![]() ![]() ![]() This song is essentially a rehash of the dubstep/electronica segments from 'Wish Upon a Blackstar', but the intricate songwriting and polish is missing. The song falls into the trappings of mainstream dubstep and offers little in regards to originality or quality. Moving on, 'Purified' is just as predictable and uninteresting as 'Retros'. Coheed and Cambria does an excellent job with their soundtrack/album hybrids, so I refuse to excuse the shortcomings of 'Blackstar Act One: Purified' simply because I'm not listening to it within the correct context. However, there is nothing preventing Celldweller from creating a soundtrack that is relevant to both the novel and the casual listener. Now, before I continue, yes, I understand that this EP was written as a soundtrack of sorts for a novel based on Celldweller fiction. ![]() A cheesy voice utters the word 'Retros' all throughout the song, and the synthesizers are painfully repetitive and unoriginal. The EP boots up with 'Retros', an electronic ditty that sounds like it was ripped straight from the 'Mass Effect' soundtrack. Celldweller has released a handful of lackluster songs since 2008, but even the redundant and generally uninteresting singles such as 'Tough Guy' or 'Meteorite' are a cut above what Klayton has done with his new EP, 'Blackstar Act One: Purified'. Regardless, I couldn't shake the feeling that Celldweller was being sucked into a massive wormhole leading to a synthetic wonderland with an overabundance of dropped basses and cliched electronica. And sure, each song on 'Wish Upon a Blackstar" was masterfully crafted and proved rewarding with each and every listening experience. er, Klayton, demonstrated his command of electronic music in such a way that puts even Skrillex to shame. I greatly enjoyed 'Wish Upon a Blackstar' due to the album's impressive amount of polish and refinement, but I couldn't help but wonder if Celldweller was headed down a dark, dreary path when the album was released in 2008. The self-titled album has aged particularly well, and it stands as a monument to a golden genre that has since been devoured by innumerable dubstep artists and post-era wannabes.īut the times have changed and, unfortunately, so has Celldweller. In 2003, Celldweller's Scott Albert (known as 'Klayton' among diehard Celldweller fans) single-handedly created one of the most unique and technically impressive albums in industrial rock. While Nine Inch Nails' Trent Reznor struggled to recreate the critical success that initially stemmed from NIN's crown jewel, 'The Fragile', Celldweller took the helm of industrial rock and steered the genre into fresh territory. Review Summary: This EP falls immensely short of its full potential and wallows in its own shortcomings. ![]()
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