So I decided to review Coprofago latest work. My first contact with Coprofago was with the “Genesis” album. I didn’t like it at all. It was a major Meshuggah rip-off. I mean, even the vocals sound exactly like Jens Kidman. Not similar. Exactly the same. They had some ideas but 97% was all Meshuggah.

So let’s see what Coprofago did on “Unorthodox Creative Criteria”.
God damn! You didn’t? No… I must be… oh… No.
This is “Destroy Erase Improve” all over the place. Why oh why. I can’t believe this shit. I would expect you guys would stop ripping-off Meshuggah and start to have your own stuff but nooooo, you had to rip-off Meshuggah once again. This time even more perfectly, since the production is better and the vocals are even more Jens Kidman alike. I could swear that this was Jens Kidman singing. I had to triple check the credits. Twilight zone if you ask me.

OK. I have to be honest. It’s not all Meshuggah. We have thirteen songs. Some of them are like Extol and we still have room for some experimentalism, to bad that they are Allan Holdsworth all over the place. Surprise surprise Allan Holdsworth is the major influence of Fredrik Thordendal [Meshuggah's guitar player].

This album has a lot of work, I had to admit it. But… Man, this is identical…
I’ll try to describe the album anyway.

First track is “Crippled Tracker”. Meshuggah all the way. Vocals start and, is this Jens Kidman or what? You’ll have the chance to compare them.

“The Inborn Mechanics”. This is a major rip-off of Meshuggah’s style and I can compare it with one particular Meshuggah song. Check this out: Transfixion
The middle part even has that jazzy [Meshuggah riped-off Allan Holdsworth, and Coprofago ripped both of them] clean parts. That arpeggio chords are so unique.

“Neutralized” is different. Less Meshuggah. More Extol tough [older Extol, not the new pussy Extol]. I have to state that the solos are identical to the ones Fredrik plays also. Bet you didn’t see that one coming -_-

“Merge Into” is an interlude. Allan Holdsworth all the way. Just in case your are thinking I’m crazy check this out: Allan Holdsworth

Next in line is “Fractures”. This is a two minute track. Kind of different. Probably the only not “a major rip-off track” in the record. Weird track nevertheless.

Almost half the record is gone and it’s time for more Meshuggah!!! Shit, I meant Coprofago.
With “Hostile Silent Raptures” we have another element of the Meshuggah style. Yes, the three man singing chorus. End section has a Fredrik alike solo and whatever. This is just absurd.

“Isolated Through Multiplicity” is another Allan track. This guys are great musicians with great technique, no doubt about that. To bad they record this massive rip-offs.

At this point the album becomes a little boring. Not compact at all. Scattered songs with no flow. One Meshuggah track, one Allan Holdsworth track, one violin with synths track ["Glimpses"], another Meshuggah track ["Constriction"] and the album finishes up with two seven minute tracks. “Motion” and “Wavelength”.

What can I say. Very disappointing record. I tough they would improve but, instead they sticked with the Meshuggah rip-off songwriting. Personally I have no interest in this kind of bands. I stick with the original stuff. I stick with MESHUGGAH.

Coprofago - The Inborn Mechanics
Coprofago - Isolated Through Multiplicity

// There Are At Least 2 Comments, Click Here To See

I had an eye on Dillinger, ever since they released the chaotic metal meets hardcore meets punk meets experimental jazz of “Calculating Infinity”, difficult to ear at first (much like Meshuggah) after a while you start to see the underlying structure and all the little nuances you can always find in these kind of music, “Calculating Infinity” wasn’t without flaws, it had a kind of abrasive void about it, even in all the chaos it was still punk/hardcore and it had all the bad and good things punk and hardcore have, rough and aggressive songs, one dimension vocals, it goes on and on, well “Miss Machine” is here, so let’s have a look see.

First track and first single “Panasonic Youth” you get almost a “stop go” like riffing, that give pass to a mellow passage, to a almost hardcore breakbeat, then another short passage, to a metal meets hardcore finish, this is all intermingled with random riffing and drumming, i won’t try to “analise” more musics, because they are so diverse and sprawl so many genres it’s difficult to pinpoint “what is what”, so i’ll just give highlights, and you’ll decide for yourselves, next “Sunshine The Werewolf” as all the makings of “Panasonic Youth”, although at the same time it’s completely different, the seeming chaotic approach just gets friendlier with every passing moment, common jazz like smoothing passages to highlight the more hardcore/punk chaotic riffing, so i check the rest of the album and you have more industrial metal variations on “Highway Robbery”, “Unretrofied” and the toned down “Phone Home”, to more chaos hardcore from “Van Damsel” and “The Perfect Design”, and of course you have the more calm or as i like to say “contained chaos with calm passages so we can make a video for mtv” tracks, like “Setting Fire To Sleeping Giants” or maybe “Baby’s First Coffin”.

So is “Miss Machine” any good? Well i think so, even though all tracks on “Calculating Infinity” were unique and the same thing happens here, i like to think that this case of music you should always try to branch out as far as you can, anything less would be to limiting, and it seems Dillinger did that and some more, sure there are some tracks that could have been “zapped” with a little more juice, but hey you can’t drink orange juice all day long, or can’t you?

The Dillinger Escape Plan - Panasonic Youth

// Click Here To Make a Comment