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Mar 2, 2011Because of its obsession with rhythm, II is at once more accessible and more overpowering than the average instrumental record. Each repetition brings an ambush, and a renewal.
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Apr 20, 2011II is gonna get you. It's gonna fold you up, flatten you in its steel press, and make a revolting panini outta ya. Then it's chow time. So long, sucker.
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Mar 16, 2011They're more interested in following intuition than patterns, and II is way more physical than mental. Its density, pace, and exuberance are, for anyone that likes to get lost in sound, basically a sonic amusement park.
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UncutMar 29, 2011It is guitarist Drew St Ivany who controls the ebb and flow, his use of scintillating, strobe-like textures and groaning chasms of feedback recalling Skullflower, or Comets On fire at their most intense. [Apr 2011, p.91]
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Mar 2, 2011Gamelan Into The Mink Supernatural basically embodies that: an album that might take a chomp at your fingers if you reached for the pause button. II is a bit like that, just not all the time.
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Mar 2, 2011The Psychic Paramount's music lacks words, but not a voice. These songs have a lot to say, and I'll be surprised if I hear a rock album this year that packs as strong a punch as II.
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Nov 10, 2011With II, the Psychic Paramount have created an record both gratifying in its dense magnitude and equally rewarding in the fragility of the elements that the album is composed of.
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The WireApr 28, 2011The trio play it both tight and upright, locking themselves into repetitive patterns so compulsive they approach the kinetic force of rave. [Mar 2011, p.58]
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Mar 2, 2011This is instrumental power-trio prog-rock for those who never had time for Rush and find the Mars Volta a bridge to nowhere; it's greasy and physical and incredibly loud.
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MojoApr 6, 2011The sequel to 2006's Gamelan Into The Mink Supernatural lays needling waves of in-the-red euphoria and cymbal-saturated pummeling, with the occasional scenic feedback plateau to catch one's breath. [Apr 2011, p.97]
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Mar 2, 2011It's their densest and most detailed work to date, but without the cathartic spirit of their live shows (Gamelan was written largely in a live setting), II sounds stripped of the music's previous rapture.