|~ Corporate Pollution ~ March 5th
Corporate Pollution - 5.19
~ Check Out The Album Artwork ~
~ Album Info ~
Release Date: March 5th 2011
'Corporate Pollution' is the third Paradox studio album displaying the bands most powerful sound to date. 11 songs were recorded and mixed in 9 days @ Data Recording Studios in County Kerry, Ireland. Just like the previous two Paradox albums brothers Pete and Mike Mac play all instruments. Pete plays all guitars, bass, vocals while Mike plays all drums, piano and vocal harmonies. They also co/produce the album. A few of the songs appeared as acoustic tracks on the Pete Mac solo album 'In Limbo' in 2009 (Emptiness, Bury the World, Serenity) but were re-recorded with drums and a full band sound for this album.
'Corporate Pollution' is the bands biggest loudest sound yet. On average 6 electric guitars were recorded along with triple vocal harmonies, 2 acoustic guitars, lots of bass, piano for certain tracks, a female vocal for one track and two days of drumming. 'Corporate Pollution' captures the frustration, emotion, anger, sadness, happiness and confusion towards todays superficial society in the form of expression through music. From the opening track 'Corporate Pollution' with it's churning guitar riffs and political sneers to the melodic melancholic melodies of 'Repress Excess' or the distorted confusion that is 'Mind Mud' the albums diverse mix and ever changing pace create an interesting and unique sound. The albums stand out track 'Mr. Bureaucracy' was chosen to be the first single with it's fast pulsing riffs and melodic vocals. 'Mr. Bureaucracy' is aimed towards any corporate or political establishment designed to keep society dumb, confused and poor. While the riffs are fast and grungy the melody and lyrics almost seem sarcastic. The line "Mr. Bureaucracy can you control the air I breathe" opens the track to a sudden burst of energy. The chorus refrains of "Freedom of choice not good for me" ring through to an old school grunge sounding riff that takes the song in a somewhat different direction yet repeats itself as the song ends. While the album potrays a much bigger picture than any previous Paradox endeavour the band still maintain their Alternative Rock sound reminiscent of the 90's.'
1. CORPORATE POLLUTION
From the opening track 'Corporate Pollution' with it's churning guitar riffs and political sneers the track seems to somewhat set the tone for the rest of the album. The dark riffs and pounding drums are carried along by a melodic vocal right up until the final screams of Starve the System!!
A harmonic mix of acoustic guitars, female vocals and piano open this song. The acoustic guitar and mellow vocals take the song through to the full lush choruses and bridges until the song reaches it's climax vocal refrain of 'Emptiness'.
3. MIND MUD
Pounding drums and drop tuned riffs open the confusion that is 'Mind Mud'. Mostly instrumental this track avoids the standard song format approach, changing it's course of off timing riffs and sudden distorted breaks until it's final break. The track then builds itself on an evergrowing mass of distortion and brief vocal encounters, building up to a sudden scream of despair. The track ends on a stop start motion with a dirty guitar riff and one final drum thud!
4. LIVING DEMISE
'Living Demise' could be part two of track 'Lame and Languid' from the last album 'Sacred'. An acoustic riff breaks the song into a chorus hook that's repeated throughout.
5. MR. BUREAUCRACY
'Mr. Bureaucracy' is aimed towards any corporate or political establishment designed to keep society dumb, confused and poor. While the riffs are fast and grungy the melody and lyrics almost seem sarcastic. The line "Mr. Bureaucracy can you control the air I breathe" opens the track to a sudden burst of energy. The chorus refrains of "Freedom of choice not good for me" ring through to an old school grunge sounding riff that takes the song in a somewhat different direction yet repeats itself as the song ends.
6. BURY THE WORLD
'Bury The World' seems to flow like a ballad with it's tempo and overall hypnotic vibe. Soft subtle vocals glide over the acoustic guitars, bass and drums but are abruptly interupted by sudden dischordent chops that appear throughout the song until they nearly find their purpose and open up into a final rasp of a guitar riff bringing the song to a close. This track has been noted to have similarities to the Silverchair album 'Neon Ballroom'.
7. FOUR WALLS
Probobly the darkest most dropped tuned sound that Paradox have ever created 'Four Walls' is a track that's hard to keep track of. Opened by pounding drums and a dark distorted bass line the track bursts into a fast paced muddy riff. Even though there are many verses in this song there is no set chorus. The vocal lines "We're all dumb, We're all numb in our Four Walls" create the first tempo change in the song all the while directly changing tempo once more. A solid riff and yet again many drum tempo changes bring this track to it's knees.
8. REPRESS EXCESS
The melodic meloncholic melodies of 'Repress Excess' carry this song all the way through to the end of the song, a gentle acoustic guitar flowing in the background. The last acoustic verse breaks the song into one final slow deep riff for the chorus.
9. SHEDDING SKIN
A gently strummed electic guitar stands on it's own, followed by smooth harmonic vocals. The song slowly starts to grow as a light bass line and bass drum create a warm ambience until the song reaches it's chorus lines of "Will I ever change"? The song opens to an array of melodies and harmonies before changing it's ambient vibe to a slight off time state slowly building momentum with the lines "I'm okay, I'm just lonely". The song suddenly explodes with the vocal line "Shed my Skin" being belted out at near breaking point. The track then slows it's pace and fades into a gently picked acoustic guitar.
This track could be the closest progressive metal sound that Paradox have created veering towards the direction of bands like Tool. With it's 9 plus minutes in lenght 'Mitigate' is an array of off timing drum beats and harmonic power chords that shift and change throughout the song.
Closing track on the album a stripped down acoustic guitar plays underneath a sublte dark vocal which drops another semi tone when it reaches the chorus. By the time the second verse hits the song is full of harmonies sounding strangly close to Alice in Chains album 'Jar of Flies'. The lines "When you smile at me you see that I grin" close the second verse. The refrain of the last bridge "Don't you know that suicide is painless" bring the song and the album to a close.