The first thing I want to talk about is the album's noticeably smaller-than-usual packaging. I'll call it a soft-cover, while what would be hard-covers are known by their more common name: Jewel Cases.This "soft-cover"album is slightly smaller in width than a traditional soft-cover album. The album art itself is a photograph of what would be the band's instruments, but the band itself is nowhere in the photograph. When the listener opens the album to get to the record, he or she will be treated to a bigger photograph that follows on the cover's motif - namely, many more instruments that seem go on endlessly in a landscape.
All of this is notable because the album cover expertly contrasts and foreshadows what the band has in store for the listener. Battles' sound is as epic as their name may suggest, and the fact that the cover's dimensions are smaller-than-usual whilst hosting a photograph of endless instruments (which allow the band to conjure said epic sound) is almost like a commentary. What I'd like to think they are saying is that their sound cannot be solely experienced within the confines of a recording - so small and compact. If this is indeed the message they're trying to get across, then I must admit that they are right, for I don't think that the band's sound should be limited to a recording - one must see them live. At least I would imagine their sound becoming much more special when listened to in person.
The music itself is both fascinating and frustrating. Its all technical and no soul, like a machine working clockwork on your listening tastebuds yet somehow missing the point of music altogether. That is, the music may be interesting and insatiably catchy, but it doesn't very much try to connect with the listener on an emotional level. You will find your spoken voice in adjectives like cool and amazing upon listening to the album, but after the tracks are done, you don't feel like the track is yours, that you can make a personal connection. That may not be wholly important to everyone in the world, but its worth mentioning.
Aside from the lack of emotional connection, the album does feature some incredible musicianship. The artists here really know their stuff, and if you watch a certain interview (now on YouTube, as all things in the sight a camera tend to end up), you know that they know it. If you can look past their slight egoes, you will realize that the music here goes beyond the artists' personalities. If you thought you couldn't connect with the music, then imagine that the artists themselves cannot connect with it, past the fact that they gave the music life. The music here becomes its own character, a separate entity - apparent as you listen - that goes beyond the artists themselves. These are regular Joes making some uncharacteristic music, but, going back to how talented these guys are, they do that music some great justice. Their perfect timing and unity is what makes the music stand and become its own entity.
Now, here are the really bad bits. This isn't really a listen-through kind of album. Mostly at fault is the length of the tracks, which wouldn't be so bad if they weren't all bombastic displays and more diverse. After a few tracks, you begin to feel desensitized - unable to be surprised by the band. For example, if you attempt to listen to tracks like "Rainbow" and "Tij" in their natural order, they tend to lose their power. "Rainbow" is an exciting track that takes the listener through some twists, turns, and a journey with soundscapes that are incredibly immersing - the closest you'll get to a romantic experience hosted by the band. Sadly, the song follows"Atlas" and "Tonto", which are over seven minutes long and, if you are listening to this album properly, incredibly exhausting. The album slows the pace a little with Leyendecker, but its not enough for the listener, who has to take in Rainbow in all its 8 minute glory. Again, my point is that the length of the track makes this a hard listen-through if you want to take in the absolute power of each track. Over-time, as you discover the bits of each track, the album begins to show its true genius.
Another huge complain is the track titled "Prismism." This track is the devil's tease, what with its length barely at a minute, yet its make-up so exciting and captivating. If it was a full-length effort it would have revived the album's dwindling momentum. It sounds different enough to rekindle the interest of the listener, yet not too different, so that it maintains its natural place within all other tracks. But, no, it's not so, and that fact on its own almost inspired me to hate the band and dismiss this record altogether.
To have done that, however, would have been foolish.
Mirrored is a fantastic album, probably unlike anything you've heard before, and incredibly accessible to boot. The unfortunate thing is that the band attempted to make this a listen-through album, assumed when looking at the first track titled Race:In and the last track titled Race:Out, though the album's momentum dwindles after Leyendecker. This could have been avoided if Prismism, one of the latter-end tracks, was developed into a full-length effort, but it was not so. Whatever your opinion of this particular record, you have to respect the band for their incredible effort and genius musicianship.
Buy it if you are a fan of music.
Listen to: Atlas, Tonto, Leyendecker, Rainbow, and Tij
8.9/10
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