CODA

OCTOPUS seem to be getting even more complex, bringing ZERO HOUR to mind at times.This is an almost 24 minute EP of four songs. In the liner notes they thank CAST and TRETTIORIGA KRIGET.They also include 87 pages of instrumental music notes, so those who are brave enough can try this at home. Good luck with that.

"Slussen" comes out of the gate hard and fast. Absolutely ripping guitar a minute in as the band rampage all over the place.This is complex and heavy duty just like ZERO HOUR. Spoken word samples arrive 4 1/2 minutes in. "Zeitgeist" again makes me think that these guys have taken the complexity level up a notch over their last record "Bonsai".There are some guest screaming vocals before 1 1/2 minutes. Vocal samples 4 minutes in that continue to the end that basically rip Christianity. Not impressed. Quotes like "Christianity just is not truth" and "Jesus did not exist" is b.s. in my mind. But hey this is about the music, and the music is excellent.

"VI-I-VII" features face smashing riffs that lighten briefly after a minute. Vocal samples 2 minutes in as riffs and odd-metered drumming continue. A relentless drum attack 4 minutes in. More vocal samples 6 1/2 minutes in as heavy guitar and odd-metered drumming continue. "Momentum Kriget" i'm sure is a reference to their Swedish friends.This is another assault of relentless power. Spoken words after 1 1/2 minutes as drums and guitars ease up before the heaviness returns again.

I like the direction they are headed in. This is very impressive.

This EP is like the second part of "Bonsai", or yet better the final part. That's what I read somewhere (or heard, I don't remember), in the words of one of the members of OCTOPUS. Just like the coda of "Bonsai", but with seven strings. And that's the best definition of "Coda", joining the same ideas of the previous album, all that complexity, with heavy riffs and asymmetric rhythms, with some voices above the music, but with the seventh string present from beginning to end. The problem is that the result is not that good like "Bonsai". It's not the best ending.

It's not that good, but let me say it, "Coda" is a great album, deserving this four stars for an excellent addition to prog lovers collections. When comparing to "Bonsai" it gets this bad qualification, but when listening in the middle of the day, it is a high point.

The complexity itself is recommended, the way they play with the music, with the times and the notes, creating this kind of "anti-music". That's the idea I get when I hear, for instance, that repeated up way in 'Slussen', or that break in 'Momentum Kriget'. Just like Nicanor Parra taught us the anti-poetry, now I hear a sort of anti-music, being music, but not what we expect to hear (and we are prog addicted!).

"Coda" demonstrates the skills of this band, and the core of its music, with some OPETH influences, but keeping away the four repetitions of a motif, ending up in a particular style worth to listen.

Chilean technical prog-metal ensemble Octopus has done it again with the spectacular (albeit too brief) "Coda" release. This mini-CD lasts less than 24 minutes and is wrapped in a beautiful digi-pack whose credits include a massive transcription of all four pieces' scores. "Coda" is a powerful exhibition of the pushy, explosive metallic force that Octopus incarnates with such musical cleverness. The shrapnel pulsations that set the pace of 'Slussen' announce the complex, heavy storm that is already taking place. The machinery constructed by the riffs and the rhythm duo state the perfect frame for the impressive guitar leads. A parallel tendency is pursued by 'Zeitgeist', albeit with a frontally somber vibe, a factor that can be clearly noticed right from the starting point. The introduction of grunting screams and samplers of philosophers discussing the epistemological problems of religion expand the rebellious note that the music alone seems to cry out. 'VI - I - VII' bears a less frantic outburst, compensated by a denser sonic elaboration. This is definitely the most versatile track in the album, including momentary space-rock elements for good effect (if only the Octopus guys had arranged a more extended space for them). The motif that gets started at the 3'30"-mark streams into a more agile section, which eventually recreates yet another thrash-influenced prog-metal jam and develops it into the conclusive climax. The album's last 5 172 minutes are occupied by the incredibly pyrotechnical 'Momentum Kriget' - this is a robust exercise on sinister prog-metal seasoned with a few jazz-rock-friendly passages and occasional Crimsonian guitar leads. The mechanically driven riff that repeats itself all the way through the long fade-out effectively carries on the wild adrenaline displayed in both this particular track and the whole album. This is a great way to end such a great mini-CD as "Coda". If only this effortt had been longer... Anyway, Octopus still rules.

i think they are great, i see them on the "sala scd" and they play "beautiful". all they music are great, the bass is good but it complicated to hear it but it not mean that it bad, the guitars are great, and the drum was rec with a program like meshugga !!!!!, and in live Cristóbal Orozco play better than in this cd(in my opinion), i think they are one of the best band of chile. i only want see octopus in live again, they play great, on live, in studio, in everything. i have the luck to have a band where the guitarist is disciple of Fernando Daza, i have luck to talk to Braulio Aspe. but in the end that is a very good album, a MASTER PIECE

Coda is a strong EP that goes into even more technical directions then the preceding full length album Bonsai.

Each of the 4 tracks are challenging and adventurous compositions, with math-metal rhythm guitars and outstanding soloing, but I can't say that the changes with Bonsai are all for the good. A first minus comes from the production. The band must have opted for a more common metal sound with harsh and loud medium frequency levels and little or no dynamics. It's quite disappointing after the powerful and natural sound they had. Another remark concerns the addition of vocals. Most tracks are still instrumental but the vocals on Zeitgeist for instance make the band sound too similar to Meshuggah and makes them lose some of their uniqueness.

Coda is a good item for fans but not your place to start if you want to discover this talented band.