The7thGatekeeper in Not To Be Taken is going somewhere that is not comfortable. The artist at Barry names Dolly Parton and Slipknot among his influences and that is when you hear it, confrontational yet with this bizarre vulnerability behind. Shocking in that it does not allow you to turn your head, ruthless in its approach to studying the psychology it is analyzing.
The layering of the voices was what caught the eye on the first listen. These voices are formed by multiple layers of the tracks, echoes and reverb, and I believe it represented the intrusive thoughts. Disorients you deliberately, at the mental perplexities of the narrator. The gutsy production of nothing glossy, certainly not secure-sounding. That scrumulousness is to the advantage of the piece.
Guitar playing is based on early Slipknot, Lamb of God as well. Violent yet complicated, heavy base, which travels in unpredictable directions. There is some random shifting of chords, helps keep you on your toes, aids in the mental entrapment theme that runs throughout it. He documents all of this in his so-called chaos room, which is little, contributes to the claustrophobic experience. It seems that you can feel the walls closing.
What succeeds is his ability to make personal struggle seem like the universal one. Looks at how people have psychological battles but never tell anyone about them, unless they are openly so. The slopp production, which he mixed up himself, which he had mastered over by Romesh Dodangoda, is dense, earthy. Delusional aspect to the entire thing. Daring music-making. Not commercial, is necessitated or just the need to get it out. Good article about psychological torment, creative courage that leaves you with it when you have closed the book. Not tunes of delight but that is not the question.
Stay connected with this amazing artist:
Discover our playlist :