Coliseum — Anxiety’s Kiss » Jedna z nejlepších rockových kapel současnosti působící v rámci hard. Akt schopný rušných hudebních gest, hlubokého setu melancholie a hard–beat agrese a jsou dost zběhlí ve využívání různých odstínů introspekce. Koncem zimy k tomuto albu absolvovali 16–ti zastávkové turné po Severní Americe, pak pokračují dalšími 20–ti koncerty. Basový tón na tomto pátém albu je tvrdý, a odvážnější než většina kytarových gladiatur. Dva největší vlivy na tomto albu jsou Killing Joke a New Modell Army — tyto dvě velmi jemné kapely klečí u oltáře, ale v jistém okamžiku přijde na otázku, jak důležitá je originalita tohoto alba. Progressive Louisville, Kentucky–based punk outfit led by singer/guitarist Ryan Patterson.
» The hardcore trio have also dropped the video for lead single 'We Are the Water'. Features production from J. Robbins (whose previous credits include work with the Dismemberment Plan and Jawbox). The Louisville three–piece have also released the no–frills video for the record’s opening track and lead single, the post–punk powerhouse that is “We Are the Water.” Set in a stark warehouse decorated with billowy, white sheets, the clip features a muted color palette and crisp shots, which juxtapose nicely with Coliseum’s muscled–up performance. Location: Louisville, Kentucky
Album release: May 5th 2015
Record Label: Deathwish Inc.
01 We Are the Water 4:11
02 Course Correction 3:29
03 Wrong/Goodbye 1:59
04 Drums & Amplifiers 2:59
05 Dark Light of Seduction 6:08
06 Sharp Fangs, Pale Flesh 4:05
07 Comedown 2:37
08 Sunlight In a Snowstorm 3:09
09 Driver At Dusk 4:05
10 Escape Yr Skull 4:35
℗ 2015 Deathwish Inc.
© 2015 Coliseum. All Rights Reserved.
» Ryan Patterson
» Kayhan Vaziri
» Carter Wilson
» Coliseum Composer
» Dan Coutant Mastering
» Ryan Patterson Composer, Guitar, Keyboards, Organ, Synthesizer, Vocals
» J. Robbins Bass, Engineer, Mixing, Producer, Tarang, Vocals (Background)
» Kayhan Vaziri Bass, Guitar (Baritone), Percussion, Piano, Synthesizer, Vocals
» Carter Wilson Drums, Guitar, Vocals
By Jonathan K. Dick; May 12, 2015; Score: 7.9
» The phrase "grown up" often feels like a backhanded compliment when applied to a band or its sound. It praises their current efforts by way of dismissing the steps they took to arrive at that destination. In that regard, Coliseum's progression over the course of 12 years and five full–lengths has been less an exercise in growing up and more one of "growing in" to a sound, one that hits its highest point on their newest album Anxiety's Kiss, which sharpens all of their musical developments into their finest point yet. The result is a pop–savvy sound that 2013's Sister Faith only hinted at.
» In the relatively short amount of time of the group's existence, Coliseum has made the label rounds, releasing all but two of their records on different labels. This might be a trivial observation for other bands, but it's been a continual point of distinction for the Kentucky–based three–piece, with each album moving in a pointedly different direction than its predecessor while keeping a rock–solid punk–rock ethos at their base. Beneath every shift, vocalist/guitarist and founding member Ryan Patterson barked his lyrics with absolute fervor and passion.» While their punk roots remain wholly intact, the band has grown into a comfortable but still–powerful force. Much of that growth can be attributed to bassist Kayhan Vaziri and drummer Carter Wilson, both relatively recent additions to the band who have proven invaluable in fleshing out the band's sound. Paired with Wilson's straightforward, loosely executed rhythmic style, Vaziri's bass works as much melodic nuance into the songs as Patterson's guitar.
» Anxiety's Kiss wastes no time in announcing its intentions with the radio–ready "We Are the Water", a pop–punk anthem owing as much to the Replacements as it does to Fucked Up, complete with gang–vocal refrain. The post–punk–tinged followup "Dark Light of Seduction" chases the immediacy with a slow burning churn, and a subdued layer of electronic noise that the band has folded into their mix over the last two albums. This muted sense of nuance is what gives Coliseum's music an amorphous tendency, and while that's sometimes worked against them in the past, here it allows them to shift weightlessly from near post–rock atmospherics on the outstanding "Dark Light of Seduction" to blistering anthems like "Drums & Amplifiers", all without losing a core sense of focus.
» Just shy of 40 minutes, Anxiety's Kiss packs in a surprising amount of singalong hooks, and you can sense their comfort with them. They've always had these proclivities lurking in the background, and this time around they embrace them as the next logical step. For longtime followers of the band, Anxiety's Kiss has the feel of a logical endpoint, the latest natural development in an impressive career of progressions. » http://pitchfork.com/
AllMusic Review by Timothy Monger; Score: ****
» Twelve years into their career, Louisville's Coliseum have evolved from hardcore/d–beat heroes into a streamlined, heavy rock machine with a muscular, compact sound. The increasing melodicism and more straightforward structures of their later albums is further explored on Anxiety's Kiss, their fifth LP overall and second for Deathwish Inc. The rotating lineup of the band's early years has solidified into the power trio of founding singer/guitarist Ryan Patterson, bassist Kayhan Vaziri, and drummer Carter Wilson, the same crew who delivered their 2013 breakthrough LP Sister Faith. Also back is producer J. Robbins (Jawbox), whose confident hand behind the board helps solidify these ten tracks, which embrace classic punk ethos, hardcore fury, and post–punk sophistication. Album–opener "We Are the Water" sets the bar high with its pulsing, synth–aided thump, meaty bassline, and melodic guitar hooks. After a magnetic, minute–long build–up, Patterson fires his opening shot, growling "balance is lost to avarice, it's all wealth versus riches" in a neatly controlled fury that sets the tone for his socio–political stumping. The thrashing "Course Correction" deals with class division, and the jagged and provocative "Wrong/Goodbye" takes on police brutality, but there are also more personal, introspective tracks to balance their social awareness. "Sunlight in a Snowstorm" is a late album standout set in a wintery New York City that boasts hooky, post–punk riffs and a rich, harmonic chorus. It's followed by the moody, textural "Driver at Dusk," in which Patterson narrates over a slow, brooding backdrop of bass, baritone guitar, and rumbling feedback. Building on the strong foundation of their last album, Anxiety’s Kiss adds even more sonic and emotional variety to Coliseum's sound, and is easily their most interesting album to date. » http://www.allmusic.com/ Review
Contributed by: nickEp; Score: ***½
» Coliseum certainly wears its '80s post–punk influence on its 2010s punk rock sleeve. Are they sludge punk? Maybe alternative metal? Their chunky sound has developed so much over each release, it’s sometimes hard to categorize the band. But on Anxiety’s Kiss, it feels like they’ve finally settled on something. It’s a sound that is definitely Coliseum but reflects how indebted they are to the forebearers of the genre.
» Anxiety’s Kiss further separates Coliseum from peers like Torche and Young Widows, who are also finding their footing outside of the “generic punk–metal hybrid” tag. It’s easy to see leader Ryan Patterson opening his arms and personally inviting us all to the cult of Coliseum. And with his low vocal register and under worldly presence, it’s not hard to imagine following him. When he calls out, “We will rise” on opening track “We Are the Water,” it’s understood we’ll listen up. And then there’s the too–on–the–nose “Drums & Amplifiers” with its live show ready “Gimme drums, gimme amplifiers, gimme feedback” hook. These songs are tailor made for fans of the band.
» But it’s the darker, slower stuff that keeps things interesting. Back–to–back burners “Dark Light of Seduction” and “Sharp Fangs, Pale Flesh” are the darkest and most nuanced tracks on the album, a territory Coliseum seems to be spending a lot more time in lately. Oddly enough, both songs radiate sexual energy. With lines like, “Confused and aroused on the edge of corruption” and “The goddess in the black dress, she’s everything I dreamed. She’s got me on my knees,” they dare to turn us on and make us blush.
» Coliseum revels in their own sound now, at one point even passing the six–minute mark. Big hooks and killer basslines run rampant on these ten songs, but the heaviness is never lost. Kayhan Vaziri’s low–end riffs keep the group rooted by making their presence known the second you hit the play button and never letting up. It’s fitting that “Wrong Goodbye” sounds like an offshoot of Sisters of Mercy’s “Lucretia, My Reflection” because it shows how gothic tendancies can work right but not overshadow great music.
» Each Coliseum release shares similar themes, but the experience and expert craftsmanship on Anxiety’s Kiss set it apart. Their last album brought them to a more public eye, but this is the album to keep on repeat. Here, a fully formed band emerges, soundly comfortable in what they’ve become. » http://www.punknews.org/
By Natalie Zina Walschots, Published May 05, 2015; Score: 7
By Wil Lewellyn, Reviewed on May 8, 2015
By Dean Brown, April 29th, 2015 11:34
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