Review: How To Destroy Angels ::: Welcome Oblivion

I haven't done this in a minute, so I'll post it here. Maybe someone will read and/or give a glimpse of a damn about this. Or, maybe not. All is fair.

How To Destroy Angels
:::
Welcome Oblivion

1. The Wake-Up
2. Keep It Together
3. The Sky Began To Scream
4. Welcome Oblivion
5. Ice Age
6. On The Wing
7. Too Late, All Gone
8. How Long?
9. Strings And Reactors
10. We Fade Away
11. Recursive Self-Improvement
12. The Loop Closes
13. Hallowed Ground

Trent Reznor, Mariqueen Maandig[Reznor], Atticus Ross & Rob Sheridan(Art Director for HTDA & NIN) creates newfound area for American artists. No, that's not completely true. Sorry. They nearly perfect ground that Americans were largely formerly scared to travel down. With Welcome Oblivion, they go into a field that was formerly conquered by Europeans. Yes, I am aware of the few grand Asian artists whom dabbled profoundly in the musical domain of electronic music. But, this group(named after a single from Coil) really shows that Americans do possess the goods to pull the world's ear for electronic music in this direction. What is truly beautiful is that Mr. & Mrs. Reznor shares duties on singing here. Well, on one track, "On The Wing," their voices are remarkably blended together with the addition of electronic effects to allow them to sound like A robotic/android voice. The letter A is capitalized due to them being able to allow listeners to believe that it is just one single voice with manipulation effects added in. Genius work which I am equally a fan of & inspired by such a feat/technique. For those of you whom loved the instrumental pieces on the Fragile album by Nine Inch Nails, you will find comfort with the song "Hallowed Ground." It is composed of structuring and mood similar to the instrumental pieces found there, while possessing the mechanical sounds featured upon Year Zero. As well as houses Mariqueen's non-lyrical singing to lightly accompany the work. Her voice is added in so properly that it can be believed to be nothing more than an additional electronic instrument. In no way is such an insult. Trust and believe that. "Recursive Self-Improvement" might originally sound like a digital b-side off of Year Zero, as well. But, the structuring and formation of the soundscapes shows that it travels far deeper into the electronic field than Trent was in the mindframe of at the time of YZ's creation. It goes dynamically into territory that most notable electronic artists would smirk at with pride. The whispering by Ms. Maandig takes many a listeners several tries to fully own knowledge to what she says. Great replay value factor. "We Fade Away" is an actual track that has you feeling like you are trapped in a chamber upon a spaceship and, in said chamber, everything evaporates. Including you. But... you are artistically enjoying the fading procedure. "Strings And Attractors" places Mariqueen behind sparks, sizzles, lasers and metallic claps. Again, you aren't always sure what she says, save for: All these little strings keep holding us together/ All these precious things can make it last forever.  And, if you have ever seriously loved someone, you know that she states absolute truth with that. On "Too Late, All Gone," you are treated to more honesty with: "The more we change/ Everything stays the same." Such is said by Trent with Mariqueen. On the second verse, you are treated to more vocal soundwork from Mr. Reznor in the background. And, in some cases, he even yells out like he's trapped behind a wall. Sounds a little like that, too. The music plays like it is the theme for a racing to your heart portion of a film. It has your heart pulling for the one whom you want to change for and remain the same with. Or, maybe a slight opposite of that last sentence: pulling for the one you want to change WITH and remain the same FOR. "Welcome Oblivion" is damn near the song you wished would play either during your life's closing scene or whilst your credits rolled up on fate's screen. It isn't overly dragging out nor throat cutting short. It possesses that perfect "Ok, we're good"-length of time. No, the last quotation marks aren't for a song, but for a feeling. "And The Sky Began To Scream" coyly allows for Mrs. Reznor to damn-near sing a lullaby with her soothing voice. Mr. Reznor comes in with the repeating line: "I want/ Tear it down/ And build another one." Whilst he does that, the roaring ability of the song begins to grow. It sounds like the group is literally following his command. And, instead of cooing it away, the tear at it... brick by brick. As it is musical destruction, you feel yourself tearing apart and eager to build back up something greater than what was originally there. I know that there are those whom are bothered that I did not "properly" mention the instruments, here. Such is too far of a taxing task to try and muster up the balls to assume you know the instruuments that they WERE actually playing and not digitally imitating. As well as which were partially or fully electronically distorted after being played. On here, guitars are not easily pointed out. Even the drums mix together live and soundscaped digital drums. Brilliance they have managed to create, here. Unmistakably, if/when I create a major motion picture, I would wish for them to do the soundtrack and the score for the film. They own that right with me. No question involved, there. How To Destroy Angels have, in my book, taken down a large number of angels in the electronic music field. If this is the full stage one, I'll need a pacifier for stage two(which I pray will come). Oblivion has been Welcomed in. Such is official.