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Koloss Import


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Koloss + Obzen
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Product Details

  • Audio CD (March 26 2012)
  • Number of Discs: 1
  • Format: Import
  • Label: Nuclear Blast Americ
  • ASIN: B0041B785Y
  • Other Editions: Audio CD  |  LP Record
  • Average Customer Review: 3.0 out of 5 stars  See all reviews (1 customer review)

Product Description

2012 release, the seventh album from the Extreme Metal band from Ume†, Sweden, Tomas Haake states, "As always, we try to take our music in a slightly different direction with each album and with Koloss, we feel that we really nailed what we were going for. Organic brutality, viscera and groove all crammed into a 54-minute metalicious treat, best avoided by the faint of heart!!" You have been warned!

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By francis bellerose on Nov. 27 2014
Format: Audio CD Verified Purchase
Very good album but ordered it for the dvd... they talk and travel in a bus! BS
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 74 reviews
31 of 32 people found the following review helpful
WOW March 27 2012
By J. Hill - Published on Amazon.com
Format: Audio CD
Meshuggah's new album, Koloss, stands up to any of their other work. It should assure their fans that the band has no lack of creativity within the genre they've created, showing that a group can progress within their own sound without necessarily breaking new ground. Bottom line is, if you've liked the last few Meshuggah albums, you'll have no trouble getting into this one. Here's how each track breaks down.

I Am Colossus begins like ObZen continued, sounding slow, stark, and brooding. A couple minutes in, you can hear why drummer Tomas Haake has said they wanted a more organic sound, because it starts to sound like they're all playing together. The drums sound live and the guitars warmer than on ObZen.

The Demon's Name is Surveillance continues the more organic vibe, sounding almost like Contradictions Collapse, not in style, but in the recording itself; it's less refined, more raw. The style is more like Chaosphere, with a heavy, heavy groove and old-school tech solos.

Do Not Look Down--Like the Nothing album, it has a bouncy groove. Jens Kidman is not screaming as much as on ObZen; you can hear more voice in the vocals. This one has a nice solo that sounds a bit like something from Destroy Erase Improve.

Behind the Sun offers more of that slow, menacing crawl of some ObZen tracks, monstrous drumming, and gradually moves into some absolutely massive grooves.

The Hurt That Finds You First is fast, almost thrashy, but more like the fast parts of the "I" EP than their first couple albums (but with maybe a trace of Contradictions Collapse in the guitars); it's definitely different from anything on ObZen, Catch Thirtythree, or Nothing, ending with some clean guitar that reminds me of Destroy Erase Improve again. Pretty amazing track.

Marrow features stop-and-start, spastic riffing, and more brilliant soloing. Robb Flynn once described Meshuggah's music as the soundtrack to an epileptic seizure. It was because of songs like Marrow.

Break Those Bones Whose Sinews Gave it Motion--Aside from that catchy title, it sounds like a Nothing/ObZen hybrid of slow, heavy groove. A worthy, if somewhat standard, Meshuggah track with more trippy, eerie guitar work like Destroy Erase Improve. Sounds good.

Swarm--Parts of this remind of "I" again, with an eclectic, almost improvisational vibe in some sections (around 3 minutes in). This is Meshuggah showing off. It's one of those songs that I'm blown away by, as it's completely over my head on a musical level.

Demiurge--Another ObZen/Nothing cross with monster grooves, with a touch of spacey guitar parts. The riffs on this one crush.

The Last Vigil--Instrumental "outro" that's like that long middle section of In Death--Is Death from Catch Thirtythree.

I'm sure I'll be listening to Koloss over and over in the next few months. It has enough variety, technicality, and amazing musicianship to find something different in each song every time I hear it. Excellent job by one of the best bands in metal.
13 of 14 people found the following review helpful
I hardly ever review items, but this deserved it. March 29 2012
By Brandon - Published on Amazon.com
Format: Audio CD Verified Purchase
Without speaking in the typical metal hyperbole that saturates many reviews all I can say is that Meshuggah bridged that gap for me that laid between Chaosphere and the NOTHING albums. The band combines all the things they do well from previous recordings and produced an album that is awesome from beginning to end. The speed and polyrythms that have become their trademark are melded so well with the churning and bobbing chug that they pummled listeners with on Nothing. Meshuggah is still better than all the rest, they have no peers in my opinion. Fantastic album.
9 of 9 people found the following review helpful
Big, mean, atmospheric and BROODING! March 27 2012
By Nuggeth - Published on Amazon.com
Format: Audio CD
I have always had a love/hate relationship when it comes to Meshuggah. Some of the albums/songs I love and others, well, I hate. For example, I love Obzen, could listen to it daily, but I can't stand Catch Thirty Three...you catch my drift. That being said, I LOVE KOLOSS. In fact, I love each and every track on Koloss. From the very beginning 'I am colossus' slaps you in the face with the low, groovy, bone-crushing riffage that Meshuggah are known for. To date, this is my favorite Meshuggah album and Koloss is quickly becoming one of my favorite metal albums of all time. If you are a fan of Meshuggah, or if you have liked a few tunes here and there, give this album a spin, it will rip your face off.
4 of 4 people found the following review helpful
The sweet spot between intricacy and accessibility. Feb. 2 2014
By Charles Camp - Published on Amazon.com
Format: Audio CD Verified Purchase
There's a reason why Meshuggah is part of the curriculum at Berklee College of Music. There's a reason why they're the topic of published articles in music theory journals. And there's a reason why their influence has permeated through hundreds of bands who continually try to emulate their style. Meshuggah aren't just a fantastic band, they're a band that has simultaneously pioneered and mastered an entirely unique approach to rhythm and heavy music. They've been releasing consistently excellent and innovative material since 1995, and Koloss is yet another superb addition to their truly impressive discography.

This is definitely a comfortable and confident release from the band. At this point, they are well aware of the impact they have made on the metal community and rather than push their sound in any new direction, they have elected to deliver an album which essentially celebrates the sound that they invented. All of the beloved qualities of the band are here in full force - the thunderous, shuddering 8-string guitar tones, the dizzyingly complex and mechanical drums, the oddly-cycling riffs that seem to lack beginnings or ends, and of course the supremely nuanced and unbelievably groovy rhythms. Koloss is definitely an ode to the trademark Meshuggah groove and is yet another convincing argument for their rhythmic prowess and virtuosity. But what's always been most impressive to me about the band isn't their virtuosity. Their music definitely does succeed on an intellectual level with the all of the polyrhythms and odd, off-time riff cycling. The true success of the band though is their ability to turn all of that complexity into something visceral that can be enjoyed regardless of your understanding of what's going on under the hood.

And on no album is that more true than Koloss. Rather than trying to top their last release and greatest technical achievement, ObZen, the band has dialed things back and focused on making an album that is just as fun to listen to as it is to think about. The increased immediacy of this record relative to their past material is mainly a consequence of two things: track diversity and sequencing. Unlike previous releases which have typically found Meshuggah exploring a singular iteration of their sound in long-form detail, Koloss draws from many of the different iterations of the band over the years: the frenetic, thrashy sounds ofChaosphere ("The Hurt That Finds You First"), the gigantic, lumbering grooves of Nothing("Do Not Look Down", "Break Those Bones..."), the speedy triplets and double bass of ObZen and "Bleed" ("The Demon's Name..."), as well as relatively unique explorations of the band's sound ("Swarm", "Behind the Sun"). Moreover, the improved track variety is further enhanced by excellent sequencing which creates an album with an arc and flow that Meshuggah have never quite been able accomplish with past albums.

This is the true success of Koloss. It manages to strike a balance between complexity and listenability that has previously eluded the band. They definitely haven't sacrificed who they are musically - all of the nuance and intricacy of their music is just as present here as it ever was. But it's executed with an increased focus on immediacy and album structure that has ultimately delivered the most approachable and accessible release in their catalogue. And for music as intricate as this, approachability is a feat greater than technicality.

4.5/5
7 of 8 people found the following review helpful
explaining polyrhythms to loved ones since 1991 March 28 2012
By Melyssa - Published on Amazon.com
Verified Purchase
the slow groove in the koloss song "demiurge" has GOT TO BE THE HEAVIEST THING I HAVE EVER HEARD.
plus theres some GREAT D.E.I. style pretty guitar passages throughout
other favorites:

Behind The Sun
Do Not Look Down
BTBWSGIM
The Last Vigil
The Demon's Name is Surveillance

PS- the first record "contradictions collapse" was the only one besides koloss i didnt own until 2 days ago,
now i listen to it alot. its a great old school thrash record but much more technical,
kind of like a smarter and much more musically diverse "and justice for all"

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