An introduction of this kind demands something of an explanation I guess. Why write about material yet to be released, and how come it got to me in the first place two questions that should follow as a natural consequence in the minds of most readers. The answer to which, at some level at least, can be described as a result of past interactions.
A few years ago I covered the debut album of Karen's previous band PI XPRNC. The words which I used was found favourable by her, and we've kept in touch since then. Not in a big way, but with the occasional electronic messaging back and forth. And in one of our occasional communications I was asked to note down my impressions about her forthcoming album. That was back in June 2012, and now in November I had worked my way down to this item in my list of albums to cover.
And I find her musical universe to be an intriguing one. A key word in my notes was darkness. Not as in the brooding, menacing and negative force most associate with something grim and threatening, but rather as a warm, embracing force. The darkness that will colour the soul of someone who has endured and overcome hardships if you like. An association I get that obviously is based on me and my personal thoughts, but as it was so strong and distinct I found that it merited mentioning. A second word frequently used in my notes were melancholy. There's a subtle, careful flavour of sadness and longing in the music of "Oblivion Works Inside Us" as I experience it. Built up desires that hasn't found relief perhaps, or a longing for something that never was to be or never can't. Emotions of that or a similar kind are distinct associations for me throughout this production, and along with the aforementioned dark tinge throughout this is music that invites to deep thoughts, reflections and soul searching, at least for people like me.
Musically we're dealing with an album that resides in the borderlands between art rock, alternative metal and industrial music somewhere. Frail, light toned and reverberating guitar licks, chugging compact riff walls and wailing, emotional guitar soloing all have their place, the bass guitar can be steady and supporting just as much as driving and energetic, the rhythms non existent, basic or intricate. If you enjoy variety there's a lot of it to be found on this album, and occasional intriguing details I don't encounter too often to boot. Light toned, brittle impact riffs for instance. One distinct and notable trait that does merit a special mention are the lead vocals. Miss Gonzales has a strong, melodic and harmonic voice, pitch perfect as far as I can tell, with something of an expertise in tightly controlled, emotional delivery. Fans of high quality vocal performances will enjoy this part of the proceedings no matter what they think about the music itself.
As an album this is a total experience first and foremost. Dealing with subjects such as stylistic context and possible influences is more of a futile exercise on this production as far as I'm concerned. If I should toss in a few pointers, then Tool and Nine Inch Nails might warrant mentioning. But on suspicion I'd toss in a few electronic artists too, possibly Kraftwerk and Tangerine Dream, and occasionally I think I hear a touch of Zappa or King Crimson in there too. But these are all personal associations rather than remarks towards possible influences as such, artists that may or may not have inspired occasional details but not to the extent that it would appear as obvious to anyone I suspect.
I find "Oblivion Works Inside Us" to be a strong album. A few pieces doesn't really manage to impress for some reason or other, but the majority are solid affairs. My personal highlights are threefold. Enough, a nice and effective stoner and psychedelic rock oriented piece complete with cosmic touches, a contemporary sound and intense lead vocals. Mantram, with hypnotizing intricate rhythms and guitar riff constellations backed by a solid bass motif with tightly controlled lead vocals supplementing the totality brilliantly, shifting towards a chugging riff dominated presence prior to ending on a careful, exotic and cinematic note. And at last there's Primum Mobile, utilizing the speech of Chaplin from The Great Dictator (unless I'm much mistaken) as the basis for a nifty, fairly sophisticated run through a rock and electronic music blend, the former dominating and the latter supplementing, with a fair amount of what can only be described as emotional guitar soloing and effects thrown in for good measure.
My rating: 80/100
Track list:
1. Chaos I
2. Enough
3. Experience
4. Chaos II
5. Mantram
6. Dust
7. As You Live You Will Die
8. Storm
9. Erased
10. Falling Down
11. Chaos III
12. Primum Mobile
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