Review Summary: Diversity is the key here, being both the band's biggest strength and weakness.
The Slovenian band Siddharta are quite a strange animal. In their prime the band never tried to shy away from experimentation incorporating symphonic, progressive and industrial metal influences into their sound yet they still managed to release enough singles with just the right amount of hooks to top the national charts. The band transformed from an underground sensation to Slovenia's biggest band in a matter of months. These days the band and their current music are often exposed to criticism, but back in the day no one dared to question them and everybody loved them. Considering how strange this album can really be makes this feat all the more impressive.
The truth is Siddharta often lack self-awareness and any sort of direction is lost, which makes for an interesting experience, but makes the album frustratingly incohesive. In this mish-mash of styles and genres it would be almost hard to tell which songs are filler and which are not, if it weren’t for some massive hooks keeping you earthed during the seemingly drug-influenced sections.
With Rh- the band were going for more of a somber and gothic feel, while maintaining the grandiose sound capable of delivering soaring choruses and even more elements have been added into their already cramped sound. There are noticeably more electronic elements present, more so the industrial metal sound is prevalent throughout the record. T.H.O.R. should very well make Rammstein fans feel right at home with the repetitive yet heavy drumbeat and riffing, sinister synths and a terror inducing vocal delivery. But the real industrial gem here is Rave. The band take their time to build up the momentum, more and more nervously awaiting the explosion that is the chorus. It’s depressing yet undeniably beautiful bringing chills down the spine.
With the exception of T.H.O.R the rhythm section tends to get more involved, especially the bassist cranking out some amazing bass lines. Whatever mastery the band might lack in the instrument department they compensate which sheer amount and diversity, with violins, flutes and saxophone being crucial to many songs. The otherwise lackluster guitar riffs are often disguised and infused with violin, which adds to the overall epic feel, like the symphonic rock anthem Japan. The flute gives the ballad Naiven Ples a medieval theme, while Napoj stands next to Aqualung and Hocus Pocus as a successful flute-prominent single.
Diversity is the key here, being both the bands biggest strength and weakness. Sim Hae overdramatizes and ruins the flow completely. But for every one of these fails there is a song like Rooskie that works despite its weirdness. In the dreamy Kloner, erections seem to be mentioned more often than they should and yet it’s impossible not to sing along. And if that’s not a feat I don’t what is.
