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(SIC)MONIC - "Somnambulist" - REVIEWS

Discussion in 'code666' started by Emi, Jan 12, 2010.

  1. Bard F

    Bard F Member

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    http://www.seaoftranquility.org/reviews.php?op=showcontent&id=9231 (2nd review)

    Not sure where to begin on this one, Somnambulist being a musical hodge-podge of ideas and flavors that is almost impossible to classify or at times even understand. (Sic)Monic are a young band who obviously love all forms of metal, so expect elements of death metal, metalcore, progressive metal, thrash, and nu-metal thrown into the mix here, along with, of all things, hip hop. That's right folks, Somnambulist is all over the place, and while some of it works, some does not.

    I have to give the band credit for throwing a wide assortment of vocal styles here, from soaring clean passages, to pig grunts, to hardcore barks, to death metal growls and near black metallish rasps. Throw in the hip hop stylings, and you have a very odd combination, which oddly enough at times it clicks. "To the Fiendz" features some complex riffery and a never ending array of vocal attacks, while "Illumination" has some passages that will easily please the progressive metal crowd. "Requiem" is actually a quite gorgeous ballad, featuring lovely vocals and acoustic guitar, showing a side of the band that you don't see too often throughout the rest of the CD. "Oxygen" is sure to appeal to fans of Sevendust, while "Acidic Epiphanies" mixes Into Eternity/Divinity styled progressive extreme metal with more mainsteam sounds. I'll admit to being fairly amused at their hip hop/metal take on The Charlie Daniels Band classic "The Devil Went Down to Georgia"-hey, why not.

    In the end, you'll be fairly exhausted after listening to Somnambulist. There's plenty of solid material here, but unfortunately the CD is way too long (15 songs) and there's just too many styles going on that it makes you dizzy when it's all said and done. This band certainly has some talent, but I'd like to see them streamline their sound a little and focus on doing one thing and doing it well.
     
  2. Bard F

    Bard F Member

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    http://www.uberrock.co.uk/cd-reviews/28-august-cd/1170-sicmonic-somnambulist-aural-music.html

    If I had to choose one word to describe Phoenix Arizona's (Sic)monic then the word would simply be "challenging". From the band's curious moniker to the title of their second album 'Somnabulist', (Sic)monic are a band that leaves the casual listener feeling somewhat perplexed.

    Originally created as a female fronted band they then decided to combine various male/female vocalists, before the band finally settled on current vocalist Taylor Hession, who is an immense vocalist, displaying incredible diversity in his delivery.
    Personally I'm not in favour of categorising music into nice, safe categories which thankfully I can excused be from in the case of (Sic)monic as they simply can't be categorised. Drawing from such a huge range of musical influences, ranging from death metal and prog rock through to jazz fusion with the odd nod to country rock thrown in for good measure.
    The album kicks of in ferocious style with the brutal 'To The Fiendz', a brutal assault to the ole eardrums before taking the listener on a complex musical path featuring a mighty death metal vocal even including a brief nursery rhyme in the form of 'Hands, Knees and Toes'.
    If that number wasn't brutal enough for you then title track 'Somnambulist' will leave your ears bleeding, as it features an extreme vocal along with some ferocious drum work care of Zack R Sewell.
    As vocalist Taylor Hession varies his vocal style from death metal/metalcore through to a more easy listening accessible style there are moments during the album where the band remind me of nineties band One Minute Silence particularly in the vocal delivery, and there are slight moments where System Of A Down springs to mind. Yet I wouldn't label the band as imitators as I feel they portray themselves as leaders not followers.
    Along with the heavier numbers such as 'Illumination' and 'Of Blood And Grace' the band manage to exceed themselves with two perfect slabs of emotion with the more ballad orientated numbers 'Requiem' and 'Paradiseum' but don't get alarmed, I'm not talking Bon Jovi material here.
    The album closes with the curious country offering I alluded to earlier in the shape of a cover version of 'Devil Went To Georgia' proving that these Arizona boys possess a sense of humour along with a great musical talent, a great number and a perfect ending to a mighty fine album.

    Just like any challenge in life, persevere and you will be rewarded.

    Written by David Whistance
     
  3. Bard F

    Bard F Member

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    In Tune - The daily news

    3/5
     
  4. Bard F

    Bard F Member

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    http://www.metalcorefanzine.com/

    This was some industrial style music with some thrash and death metal thrown in. Some parts I loved and some I hated. First the good, the music is sort of like Fear Factory, Godlfesh and some thrash mixed in together and it is a cool combo as this is more faster and brutal than Fear Factory. The bad is the singing which is great in spots and in others he does the low gutteral style and then the super high style, which is super over used. The production on this is great and besides the vocals is a pretty solid release.
     
  5. Emi

    Emi underdog

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    http://www.passzio.hu/modules.php?name=News&file=article&sid=19969

    8/10
    Nem tudom, mások hogy vannak ezzel, de én sohasem tudtam lelkesedni, ha egy kiadványt a „kategorizálhatatlan” jelzővel próbált meg lenyomni a torkomon valamely kiadó. Ezt ugyanis csupán pár zenekar mondhatja el ténylegesen magáról, de az amerikai banda nem igazán tartozik e körbe véleményem szerint. Mert noha igaz, változatos és sokszínű zene hallható ezen a diszken, de koránt sem annyira előremutató, mint ahogyan azt szeretnék velünk elhitetni.



    [​IMG] A csapat megalakulásának időpontja valamilyen okból kifolyólag a homályba vész, annyit tudni csak biztonsággal, hogy eleinte női énekessel dolgoztak, majd több tagcsere után alakult ki jelen felállás. 2006-ban debütáltak a magánkiadású Look to the Skies c. lemezzel, de jelen korong sem éppen vadiúj, hiszen az anyag önerőből már megjelent tavaly, a néhány bónusz tétellel megfejelt újrakiadás az olasz céggel kötött szerződés eredménye.

    Na és a zene... Kiindulásnak jobb híján vegyük a hardcore/metal címkét, jó adag modernebb témával (nagyjából a SOAD vonalán), illetve indie hatásokkal is megfejelve. A groove-okkal vastagon átitatott muzsika a latino ritmusokat sem nélkülözi, gondolom ezért is hozták fel több helyen az Ill Nino nevét velük kapcsolatban. Nincs is ebben hiba, hiszen a dallamok és a melódiák nem ártanak az összkép szempontjából, más kérdés, hogy az originális elképzelések helyett a múltból merített tapasztalatok rendkívül jó érzékkel történő újrahasznosításáról van csupán szó. Ehhez megfelelő alappal szolgál a zenészek képzettsége, valamint az, hogy Taylor személyében egy igazán tehetséges énekest tudhatnak soraikban, aki a tiszta énektémákat is küszködés nélkül képes hozni. Sokan buktak már el ezen a kritikus ponton...

    Az erőteljes és arányos hangzásba ágyazott dalok alapvetően két csoportra oszthatók. Egy részük direktebb zúzda, ahol a csapat elementáris erővel tolja a riffeket, Taylor pedig hangszálait nem kímélve üvölt, hörög, koncerten tutira gyilkos lehet. Nekem mégis jobban tetszenek azok a némileg visszafogottabb, de izgalmasabb felépítésű szerzemények, amelyek már-már akusztikusba hajló részekkel tarkítva, helyenként a hegedűt (!) sem nélkülözve csendülnek fel. Pozitívum, hogy ennek ellenére sem veszik ki az intenzitás a zenéből. Csupán szubjektív alapon említeném meg itt a Till the Morning Light; az Of Blood and Grace; az Oxygen és a Just How Far Down Do You Want to Go? négyest, mint a leginkább tetsző nótákat. Illetve még ide venném a Requiem líraiját is, kétség kívül megkapó dal. Ugyanakkor nehezen veszi be a gyomrom, hogy a négy bónusz tétellel 75 perc fölé hizlalták a játékidőt, mert ez bizony már sok. Bár az illendőség kedvéért megjegyezném, hogy a Devil Went Down to Georgia country-s baromkodását leszámítva ezek is korrekt, némi elektronikával bolondított darabok.

    Összességében azt mondanám, hogy modernebb hangzások kedvelői bátran tegyenek vele próbát, mert könnyen össze lehet vele barátkozni, de a műfajt valószínűleg nem ez a csapat fogja megújítani.

    8/10



    Track lista:

    1. To the Fiendz
    2. Till the Morning Light
    3. Somnambulist
    4. Illumination
    5. Of Blood and Grace
    6. Requiem
    7. Oxygen
    8. No Conscience
    9. Just How Far Down Do You Want to Go?
    10. Paradiseum
    11. Acidic Epiphanies
    12. Fist to Throat (bonus track)
    13. Seven Inches Deep (bonus track)
    14. Hypnotic (bonus track)
    15. Devil Went Down to Georgia (bonus track)

    Közreműködő zenészek:

    Taylor Hession – ének
    Ray Goodwin – gitár, hegedű
    Robert Warren – gitár
    Jason Williams – basszusgitár
    Zack Sewell – dob

    Kiadó:
    Code666 / Aural Music
    Hazai terjesztő:
    Lethal Conflict Mailorder
    Honlap:
    www.sicmonic.com
    myspace.com/sicmonic
     
  6. Bard F

    Bard F Member

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    TOXIC FLYER ZINE

    Just powerful music with a Death Metal to Metal sound that also have hints of Nu Metal as well, but fans of powerful and loud music with some emotions will dig this band as well. Just a wall of chaos with a metallic sound of Hardcore to a TOOL here and there.
    Not bad at all.
     
  7. Bard F

    Bard F Member

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    http://www.metalfan.nl/reviews.php?id=6332

    Bij het vormen van een band is het bepalen van de stijl natuurlijk noodzakelijk. Vaak zijn hier urenlange jamsessies voor nodig om zo het passende genre te vinden. Het Amerikaanse Sicmonic kwam er waarschijnlijk zelfs helemaal niet uit. In plaats van de stekker eruit te trekken, besloten ze gewoon een mixvorm te spelen van de stijlen die ze in gedachten hadden. Daarom brengt de band op hun tweede album Somnambulist een mengeling van death metal, deathcore, metalcore, hardcore, punk, emo, screamo, doom, hardrock, poprock, rapmetal, nu-metal, thrash, progrock, heavy metal, stoner en power metal. Bent u daar nog?

    Nu willen deze genres zich doorgaans net zo goed mixen als koffie met bier, maar Sicmonic bewijst het tegendeel. Het gaat zelfs heel goed samen, zolang je het maar goed aanpakt. Het resultaat is dat Somnambulist een zeer boeiende mengelmoes is van zoveel stijlen dat je bij elke luisterbeurt wel weer nieuwe elementen ontdekt. Nummers veranderen van epische doomtracks in brute death en cleane zang wordt omgetoverd in lompe grunts. Alles is uitvoerig en zeer zorgvuldig aangepakt, waardoor de overgangen vloeiend zijn.

    Het gebruiken van zoveel stijlen is naast het sterkste punt ook meteen het struikelblok. Vaak komt alles net een beetje iets te chaotisch over en dat is niet prettig. Tevens is de kans groot dat veel mensen bepaalde stijlen simpelweg niet pruimen. In mijn geval gaat het om de volledig mislukte slappe ballad Requiem, dat geldt als de domper van deze plaat.

    Desalniettemin is Sicmonic een band om in de gaten te houden. De meeste nummers zijn erg knap geschreven en zijn een bewijs dat we hier met een talentvolle groep te maken hebben. Daarnaast verdient de band lof voor het lef dat ze hebben getoond bij het maken van deze plaat. De aanpak is riskant maar zeer geslaagd. En daarvoor is een luid en duidelijk uitgeroepen ‘Hulde!’ wel op zijn plaats.

    Score: 78 / 100
    Reviewer: Matthijs
     
  8. Langoustator

    Langoustator Member

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    From vs-webzine (France)

    Oumphhh, quel OMNI mes aïeux ! Par où commencer ? Ah oui, où avais-je la tête ! En général dans une chronique on commence par présenter le groupe : SICMONIC (ou (SIC)MONIC) est un quintet américain de Phoenix formé en 2005, à l’origine groupe à chanteuse qui a finalement choisi de se focaliser sur les voix masculines. Le groupe sort deux albums en autoproduction, Look To The Skies (2006) et Somnambulist (2009). C’est ce même Somnambulist qui est ressorti et distribué par les Italiens d’Aural Music (MANES, KKOAGULAA, THEATRES DES VAMPIRES) avec 4 bonus à la clé. Le fait d’être signé chez Aural, friand de combos assez expérimentaux, donne déjà une petite idée du potentiel « barré » qu’on peut trouver chez SICMONIC. Alors allons-y gaiement (enfin, on va essayer)…

    « SICMONIC a surpassé le son traditionnel du Hard-Rock/Metal et a forgé un mix des émotions, expériences humaines, essais et tribulations qui forment la vie quotidienne. Utilisant de multiples influences allant du jazz fusion au death metal, SICMONIC a créé un contexte chaotique accrocheur. Les paroles évoquent une grande variété de sujets qui conduisent l'auditeur sur un chemin en spirale hors de contrôle, pour l’amener finalement dans une nouvelle compréhension de la musique. Avec Somnambulist SICMONIC saute une fois de plus dans le chaos, et trouve son bonheur dans des domaines sonores et dans des textures au sein desquelles la majorité des musiciens s’y perdraient. Somnambulist ouvre une fenêtre kaléidoscopique sur un monde musical étrange ouvert à tous, pour constater le flair qu’a SICMONIC, flair qui le sépare de tous les autres groupes « Hardcore ». Cet album peut facilement être catégorisé en tant que Jazz avant-gardiste dans la veine de John Zorn, ainsi que dans le Metal-Hardcore… Ce disque est Heavy, grisant, céleste et parfois hors catégories. Incroyable. »

    C’est grosso-modo ainsi, et de manière quelque peu prétentieuse, que le groupe se présente sur son site. Autant dire que c’est un sacré foutoir dans leur tête, et dans leur musique aussi. Histoire de mettre une étiquette qui simplifiera le tout, je vais classer SICMONIC en tant que groupe de (aaaattention)… Progressive Groove Death-Jazz-Metalcore. Sur des compositions alambiquées mais groovy et accrocheuses (il n’y a pas de déluge technique ici) se déclinent les multiples influences des Américains, et divers éléments chipés ici et là. On est également en présence d’un trio de chants : clair, hurlé et death « bui buiii », tous assurés par Taylor Hession. Le chant clair est une sorte de mix entre celui de Serj Tankian (SYSTEM OF A DOWN, flagrant sur certaines lignes rapides) et celui de chanteurs progressifs comme Garm (ARCTURUS, BORKNAGAR), Lazare (SOLEFALD) et autres du même genre. La dualité des chants clair/hurlé peut également faire penser aux Italiens de IN TORMENTATA QUIETE. Et ces influences ne se retrouvent pas seulement au niveau du chant, mais elles découlent aussi sur la musique : le côté groovy emprunte également à SOAD (je pense aussi à KLONE par moments, mais sans le côté Grunge), et le côté expérimental/avantgardiste/alambiqué pourra évoquer les formations post-black norvégiennes, ici transposées dans un emballage groove à l’américaine. Une autre influence qui ressort particulièrement dans le côté « groove complexe », c’est celle des regrettés SIKTH, et autant dire que ceux qui n’ont jamais digéré le split de ces derniers devraient être un minimum contentés par SICMONIC, car tout y est (Metalcore groovy avec plein de chants différents). On pourra encore déceler des éléments pouvant faire penser à THE MARS VOLTA ou à certaines formations post-hardcore comme BENEA REACH. Il y a même quelques parties de chant quasi-rappé sur les titres bonus (issus de l’album Look To The Skies). Et même des morceaux acoustico-aériens à la OPETH ("Requiem") ou plus généralement Prog-Rock ("Paradiseum"). Et caetera. Quant au côté jazzy je ne sais pas trop par où il passe, n’y connaissant rien en jazz de toute façon. Histoire de résumer par une équation simple, on va dire que SIKTH + SYSTEM OF A DOWN + SOLEFALD + KLONE = SICMONIC. Voilà. Enfin, selon moi.

    Alors certes, ça chauffe bien dans le ciboulot de nos amis américains, mais il faut reconnaître que le sujet est maîtrisé. Et cohérent. Et de fort belle manière. Voire même plus : Somnambulist s’avère carrément excellent. La mixture proposée tape dans tous les coins, en fout souvent partout, mais s’avère être particulièrement rafraîchissante. Passant de moments alambiqués carrément frappadingues, à des passages plus aériens superbes, SICMONIC fait mouche. Le chanteur est talentueux dans tous les domaines, ses lignes claires sont magnifiques (notamment à la fin de "Illumination"), et ses divers chants extrêmes sont particulièrement percutants et bien amenés, tout en portant une musique chaotique mais jamais confuse. L’exécution du reste du groupe ne fait preuve d’aucune faille, et ne tombe pas dans l’extrême technico-imbuvable, rendant le tout irrésistiblement accrocheur. L’album ne souffre d’aucune baisse de régime et place aussi quelques tubes bien sentis, comme "To the Fiendz", "Somnambulist", le très travaillé "Illumination", et surtout le taré "Just How Far Down Do You Want to Go ?" (avec des violons speed !). Bref, si l’ensemble peut paraître indigeste au premier abord, il s’avère très efficace sur le long terme. Du post-SIKTH avec plein d’autres influences : SICMONIC fait fort et frappe dans le mille. Au vu du titre de l’album on ne s’y trompera pas : il y a de quoi se lever la nuit !

    16/20

    Par ZeSnake
     
  9. Emi

    Emi underdog

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    very good one, thx Gilles.

    this is a band we really LOVE here at aural music HQ :headbang:
     
  10. Emi

    Emi underdog

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    http://www.brutalism.com/content/sic-monic-sonambulist

    Monic - Sonambulist

    (Sic) Monic


    Sonambulist


    [​IMG]


    Track Listing:
    1. To The Fiendz...
    2. Till The Morning Light
    3. Sonambulist
    4. Illumination
    5. Of Blood And Grace
    6. Requiem
    7. Oxygen
    8. No Conscience
    9. Just How Far Do You Want To Go?
    10. Paradiseum
    11. Acidic Epiphanies
    12. Fist To Throat (bonus)
    13. Seven Inches Deep (bonus)
    14. Hypnotic (bonus)
    15. The Devil Went to Georgia (bonus)


    Rating:

    4/5










    It is hard to describe what (Sic) Monic, the five piece band from Arizona, have creates with their latest album, Sonambulist. It's hardcore, it's deathcore, it's rock, it's prog, it's... good. A varied album, Sonambulist will entertain fans for some time. "To The Fiendz" opens things up with full melodic brutality, showing off prog string pickings, hardcore chug riffs, growled vocals and clean singing. Obviously there is a lot to take in here. Nothing sounds poorly produced or done; the harsh vocals are either deep and clear or high pitched while the cleaner vocals hold a tone that's a cross between alternative rockers Mudvayne and Tool. "Till The Morning" shows off more of the clean vocals as well as some more melodic sections, while staying heavy and loud in the hardcore/ deathcore riff vein. But, there's certainly a lot of prog metal influence here, especially in the middle. Other tracks like "Sonambulist" and "Of Blood And Grace" are more jazz fusion deathcore; the drums are insane, the screaming top notch, and there's so many technical riff changes that it will make mathcore fans smile and a lot of people used to 'normal' metal have a headache. But, again, it's very interesting to have this sort of variation on the album. Another interesting track to note is "How Far Down..." where there's a classical structure to the guitars in the sense they can sound like violins at time and the vocals actually rap for a bit.
    Not all of Sonambulist is metal and heavy. There's a lot of slower, rock ballads here as well. "Requiem" sports a haunting guitar melody while the vocals sing cleanly with a bit of anguish to harshen the edge. "Paradiseum" is even slower and softer, offering an acoustic piece that Opeth would end of trying out. The clean vocals really show off their talent here. While some metal fans may be turned off by the epic, softer feeling of the song, they shouldn't worry since there's only two, and when "Paradiseum" ends one of the heavier deathcore tracks comes on, "Acidic Epiphanies," with plenty of evil groove and growling to remove any sense of peace. Of course, like all the others, the song isn't without its quirks as suddenly some whispery harsh vocals come on halfway through the song and the clean vocals sing in a weird, bizzare tone to follow the prog-jazz feeling of the guitar. It's a good way to close the album, if fans have the regular version.
    For those that apparently got a second version of the album (the one that was released on the the label Aural Music), there's four bonus tracks to contend with. Most are in the vein of the album in being heavy, prog deathcore, but there's a few oddballs to keep things entertaining. "Seven Inches Deep" starts off sounding like some Irish punk melody from a band like Dropkick Murphys before the deathcore part comes in. It is an odd sound for the band, but works, since the entire band is odd, in a progressive good sense. Then there's the cover track of "The Devil Went To Georgia" which turns this country-rock tune into something crazy; there's even a fiddle involved to keep things original. But the addition of electric guitars and the growled vocals add a new layer of brutality that is enjoyable. (Sic) Monic definitely have talent, and anyone who appreciates experimental rock or metal like Tool, Between the Buried and Me, or Klone will find this just as exciting and mind bending
     
  11. Emi

    Emi underdog

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    http://www.eklektik-rock.com/chro.php?chro=2736

    Ah enfin ! Enfin une vraie bonne claque en 2010 dans le genre des musiques extrêmes… C’est que jusque-là l’année semblait plutôt calme, et (mise à part quelques valeurs sûres comme Klone, et des chouettes surprises comme l'album d'Eibon) on se sera plutôt tourné vers des disques tranquilles, pop, pour trouver du son satisfaisant… Mais ça y est, le voilà l'outsider de l’année, incarné par (Sic)Monic qui se fait aussi appeler tout simplement Sicmonic, on vous laisse donc choisir ce qui vous arrange…

    Décrire la musique de ce groupe américain relève de la gageure, tant les genres s’entrechoquent, autant d’ailleurs que les registres vocaux de leur chanteur, registres qui sont juste incroyables de diversité et de qualité dans TOUS les styles abordés… Il faut dire que Sicmonic s’est longtemps cherché vocalement passant par la case « groupe à chanteuse » avant d’évoluer vers un mix « homme / femme » qui n’a (heureusement) pas duré. Le groupe a alors fait passer de nombreuses auditions pour dénicher un chanteur unique, la perle rare, et le choix s'est porté sur un certain Taylor Hession, heureusement assez peu vraisemblablement choisi pour son physique (le bonhomme est aussi laid qu’il est talentueux… Et il est extrêmement talentueux). Le groupe de beaux gosses à minettes, c’était la porte à côté désolé faudra repasser.

    Fort de son line-up au complet, le groupe a sorti en 2006 un premier album, Look to the Skies, avant d’être repéré par Aural Music, qui a sorti en 2009 ce Somnambulist avant de le rééditer en 2010.
    Que dire, sinon que le choc est brutal à l’écoute de cet album qui mélange tout sur une grosse base prog, de la fusion, au deathcore (quelques rares moshparts au menu comme sur « To The Fiendz... ») en passant par le néo, le rock alternatif, la world (léger, essentiellement ces percussions et ce côté latino sur les 7 minutes de « Till the Morning Light » et quelques mélodies qui font un peu voyager)… Un truc complètement improbable qu’il faut absolument écouter pour en percevoir toute la richesse.
    Le meilleur rapprochement auquel je pense à l’écoute de Sicmonic, c’est Between the Buried and Me, même si cette comparaison qui n’engage que moi, ne me semble pas complètement satisfaisante ni juste, et vaut surtout pour le côté « melting-pot », tant la personnalité du combo se suffit à elle-même. On pense parfois aussi à System of a Down, Life of Agony, Dredg, Lingua, Earthtone 9, Opus Dai, The Red Chord, The Black Dahlia Murder, Karnivool et j’en passe…

    Leur musique est donc un complexe mélange qui comme chez BTBAM réussit l’exploit d’être digeste (voire même efficace et parfois même directe, il n’y a qu’à voir le titre éponyme le seul à faire moins de 4 minutes), techniquement très abouti sans être pénible (le guitariste est loin d’être un manche, vous vous en rendrez vite compte), qui voit en 2 minutes la fureur death la plus totale côtoyer des passages d’une vraie douceur et surtout beaux à couper le souffle, comme sur « Illumination » qui reflète bien cette dualité et cette variété, richesse qui rend l’écoute de cet album absolument passionnante.

    Un tel mélange de genres ne serait rien sans un vocaliste de talent, et on l’a déjà abordé en début de chronique, ce Taylor Hession nous semble avoir tout du –n’ayons pas peur des mots- prodige. Je n’ai pas entendu un vocaliste aussi brillant dans un groupe de métal, depuis très longtemps. Ce cher Taylor use lors des passages les plus doux (comme sur les superbes et épurés « Requiem » et « Paradiseum », vrais moments d’émotion pure, chair de poule au rendez-vous) d’un timbre magnifique (évoquant rien de moins que les vocalistes de Dredg, Lingua, Opus Dai ou encore Karnivool), mais utilise tout autant un registre chanté puissant avec des intonations à la Keith Caputo (Life of Agony). Il passe aussi d’un seul coup à un registre purement death (core ou gruiky selon les cas), tout en faisant une halte par des cris hardcore là encore plus que convaincants. Et je n’ai pas parlé des quelques passages presque rapés (très rares ne fuyez pas), là encore bluffants de qualité. Cet homme-là sait vraiment tout faire et il le démontre constamment sur Somnambulist.
    Revers éventuel de la médaille (pour certains peut-être en tout cas, mais vraiment pas pour moi), Taylor Hession est très présent sur l’album, il occupe vraiment l’espace même si les musiciens sont par ailleurs très actifs et œuvrent dans une musique bien touffue, riche et complexe (voire même barrée, et ce ne sont pas les violons speed de « Just How Far Down Do You Want to Go? » qui me démentiront).

    A noter que cette réédition contient les 11 titres originaux (le dernier étant amputé de sa longue ghost track qui n'était pas indispensable), complétés par 4 bonus qui sont en fait des titres de Look to the Skies, qui permettent de constater que le groupe était déjà excellent en 2006 avec quelques influences encore différentes (un peu de Fear Factory sur « Seven Inches Deep », et un peu de KoRn même sur « Hypnotic » et déjà ces violons barrés sur « Devil Went Down to Georgia »).

    Assez de compliments, pour faire simple cet album passe en boucle depuis que je l’ai découvert, et ce n’est pas près de s’arrêter (sérieux candidat à la première place du podium 2010). J’espère que cette chronique (un peu longue) permettra d’éveiller la curiosité et donnera envie de découvrir ce groupe qui le mérite vraiment.

    PS : le titre en écoute (excellentissime) est aussi le plus direct, les autres titres étant plus complexes et variés, soyez donc prévenus que ce n’est pas en 3 minutes 14 que vous percevrez toute la richesse de l’œuvre de ces américains d'autant que l'album est rempli jusqu'à la gueule.
     
  12. Bard F

    Bard F Member

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    http://www.massmovement.co.uk/wordpress/?p=6850

    I didn’t know what to make of this record when it first showed up… and I’m not sure that I’ll ever be able to make complete sense of it. The band—whose name is often displayed thusly: (Sic)Monic—hail from the desert paradise (sic) that is Phoenix, Arizona (my apologies to anyone who hasn’t been to Phoenix and doesn’t get it…) and clearly are a modern band. I hear bits of Slipknot, System Of A Down, Cradle Of Filth, Brutal Truth, Death, Righteous Pigs, and a healthy dose of European power metal in there—all mixed up, then mixed again, then thrown into the air, then somehow captured and reassembled on the fly, in every song, for a listening experience that is entirely new for me. These cats are serious musicians, clearly, as the playing and singing is top-notch and impressive. And the din that they’re creating is exciting, if challenging to follow much of the time. Fans of Mike Patton and his ilk will likely fall all over themselves for this band; less adventurous types are more likely to run away like frightened bunnies. Oh, and the cover of ‘The Devil Went Down To Georgia’—complete with fiddle parts, rap parts, and full-on Deicide parts—pretty-much HAS to be heard to be believed. I want to see how they pull this off live!
    The Impaler
     
  13. Bard F

    Bard F Member

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    http://www.massmovement.co.uk/wordpress/?p=7086

    With a refreshingly unusual name these Phoenix, Arizonians blaze a trail through a very frenetic mashup of just about every style of Metal gone past since the mid-90’s. Somnambulist showcases very intricate, tight musicianship all round, and impressive vocal gymnastics from the most recent addition to the group, Taylor Hession. While the band do thrash impressively through a wide gamut of styles, there is a palpable nu-Metal feel throughout; vocal melodies recall SOAD, POD, Disturbed and much of that ilk, which despite the insanely impressive guitar work, tends to take things into the realm of the dated. Then we have what they term avante garde, but would be grindcore to a different band. Then other tracks showcase MTV style rock balladeering. Smashing through so many styles is very clever but it also gives a sense of lack of specific purpose. I’m not entirely convinced by my own words here, but I can’t help feeling that while (Sic)Monic have worked hard to gain their skills, they are now trying too hard to show them off. That said, there is nothing wrong with a band reaching for something a little more interesting and challenging in a genre and I can see (Sic)Monic going down a storm with the nu-Metal masses. If they can focus the genre hopping a little more and lose some of the commerciality, they’ll get a bigger vote from me.
    Chest Rockwell
     
  14. Emi

    Emi underdog

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    http://www.pavillon666.fr/chronique-metal-5355.php

    8/10

    (SIC)MONIC, formation américaine peu connue venant de Phoenix, en est à son deuxième album, après "Look to the skies ", autoproduit en 2006. La bande a sorti il y quelques temps Somnanbulist, CD 15 titres où une base de métal/rock traditionnel est associé à une vague de son neuf, qui tape à la fois dans le jazzy, la fusion, et même dans le death...
    Cela reste étonnant et sort des catégories habituelles. Billboard Magazine a quand même sorti que ce groupe fleurtait avec le meilleur du Heavy rock.
    Voyons ce qu'il en est.

    La qualité tout d'abord est au dessus de ce qu'on trouvé actuellement en terme d'enregistrement. les guitares ne sont pas si distordues, la batterie reste correcte.
    Concernant la voix, elle reste claire ou gueularde la plupart du temps, excepté dans les pointes de death présentes ici et là dans l'album, où l'on passe a du guttural, notamment dans "Of blood and grace" ou "Just how far down do you want to go". Elle ressemble globalement à une voix de fantôme catholique malade. La présence du violon rajoute un plus évangélique qui restera présent dans tout l'album. C'est quelque chose sur quelques morceaux qui est flagrant après plusieurs écoutes: cette musique est inspirée par les dieux, mis formidablement en exemple avec "Paradiseum". L'utilisation d'effets à gogo appuie aussi le coté original de l'alu
    "Till the morning light" est une chanson d'intro par excellence. Calme, lyrique, on peut presque parler de poésie.
    La chanson oxygène par exemple part dans quelque chose qui ressemble a du hardcore, alors que "Acidic epiphanies" et "First to throat" (dans les bonus) pètent plus que les autres, et sortent peu des sentiers battus du core.
    Les passages death partent en opposition avec les pointes lyriques précédemment cités, et permettent de percevoir d'une autre manière, et rajoute la brutalité qu'il manquait.

    Effectivement, cet album pourrait globalement plaire au grand public, de par les styles auxquels il touche: cela reste avant tout autre chose un album très éclectique, vivant, émotif, lyrique, groovy. Le pari est gagné pour les membres de Sicmonic qui ont voulu se distinguer du hardcore traditionnel et aller percer dans l'extrême limite de la musique actuelle. Leurs performances live est apparemment quelque chose de spectaculaire qu'il me tarde d'aller voir.
     
  15. Emi

    Emi underdog

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    http://www.heavy-metal.it/recensioni/album_templ.php?id=3190

    4/5

    I Sicmonic sono una di quelle band che puntano a stupire l'ascoltatore miscelando svariate influenze in un calderone continuamente mutevole. La loro musica è un crossover di nu metal e metalcore, arricchito con influenze melodiche e progressive. Solitamente i lavori di questo tipo sono pretenziosi (e a dire il vero anche "Somnambulist" lo è), risultando poi noiosi e poco amalgamati, nel nostro caso invece la band riesce abbastanza bene nel suo intento, non suonando troppo forzata. Sebbene la durata dell'album sia notevole (tra l'altro originariamente questo lavoro doveva uscire come autoproduzione, poi è stato preso dalla Aural che lo ha ristampato con 4 bonus track in coda, allungandone ulteriormente la durata), l'ascolto fluisce abbastanza bene e non stanca troppo l'ascoltatore (aspetto apprezzabile). I numi tutelari della band sono tutto sommato evidenti, System Of A Down soprattutto, tuttavia i Sicmonic hanno abbastanza personalità per farsi notare, come dimostra anche l'uso di un violino che ogni tanto compare in qualche brano.

    Insomma, "Somnambulist" è sicuramente un disco interessante, sebbene non per tutti (i metallari puristi probabilmente storceranno il naso), inoltre la band mi pare non avere ancora del tutto sviluppato il proprio potenziale, per cui mi aspetto risultati ancora più interessanti per il futuro.
     
  16. Emi

    Emi underdog

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  17. Bard F

    Bard F Member

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    http://gaspetc.com/Trax_Fall10.html

    Phoenix, Arizona's (Sic)monic are going AWOL. No boundaries. No explanations. No permission. Just out there. Not entirely deserting the metal genre, but so far outside of it most of the time they're not really serving us with what I consider satiable metal. Imagine Linkin Park, Nonpoint and maybe a little System of a Down going all progressive. Even trying to be superfast, and death-y and experimental sometimes. But not all the time. Then trying to squeeze a bunch of lullabies in the mix.

    Definitely hard to categorize, (Sic)monic confuses my aural senses. Flip-flopping between pleasant and unpleasant noises, It's tough to decide if the good outweighs the unsavory. I'll apologize ahead of time that there's so much going on in the music, it's impossible to keep this short.

    The instrumentation sounds good for the most part. Mostly guitar talent. But it can easily depend on vocals to make or break an impression of an album because they're all over it. And boy are they ever all over this album. Vocals can be overlooked if the music is worthy enough. For (Sic)monic, the vocals seem to be THE focal point. The emphasis. It drowns out a lot of the good music and you have to really search for it underneath. Then if the vocals are not good consistently, why try so hard to find the rest? Throwing in a few screams and growls in there didn't help much. Just covered up even more instrumentation. I'm pretty sure the percussion was great, I just couldn't really hear it much.

    Vocalist Taylor Hession certainly has some major talent, but only a little bit of soul. He can belt it out almost as well as the hired vocalists that tour with Trans-Siberian Orchestra one minute, like in parts of “Paradiseum” which was a great ballad that's almost so pretty it starts to get annoying eventually [not metal]. Then in every other song he's rambling in a near Rastafari style that irritated me. I didn't go for that aspect of his singing at all. It seemed a little high (young) and soft for ranting which gave his great singing voice a rotten/off sound. He sings like that all over the CD. I immediately thought this was like a Nonpoint resurrection (who died after the few catchy songs on the first album couldn't carry over my respect to any consecutive releases). I was driving back from NYC when I threw Somnambulist in the player for the first time. All cocky, I swore I recognized the unique voice. Then looking it up later, to my utter surprise, I found out it wasn't Elias Soriano at all but a different singer. It totally sounds like Hession would be surprised to learn that his style isn't unique. [cough.. linkinpark..cough ahemmmm hmm].

    In some songs he'd try to perfectly pronounce every single word like in “Requiem” and “Just How Far Down Do You Want to Go?”. That's a bit weird in metal and if you're going to insist on being that clear, you had damn well better rhyme right. I really wished he would bring the soul out more. What bugged me most was they spent an overabundant amount of time making lullabies. Or working pieces of them into most of the other songs (even the real heavy ones and vice versa), then calling it experimental.

    I can't say any one track was great because Taylor had so many different styles of vocals mashed into every song. It took away from the better ones. Of the 11 + 4 bonus tracks, Somnambulist had three main styles. Heavy, alternative/mid-paced, and lullabies. And a whole lot of choppy songs with all three. Not consistent at all. “Fist to Throat” would have been best track as it had this really cool thrash riff but the 'off' vocals ruined it. Which leaves that and the deceiving opener “To the Fiendz” as the most appealing points of the album. They had more metal aspects than probably the rest of it combined. There was also some guitar that stood out here and there along with maybe a vocal melody or two on some of the pretty songs. For all the lullaby stuff, only two stood out; I enjoyed most of “Illumination” (I can actually remember a guitar solo in that one) and some of “Paradiseum”. These were the first highlights of Somnambulist that I could easily find.

    “Just How Far Down Do You Want to Go?” sounded way too much like Linkin Park and opened with some sloppy thrash-fiddling that Charlie Daniels would shake his head at. (Sic)monic actually covered “Devil Went Down to Georgia” at the end of this album and I suppose I should be thankful that a band could even cover that song, but it was a tad sloppy, too. I did like the metal aspects they added, but the fiddle wasn't played near as well as Charlie did it. However, they do get kudos for trying.

    I couldn't stand “Seven Inches Deep” because of that vocal style I didn't care for. I hate it when singers add stuff to words. Such as adding “heeee' to the end of words that end with -ay (stay-heeee, way-heee) or fabricating extra syllables in words like those that end in -ize (realize is re-a-li-hize, eyes becomes ah-hize). That probably shouldn't bother me but it does. “Requiem” absolutely sucked. First of all, I can understand what he's saying and that's sooo not metal. Second, it sounds extremely similar to “Total Eclipse of the Heart” or something Meatloaf-y and that's too damn pretty to be metal. Third, I really don't like Meatloaf at all so all I have to say is ewww. Ewww! Broadway or metal. There is no mixing. You can't do both. You don't have my permission. It's just not allowed.

    What's funny is they describe themselves as jazz-fusion influenced I didn't hear that at all. Flighty maybe. The only thing I felt was jazzy was the length of the songs or the vocal spiraling. And the violin thrown in, too. The other tracks that I didn't mention, weren't worth mention thus far. I'm afraid, that after several rotations, I find myself becoming acclimated and starting to enjoy parts of this album and even looking forward to those moments coming around again.

    Unfortunately, the unpleasant outweighed the appealing traits of Somnambulist on the earliest passes. And it was a tad too flighty for my immediate tastes. So I have to stand true to my initial impressions and not my more biased acceptance after repeated tries. I don't like to have to dig relentlessly through an album to find the positive and truly entertaining points. I like it when they jump right out at you and are hard to ignore. Where sometimes his voice sounds fantastic, then most other times I don't even want to try, I'm not going to force it. Especially for a band with little to no history.


    C -Alesha
     
  18. Emi

    Emi underdog

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    http://www.metalwave.it/viewrece.php?id=2783

    (Sic)Monic :: Somnambulist :: 2010

    » Scheda
    Copertina dell'album "Somnambulist" [(Sic)Monic]
    Band:
    (Sic)Monic
    Titolo:
    Somnambulist
    Produzione - Distribuzione:
    Aural Music
    Anno:
    2010
    Provenienza:
    usa
    Durata:
    74'46"
    Info CD:
    15 Tracce Musicali :: 0 Traccia/e Rom
    Sito Web:
    Visualizza
    Contatti:
    http://www.myspace.com/sicmonic
    Agenzia
    Line-Up:
    Taylor Hession - Vocals
    Ray Goodwin - Guitars & Violin
    Robert Warren - Guitars
    Jason Williams - Bass
    Zack Sewell - Drums

    Autore:
    Baldios

    » Recensione
    Gli americani Sicmonic ripubblicano per aural music il loro cd "Somnambulist" , irriverente e moderno come non mai.

    La band si avvale di un bel cantato metal core che strizza l'occhio a Serji Tankian dei SOAD , ma in chiave decisamente diversa.
    La versatilità vocale , senza perforza appartenere all'uno o all'altro filone , riesce ad esprimere rabbia , tristezza in poche parole emozione , cosa che a volte manca alla musica di oggi.

    Difatti la band ha un bel piglio progressivo , da ricordare gli Into Eternity , potente e melodico , come in Til The Mornig Light in cui si propongono degli ottimi cambi di atmostfere , dall'acustico , così come in chiave death core in Oxygen , davvero coinvolgente.
    Si passa dunque per mille scenari in cui la mente è libera di viaggiare , l'ascoltatore preso e soprattutto libero di non aver nel lettore il classico cd in cui tutto è scontato , qui la libertà di espressione è pura ed efficace

    Bella scelta nell'artwork , anche qui non simile al marasma di copertine tutte uguali , il quintetto americano ce l'ha messa veramente tutta per cercare di essere originale , senza perforza doverlo essere a tutti i costi , il risultato mi sembra naturale.
    Il cd si chiude con 4 bonus track in cui spicca Seven Inches Deep in cui quasi da rimandi Slipknotiani si arriva a parti acustiche e infine solo vocali per chiudere in growling degno dei migliori Visceral Bleeding!!!
    Band in cui il cantante fa davvero la differenza

    Consigliatissimo a tutti gli Open Minded!!!

    » Il Giudizio di MW
    Track by Track

    1. To The Fiendz - 75
    2. Till The Morning Light - 80
    3. Somnambulist - 70
    4. Illumination - 75
    5. Of Blood And Grace - 75
    6. Requiem - 70
    7. Oxygen - 80
    8. No Conscience - 75
    9. Just How Far Down Do You Want To Go? - 75
    10. Paradiseum - 80
    11. Acidic Epiphanies - 85
    12. Fist To Throat (bonus-track) - 70
    13. Seven Inches Deep (bonus-track) - 80
    14. Hypnotic (bonus-track) - 75
    15. Devil Went Down To Georgia (bonus-track) - 70

    Giudizio Confezione

    * Qualità Audio: 80
    * Qualità Artwork: 70
    * Originalità: 90
    * Tecnica: 75

    Giudizio Finale

    76
     
  19. Langoustator

    Langoustator Member

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    From Avant-garde Metal:

    With ingredients from the fields of deathcore, thrash metal, prog rock, jazz, mainsteam…, this album is rather positive, in the sense that the production of these is addictive. Acknowledging this is also a matter of approach towards structure and melody, or towards mode and tone, still, anyone into eclectic metal and rock projects should find enough by the formulas of SICMONIC. "Somnambulist” kicks off simply switching to jam session, a sample-list to browse through: tight rhythms - fast, brutal, with breaks and frenetic guitar work, arriving at nice, slower refrains as if out of nowhere… after seconds of children choir, all is chained, as a last minute concept assemblage. The second track opens up clean and melodic… pressure riff, guitar solo and plucking… vocal anger, a superb prog second half. The next three songs are more jazz fusion deathcore. Juxtaposing speed-up recitatives with soloing, or the other variant - clean singing with heavy picks, is fresh. The singer’s command is from soaring, detachment, a sort of Riverside mood, or a touch of Whitesnake ballad to screams, hardcore shouts, growls, grunts, plus a few System of a Down and Rage Against the Machine sprinkles... that is, what suits best the band’s much more than a in-a-row-variety-instrumentation, the character of which may be considered juggling with everything, straying from or cutting through with the previous... but primarily referring to enjoyment. Of the two ballad numbers, 06. is a notch up as anxiety and energy sneak in (10. is a slower and softer acoustic). Along with deathcore and some catchy, mid-tempo or faster standouts, including brutal refrains, the following tracks re-connect to extraordinary crossover, or to prog feel, with nice drumming and intricate guitar playing. Another peculiar pick is the violin dominated 09."Just How Far Down Do You Want to Go?" - some patches remind of the said feature in early Tristania, while the vocals are fast-rap-over. The bonus tracks may have fitted another edition, because the CD is slightly lengthy at this phase. On the other hand, the last one, a cover version of a country-rock song, is for mass consumption.

    SICMONIC ‘s "Somnambulist” never fails to surprise and please!

    Chavdar
     
  20. Emi

    Emi underdog

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    One of the most underrated aural music albums ever. :cry:
     

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