÛÛÛ °ÛÛÛÛ °ÛÛÛ ÛÛÛ²ÛÛÛ² ÛÛÛ °ÛÛÛ ÛÛÛ ÛÛÛ
ÛÛ²ÛÛÛ ÛÛÛ ÛÛÛ²ÛÛ ÛÛÛ ÛÛÛ ²ÛÛÜ ÛÛÛ°ÛÛÛ° ÛÛÛ ÛÛÛ ÛÛÛ ÛÛÛ
°ÛÛÛÛÛ ÛÛÛ ÛÛ²°ÛÛÜ ÛÛÛ ²Ûß ²ÛÛÜ ÛÛÛ ÛÛ° ÛÛÛ ÛÛ² ÛÛÛ ÛÛÛ
°ÛÛÛß °Ûß ÛÛ° ÛÛ °Ûß °ÛÛÛÜ ß ß ²Ûß ÛÛÛ° °Ûß ÛÛß
ÛÛ° ÜÛÛß °ÛÜ ÜÛÛÛß °ÛÛ
° ÛÛ ²° ²° ÛÛ°
²Û° °Ûß ßÛ° °Û²
° ÛÛ ÛÛ Artist: Windbruch ÛÛ ÛÛ
² Û°° þÛ Album: Collision of the Worlds Ûþ °°Û
þ Û²ß Û Year: 2010 Û ß²Û °
Û ² Rel. Date: 2010-04-25 ² Û
± ± Genre: Black Metal ± ±
ÛÜ ° Label: Sun & Moon Records ° ÜÛ
° ÛÜ ° Source: CD ° ÜÛ
° Û² Type: Album ²Û °
² Û Quality: VBR, 44.1kHz, Joint Stereo Û ° ²
² Û Û ° ²
Ü þ þ ² þ
°Û Û° ß
Û To embrace adventure is to become daring and with Û
Û the increase in popularity of a genre, or Û
Û sub-genre, this forces musicians who wish to break Û
Û the mould to become more daring in what they Û
Û attempt to do and, unfortunately, this doesnt Û
Û always pay off. It isnt unheard of for bands to Û
Û take a few attempts at creating the perfect Û
Û full-length after a string un uninspired releases. Û
Û On the basis of this debut record, entitled Û
Û Collisions of the Worlds, this is precisely what Û
Û it might take for Windbruch, a Russian one-man Û
Û depressive black metal band, to become a force and Û
Û to have an admired impact on the rest of the Û
Û scene. For me, though I do admire the attempt at Û
Û doing something different from the standard, this Û
Û debut is far too disjointed for me to allow it an Û
Û admission onto the list of definitive records Û
Û within this sub-genre. Considering the Û
Û competition, Windbruchs main man, named I.O., Û
Û will need to take a few steps to stop the Û
Û potential rot that might set in where these Û
Û disjointed elements play too forceful a part in Û
Û the records make-up. Û
Û I.O. is a resourceful character, relying on an Û
Û unpolished skill of being an adventurer when it Û
Û comes to gracefully switching between sub-genres Û
Û in black metal. From an atmospheric standpoint, to Û
Û one of a traditionally bleak depressive viewpoint, Û
Û I.O. likes to vary the direction of which his Û
Û sound is headed in and with this comes a dangerous Û
Û sense of tempting fate. By adhering to one or more Û
Û sub-genres like this, I.O. is pushing himself and Û
Û the limits to which he can stretch the influences Û
Û behind this band. The record, for example, uses Û
Û far too many cliched samples of falling rain in Û
Û order to impact upon the atmosphere and enhance Û
Û it. I feel if he had kept to focusing on the Û
Û instrumentation and not on the samples, this Û
Û record would have progressed on towards a far Û
Û brighter conclusion, rather than leaving me Û
Û sitting on the fence. After the pointless Û
Û introductory song, this argument is felt in full Û
Û force when Day II (Inhale - Exhale) comes about. Û
Û There seems to be some sort of concept behind the Û
Û record, though this is never explained. Given the Û
Û nature of the song titles which, bar the final Û
Û song (which is a cover of a Akira Yamaoka song), Û
Û there seems to be a familiar pattern occurring and Û
Û I.O. is apparently allowing us to see his vision Û
Û of life. Again, given the nature of the song Û
Û titles when translated into English (as theyre Û
Û originally in his native language - Russian), it Û
Û would appear that I.O. is expressing the motions Û
Û during the breakdown of a social relationship with Û
Û a member of the opposite sex, though I could be Û
Û wrong. Its not unlike depressive black metal Û
Û bands to have lyrical themes which describe the Û
Û exhausting, tumultuous nature of a breakdown in Û
Û communications with a partner. A number of bands Û
Û have chosen to write about their feelings Û
Û regarding the departure of a loved one and, Û
Û unfortunately, this type of lyrical theme isnt Û
Û looked down upon too kindly by the public eye. In Û
Û fact, artists are often ridiculed for being far Û
Û too publicly emotional. Û
Û Of course, this is an assumption on my part, but Û
Û there definitely seems to be a theme within the Û
Û lyrics, whatever they may be, going by the song Û
Û titles. The music itself is hardly any different Û
Û to what one would normally expect to hear on a Û
Û venture like this, though I.O. has an annoying Û
Û habit of focusing far too much on those bloody Û
Û samples! As I said earlier, take the second song Û
Û as an example of this. He builds momentum with an Û
Û achingly beautiful guitar lead after an overused Û
Û sample brings introduces us into his world, but Û
Û after a few minutes of successful riffs and Û
Û generating a moody atmosphere with which we can Û
Û revel in, he stamps on the atmosphere, causing it Û
Û to flatten out with the use of silly samples. Û
Û Using them far too often just isnt practical. It Û
Û ruins the mood and can set a song back a few Û
Û minutes if they take over the entire song, which Û
Û is the case in relation to songs like Day II Û
Û (Inhale - Exhale). Despite this of course, I.O. Û
Û does have the strength to reign supreme within Û
Û this sub-genre because he has a knack for writing Û
Û superb song structures with expressive juxtaposed Û
Û ideas like bleak rasping vocals that depict Û
Û despair and pain, and a soothing bass section Û
Û which sounds all mighty over the clean production Û
Û style. Û
Û Û
Û A lot of the record seems to be far too Û
Û experimental, which is an odd feeling considering Û
Û the repetitious center and familiar feeling I get Û
Û from the music, having heard this clean approach Û
Û being done before. I.O. seems to enjoy his Û
Û instrumental songs, of which a few are introduced Û
Û into the fray. Emotionally, for me, they have Û
Û little impact. It detracts from the true songs Û
Û of the record whereby I.O. performs his piercing Û
Û vocal work and distortion driven work. Even more Û
Û confusing than this is the fact that a few new Û
Û influences are felt in the final few songs, Û
Û whereby I.O. tends to move towards the new popular Û
Û way of expressing oneself - post-rock/shoegaze Û
Û inspired black metal, where the roots take a less Û
Û punishing way of chipping at the listeners heart Û
Û strings. The experimentation, as you might be able Û
Û to tell, takes place in far too odd a fashion for Û
Û it to feel warranted, or needed within the grand Û
Û scheme of things. Those last two songs, in Û
Û particular, have no real place on the record, Û
Û given what has come before it. They stand out like Û
Û a sore thumb and in doing so, again undo a lot of Û
Û the good work that happens before it, making this Û
Û truly a world where a lot of unfortunate Û
Û collisions occur. A very uneven debut, but does Û
Û show signs of potential. Û
² ²
± ±
° 1. Day I (With the Sunrise) 2:28 °
° 2. Day II (Inhale - Exhale) 6:24 °
° 3. Day III (Onslaught) 10:12 °
° 4. Day IV (On the Edge) 5:27 °
° 5. Day V (She is Forgotten) 6:27 °
° 6. Day VI (Collision of the Worlds in Your 6:14 °
° Mind) °
° 7. Day VII (Stairway to Heaven) 2:39 °
° 8. Theme of Laura (Akira Yamaoka cover) 3:36 °
° 43:27 °
° ± ±
² Û ° ² °
þ ÛÜ ° ÛÛ
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± ÜÛÛ °ÛÛÛ ²ÛÛÛ² ß°ÛÛ°ß ²ÛÛÛ° ÛÛÛ ÛÛÜ ±
°Ûß ÛÛÛ Üß ÛÛÛÜ ²ÛÛÛÛ± ÜÛÛÛßÜ ÛÛÛ ßÛ°
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° Ü ÛÛß ßÛÛÛÛß ßÛ²ßÛÛ ßÛÛÛÛß ßÛÛÛ Ü ±
Û°Û² ÛÛ° Û° Û °ÛÛ ßÛÛ±Û
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