Meshuggah
Koloss

Who they are and what they have unleashed in the past doesn't matter to you. If you're reading this review, I am almost absolutely certain that this isn't the first time you've heard the name of this band.

Not categorizable in any of the existing genres, rejecting even the term djent, which is even more untranslatable than "Meshuggah", the music of this Scandinavian group, or at least their sonic production divides humanity into frenzied fans and nullities, conscious and unaware. Those who don’t savor and love it would consider it, in a hypothetical listening, as useless, barren, empty, and meaningless: Non-Music. Exactly the same judgment that a common person would have on the behaviors of a "madman". (Most likely all this was foreseen by the band since the beginning)

"Koloss" appears, at a first and crude listen, as a transposition of some Lynch film where the magnificence of the design behind it is not understood. However, one slightly savors the raw delight of an innate sonic inertia. In the listener prevails a sense of lack of comprehension, which disappears in subsequent listenings where one understands that behind a futuristic musical production, an immensity arises, a perfect and faithful fresco of a current world condition. The baroque monotony of guitars and bass is nothing more than the echo of the rhythm of an ordinary day, now detached from any ancestral sound. A clear sign of a perpetual tear between man and nature, the new daily reality is the one envisioned by the machine. Sentimental melody is anachronistic. In the tearing song, the little humanity left is identifiable. Skins have transformed into silicon. Time has become asymmetrical.

Man and machine have reversed roles.