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aesthetic perfection til death album download Metropolis Records. Aesthetic Perfection’s Daniel Graves is not one to allow himself, or his music, to stagnate. On the new album, ‘Til Death, we find an artist who, despite an overwhelming outcry for a return an earlier sound, refuses to conform to anyone's expectations. The sound of the 10 tracks on 'Til Death runs from the IAMX-tinged swagger of "Showtime," to the eerie, almost Depeche Mode vocal patterns of "Lovesick", to the hook-laden dark pop of "Oh, Gloria!"; 'Til Death shows Graves at his diverse best. Prior to the release of 'Til Death, Aesthetic Perfection ambitiously released three drastically different singles and videos: "Antibody," "The Dark Half," and "Big Bad Wolf". In true AP fashion, taken individually, none of the singles give the listener more than an inkling of what to expect from the full LP. But when taken as a whole, the three tracks encapsulate the essence of what to expect from ‘Til Death: beautiful, haunting and eclectic. Grave's debut, Close to Human (2005) was the first release on the newly formed Bractune Records label. Upon analysis of the material it became clear that he had completed two albums with distinctive identities. Though not quite ”Aesthetic Perfection", a one-off album of Close To Human outtakes entitled Blood Spills Not Far From The Wound was released under the nome-de-plume Necessary Response. The albums were licensed for European release to German darkwave powerhouse Out of Line. Numerous live performances followed and the band made its European debut at the famed Wave Gotik Treffen Festival in Leipzig, Germany. With the success of the WGT performance, Aesthetic Perfection was offered a slot on the annual Out of Line tour, which put the young band squarely on the radar of the ever-scrutinous German club scene. Inspired by his European success, Grave’s relocated to Berlin to work on the follow up. He spent all of 2006 and most of 2007 touring across Europe while continuing to work on new material. Shortly after a second move, this time to Salzburg, Austria, Grave’s completed work on A Violent Emotion, his second album. Written between 2009 and 2011, Grave's 3rd Aesthetic Perfection album All Beauty Destroyed saw Graves pushing his own boundaries, limits and conceptions of what Aesthetic Perfection is supposed to be. This album proved to be the darkest, most melodic and dynamic piece of work Graves created up to that point. With each new release Daniel has shown artistic growth and a fearless approach to songwriting. The result is something all too rare in music; an artist who has developed a unique, recognizable sound, but has escaped the trappings of clichéd formulaic songwriting. Aesthetic Perfection is best in Grave's words "I make music because it is the only thing I know how to do. Writing about my every day struggles is what keeps me sane. some people seem to relate to that. If not, fuck it, I'd still be doing this if no one listened. darknesshappiness. Aesthetic Perfection, ‘Til Death album review. Tracks: 01. Happily Ever After. 02. Antibody. 03. Lights Out (ready to go) 04. Death Rattle. 05. Big Bad Wolf. 06. Showtime. 07. Oh, Gloria! 08. The Dark Half. 09. The New Black. 10. Lovesick. Review: I’m not generally one for harsh electro EBM. I don’t care for the whole ‘look at how angry and tough I am’ posturing. Especially when said artist is getting on in age and been bringing out the same albums for years on end. Daniel Graves, at a tender age of 30, has fortunately not fallen into this trap. Each album has become progressively more mature and less harsh. 2011s All Beauty Destroyed probably contained more clean vocals than previous two albums combined. On this, his forth album release, you will be hard pressed to find his harsh screams and shouts. They do exist, but shelved very discreetly at the back of the bookcase. Clean vocals take centre stage, giving ‘Til Death a very different feel to what’s come before. Some have criticized the album for being too ‘poppy’, and while that may be true that does not mean that ‘Til Death is not a solid, thoroughly enjoyable joyride. First up is Happily Ever After , a calm intro to the album. A cool, controlled marching beat over-layered with industrial noises and a display of clean, whispered, and threatening vocal styles. It’s not until track two, Antibody , that things get dancey. It’s catchy, it’s infectious, it’s a brilliant song. Then the ‘poppy’ side definitely emerges with Lights Out (ready to go) . If the mainstream uk radio station Radio One wanted to play Aesthetic Perfection (oh, if only they would!) this would be the song they’d choose. There’s a clear 80s groove running through this track, and which continues to permeate much of the album. Something else which is noticeable is how influenced they’ve become by The Birthday Massacre since touring with them. In my books this is not a bad thing. And that book is well and truly open on this song. Death Rattle begins with an awful, terribly cheesy ‘Aah Ooh’. At this point I did wonder if Aesthetic Perfection had lost the plot. They hadn’t, I’m pleased to say. This song does improve, although it’s not particularly memorable. Just ok. Weakest point so far. If Lights Out is a gesture to The Birthday Massacre, then the fifth song, Big Bad Wolf , has a beat and melody that is more akin to 80s era Prince. Of course, Prince never sounded quite as gothic and mean as this, but the similarity is quite startling. Overall, taking the whole song into account, Big Bad Wolf is rather comparable to what you might expect nowadays from Apoptygma Berzerk. This is actually a really good song, sung in a really nice clean voice. If you’ve ever thought that Aesthetic Perfection should use more acoustic guitar and handclaps then Showtime is just for you. This is the first ballad on the album. Lovely music, and the combining of acoustic guitar and electronics during the chorus works splendidly. Of course, this is still Aesthetic Perfection and we can’t expect too much fluffy loveliness, so negativity does abound. Daniel Graves hits you unexpectedly at the 4 minute mark with a swift musical change, showing that he’s really extended himself in the musical department. Up until now ‘Til Death has shown a softer, poppier side to the project. But the next three songs set out to change this, and are sure to please fans of his older work. Oh, Gloria is my personal favourite on this album. The threatening whispered intro takes you unaware, because up to this point the songs have not sounded anywhere near this menacing. A great beat kicks in, along with a wonderful vocal melody. This promises to be the most hardcore song on here, but then it slows down remarkably for the choruses. It works really well, has a superb sing along chorus, and is perfect for the clubs. Both The Dark Half and The New Black are the hardest songs; the shouting, growling vocals being much more prominent. The music really slows down during the chorus of The New Black , allowing for maximum emotional impact, and proving that Mr Graves has most certainly not lost his touch or gone ‘soft’. The pounding industrial beats on these songs are indeed pleasurable and destined for dance floors! All three of these songs would fit in perfectly on All Beauty Destroyed . The album then ends gently with an affecting ballad, and the only song to be sung entirely ‘clean’. Some listeners will be put off by ‘Til Death , and that is understandable. He has taken his sound into a new direction and progressed it. This, in my opinion, is a good thing, and preferable to becoming stagnant. Yes, the music is softer. Yes, the harsher vocal style is stripped back. Yes, there are no profane words to be heard. But, yes, the album is very good if you’re prepared to give it a fair shot. If you only like your dance music to be harsh yet you enjoyed All Beauty Destroyed, you are sure to find something here that you will like, even if it is literally one or two songs. Only time will tell what direction they take from here. Metropolis Records. Aesthetic Perfection's Daniel Graves is not one to allow himself or his music to stagnate. Every release has shown an artistic growth and a fearless approach to songwriting. The result is something all too rare in music, where an artist has developed a unique, recognizable sound, without falling into the trappings of clichéd formulaic songwriting. On the new album, ‘Til Death , we find an act exploring the artistic freedom that comes with no longer being willing to answer to anyone but himself. Leading up to this new record, we saw the release of three drastically different singles, "Antibody," "The Dark Half," and "Big Bad Wolf". In true AP fashion, taken individually, none of the singles give the listener more than an inkling of what to expect from the full LP. But when taken as a whole, the three singles encapsulate the essence of what to expect from ‘Til Death . Beautiful, haunting and eclectic. Whether it be the IAMX-tinged swagger of "Showtime," the eerie, almost Depeche Mode vocal patterns of "Lovesick" or the hook-laden dark pop of "Oh, Gloria!," 'Til Death shows Graves at his diverse best.

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