Review Summary: If this is their last, Im fine...
Coaltar of The Deepers is one of the most underrated bands out there. With a unique sound varying from tool like rhythmic progressive metal to shoegaze, as well as electronic music, Coaltar of the Deepers are one of the most distinct bands in the music scene today. With their last full length album, "Yukari Telepath", Coaltar of the Deepers go into even more depth with their distinctive sound. If this is the last of their albums, I would be satisfied, as it is an amazing listen for any music fan.
Starting off with "Introduction of Zoei" Narasaki creates an extremely ominous soundscape. The aria of chilling winds creates a perfect beginning for a musical adventure. The vast world of this album only expands when rustic guitars join in. The guitars play few notes, but every note is powerful, emotional, and possesses a great deal of density. With unwavering passion, "Zoei" comes in with pummeling rhythmic guitars, that would make tool envious. After such an abrupt yet fitting intro, Narasaki's unusual voice croons to the listeners, with dreamy guitars underneath, reminiscent of soft and silky clouds on a summer night. There is a certain element in this song that evokes a romantic feeling towards the listener, almost like Alcest or Les Discrets. All in all, this albums starts off beautifully. Next off is the song, "Wipe out (Retake)". This song continues on with the recurring element of percussive guitars. The verse is extremely mysterious, creating images of being lost in a mystical forest. The song picks up in intensity at the chorus, where the vocals are shouted, similar to early Mastodon songs such as "March of the Fire Ants". With an exciting aura, the first 5th of this album creates a path for a unique and eventful album.
The 2nd part of the album starts off emotionally, with the song "Water Bird". Similar to the soundtracks of classic video games such as the Mario Series, and movies such as "Kiki's Delivery Service", the song has a certain melancholic mood to it and is somewhat jazzy. Overall, this is probably the best song on the album. On the 5th song “Hedorian Forever”, you start to get the impression that “Yukari Telepath” is a concept album. However, don’t get yourself confused. Despite some common similarities among the songs, they are all individually unique and hold up on their own. For instance, Hedorian starts off with the romantic and beautiful mood that you have come to know on this album, thus far. However, in the middle of the song there is a very loose solo section and the song returns to a catchy hook that will stay with you for days after last listening to the album. On the next song, “Aquarian Age”, there is a very electronic feel with futuristic synths.This song is obviously the most danceable track on the album. With great songs, one being the best on the record (Water Bird), this second part of the album maintains the quality of the first part of the record.
The 3rd part of “Yukari Telepath” retains the electronic sensibilities with the song “Automation Structures”. Similar to the song “Aquarian Age” , this song possesses beautiful melodies and infectious hooks. Next up on the album is “Interlude”. There is not much to say about this track in it’s 1 minute run time, except for the fact that it is a very serene and relaxing instrumental. Next comes the 9th song on the album, “Lemurian Seed”. This is probably the best track on the record, other than “Water Bird”. It has a very uplifting mood and includes layers of shoegazing guitars, as well as a brief yet extremely ethereal moment, where a string section comes in. Ending with chime like layered guitars, this coda leads, the album right into it’s 4th part.
The 4th part of the album begins with the song “AOA”. Unlike the previous song, it is probably the weakest song on the album. It has very conventional melodies and lacks a lot of substance. This track definitely does not need 7 minutes. It’s main melodies are much too tedious and are missing the emotion that could be found on Yukari Telepath’s other songs. The next song, “Yukari Telepath” picks up the pace with a much more exciting hook and adventurous instrumentals. If anything, give this song the 7 minutes, that were wasted on “AOA”. Next up is the masterpiece of a song, “Carnival”. The song starts off with jazzy guitar chords and some brush kit drums, similar to Opeth’s song “Face of Melinda”. The vocals are deep and wistful similar to that of Neige of Alcest. The only problem with this song is the abrupt ending. With Narasaki being such a great composer, he should’ve took some more time to create more of a complete ending. However, with tear inducing moments, this song is by far the best on the 4th part of the album, and one of the best on the album.
“Carnival” obviously, influenced the last portion of the album, as it kicks off good with the song “Evil Line”. This isn’t one of the best off the album, but this song still provides a great chorus and a good composition in general. The last part gets even better with the song, “Ribbon No Kishi” At first, I was a little hesitant about this track, as the start of the song gives off a punkish attitude. Within 15 seconds of this song, it instantly grew on me. It has a nice sing along chorus and shows even more influences, when circus music is played towards the middle. The album ends nicely with the song, “Deepless”. Starting off with a nice melody, the band suddenly goes into a jazz section and then into a post rock part to end it off with shouted vocals. Strangely, these changes don’t feel abrupt and out of place. That is a testament to how unique of a band Coaltar of the Deepers are. They have so many influences, yet they possess such a compact sound. All in all, this is an amazing album you should definitely check out.
Best Songs: Carnival, Water Bird, Lemurian Seed
Worst Songs: AOA
