Track listing
Show track credits
- 1 Cosmetics 8:40
-
vocals
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Elliot Hoffmandrums
-
- 2 Paper Slippers 5:34
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trumpet, horns
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- 3 Stood Up 4:19
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trumpet, horns
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Leyna Marika Papachviolin
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- 4 Here Comes the Rain 4:33
- 5 Oilfields 6:41
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vocals
-
- 6 Concrete 2:34
- 7 The Ballad of Sisyphus T. Jones 5:57
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trumpet, horns
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Leyna Marika Papachviolin
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vocals
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guitar
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- 8 Fortitudine Vincemus 0:46
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vocals
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- 9 You're Trying to Break Me 8:32
- 10 O Putrid Sun (For Yuko) 3:10
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Leyna Marika Papachviolin
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Jeff Davidsondrums
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piano
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- Total length: 50:46
Rate/Catalog
Catalog
Set listening
Review
To rate, slide your finger across the stars from left to right.
6 Reviews
-
1
Cosmetics
-
2
Paper Slippers
-
3
Stood Up
-
4
Here Comes the Rain
-
5
Oilfields
-
6
Concrete
-
7
The Ballad of Sisyphus T. Jones
-
8
Fortitudine Vincemus
-
9
You're Trying to Break Me
-
10
O Putrid Sun (For Yuko)
6/10
Average track rating: 5.6
Atmosphere: *** = 0.0
Emotion: *** = 0.0
Lyrics: *** = 0.0
Sounds: *** = 0.0
Vocals: *** = 0.0
Bonus points: 0.0
Final rating: 5.6 + 0.0 = 5.6
Atmosphere: *** = 0.0
Emotion: *** = 0.0
Lyrics: *** = 0.0
Sounds: *** = 0.0
Vocals: *** = 0.0
Bonus points: 0.0
Final rating: 5.6 + 0.0 = 5.6
Published
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Similar in sound and quality to Mick Kenney's Professor Fate project; i.e. grandiose but lacklustre. Occasionally mix this with the wacky but slightly unnecessary density of Devin Townsend's Deconstruction, and you have this listenable but underwhelming and clichéd departure from Foetus' usual style.
Published
I am afraid the best of Big Jim is far behind us now...
Published
A bizarre and unexpected release to come out of Foetus's womb really, sounds like a blockbuster Hollywood movie soundtrack colliding head-on with late period (post-Dwayne Goettel) Skinny Puppy. Long gone is the malicious, humanity-pitying feel of older Foetus albums, instead this one feels very melodramatic in comparision. J. G. Thirlwell loses a slight bit of his individuality on this record, but that's not to say that the thing he's came up with here - some sort of a symphonic electro-opera - is done badly. The orchestral arrangements (that there are a plenty of on this release indeed) are very succesful, bringing in as much tension as needed at any time, loud enough to be noticeable off the bat yet still not overpowering anything else, instead fitting in as just another necessary jigsaw puzzle piece of the whole. There is an occasional use of choirs and operatic female vocals on Hide, which I didn't find always adequate - they appear straight from the first seconds of the vivid opener (Cosmetics), making for a quite odd, not very appropriate way to start off the album.
The instrumentation tends to get a bit too excessive during the more "busy" parts of the record, and that might explain why I generally found the best tracks here to be the ones among the most subdued - Here Comes the Rain and Oilfields are both dystopian, menacing serenades dominated especially by Thirlwell's charismatic crooning over a backdrop of orchestra, harps, synths and more - in my mind they're closely related to another album of his: Love. Another highlight of Hide would definitely be You're Trying to Break Me, easily one of the album's central pieces. Let's just say that it is classic slow-tempo Foetus amplified by the presence of an orchestra; if the album was a movie, this track would've been the climactic final showdown scene with the main bad guy. The one moment that everybody remembers, y'know?
Hide has left me feeling bewildered, puzzled and wondering where the hell could Foetus be heading with a follow-up album. While it does make me long for the edgier sound of Nail, or even the more recent Damp, Hide fits a decent place in Foetus's discography by displaying yet another fine perspective of Thirlwell's more sentimental, world-concerned side.
The instrumentation tends to get a bit too excessive during the more "busy" parts of the record, and that might explain why I generally found the best tracks here to be the ones among the most subdued - Here Comes the Rain and Oilfields are both dystopian, menacing serenades dominated especially by Thirlwell's charismatic crooning over a backdrop of orchestra, harps, synths and more - in my mind they're closely related to another album of his: Love. Another highlight of Hide would definitely be You're Trying to Break Me, easily one of the album's central pieces. Let's just say that it is classic slow-tempo Foetus amplified by the presence of an orchestra; if the album was a movie, this track would've been the climactic final showdown scene with the main bad guy. The one moment that everybody remembers, y'know?
Hide has left me feeling bewildered, puzzled and wondering where the hell could Foetus be heading with a follow-up album. While it does make me long for the edgier sound of Nail, or even the more recent Damp, Hide fits a decent place in Foetus's discography by displaying yet another fine perspective of Thirlwell's more sentimental, world-concerned side.
Published
Parts of it sounds like Wiseblood and Manorexia, other parts like Nine Inch Nails. Too much going on.
Published
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Catalog
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