Distributor/label: Indie Recordings
Distributor/label URL: http://shop.indierecordings.no
Buy Album [URL]: https://theerkonauts.bandcamp.com/album/i-shall-forgive
Band Website: https://www.facebook.com/theerkonauts/
Ales Campanelli – Bass & Vocals
Los Sebos – Guitars
Bakdosh Puiatti – Guitars
Kevin Choiral – Drums
1. Little Mary
2. Seven Macaw
4. The Snick
5. Chaos Never Fails To Appeal
6. The Groove Of The Sorry
8. Tales Of A Thousand Lives
9. Sappy (feat. Tom Mumagrinder)
This is an emergency! The guys from Tool have been infected with rabies and have started writing super crazy music! Sure, there are plenty of moments of remission and calm, but let’s not get our hopes up. Oh, what’s that? These people aren’t Tool gone demented? Who are they then? Ohhh… Apparently, they’re the four-piece band, ‘ERKONAUTS’, who formed in 2014. After a world-wide tour, featuring gigs in the USA, Europe, Asia and Russia, they released their debut album, ‘I Did Something Bad’. This was through Kaotoxin Records, in 2016, and it was regarded as a revelation of that year. Following another world tour and in Downtone Studio, the ‘nauts started work on their recently unleashed sophomore effort ‘I shall Forgive’. ‘Drop’ from the band ‘Samael’ was once again producer.
Thanks for clearing that up, you can go now. Ok, bye. So, Erkonauts clearly play in a modern and powerful style of their own. Despite sounding like the prog superstars on speed, these people have many influences. ‘Little Mary’ starts off with a bassline that could have been invented by Tosin Abasi and the vocals sometimes strongly remind one of Kurt Cobain. ‘Chaos Never Fails To Appeal’ sounds like a classic hardcore punk anthem, and much of the record’s drumming seems like it’s from a grindcore band. ‘That sounds like a bit of a mess’. No. Amazingly, the album is a tasteful and always interesting listen. Its influences are far from random, they always work together, beautifully. Like their all part of some ultra cryptic, but complete puzzle.
We’re all familiar with that music that is all (if not too much) about aggression, and we all know of music that is totally calm. However, some of the highlights of the release are when the music is both relaxed and frantic at the same time. ‘The Snick’ has vocals in it that are always strangley chilled out, but the band just lets loose and gradually builds to chaos. It’s a fascinating sound. However, what this album lacks is catchy hooks. Whilst the punky riff of ‘Globlebl’ and some of the various doomy, Mayhem-like chord progressions are great, the music is mainly so focused on technicality, it forgets to honour the basics. Even so, the stylish variations of instrumentation and dynamics often get the most out of what they do have. In conclusion, this band gets a well earned gold star for creativity. That is for whatever genre it is that the play. It does have its flaws, but as there is so much going on in it, it will take many listens before one gets tired of it, if he or she ever will.