Today, we will be taking a look at Betweenzone’s latest studio release, their album “Means Of Control.” This record presents itself as a conceptual exploration, primarily revolving around themes of personal freedom. Before encountering this album, Betweenzone wasn’t a band on my radar, but delving into “Means Of Control” has been a revelation. After diving a bit into their other work, I gotta say their diversity and commitment to breaking the mold are truly impressive.
Tracing back through their other work, it’s clear that Betweenzone has consistently defied genre boundaries. Their ability to master a variety of styles is remarkable, making them not just jacks but masters of all trades. This versatility makes me half-expect their next venture to veer into black metal territory – and if they do, they’ll likely excel there as well. I mean, they are an enigma in that sense. The only other artist I know of that could reinvent their work that much was Bowie, and well, at one point, Madonna.
But let’s bring our focus back to “Means Of Control.” This album is a multifaceted storyteller woven through some really cool sounds and lyrics that make you think.
The album kicks off with ‘Brothers and Sisters.’ This opening track stands out for its bold approach to discussing the influence of organized religion. It’s not just about the thematic depth, it’s about how this depth is presented in the song as well that I find to be really great. The song explors the concept of religious control diving into the constraints it can impose on personal freedom and critical thinking. However, the track doesn’t let its serious subject matter weigh down its musicality. Instead, it offers a somewhat paradoxical experience – a thought-provoking message delivered through a dare I say, great vibe and upbeat tempo.
Musically, the track is a fascinating mix. It’s got this lively beat that belies the seriousness of its lyrics. I mean it’s a statement piece wrapped in a rhythm that’s hard to resist. It’s like the track is having a dialogue with itself, questioning and challenging at every beat. The result is a song that’s as much a conversation starter as it is a foot-tapper.
I’m going to be giving some very high praise here. I think it draws parallels with The Hooters’ ‘Satellite,’ ‘Brothers and Sisters’ seems to share that same boldness to tackle heavy themes while keeping the you engaged. ‘Satellite’ didn’t shy away from taking a swing at the commercialization of faith, and similarly, this track isn’t afraid to stir the pot. But here’s the kicker – it’s all done with a finesse that makes you want to listen more. It’s a track that’s likely to stay with you, not just for its rhythm but for the questions it raises. In a way, it’s a reminder of how music can be both entertaining and intellectually gripping.
Taking a look at “We Got No” I saw that it was listed as an Moc version which peaked my interest , especially as it was my first encounter with this band. The discovery that there are several versions of this track added layers of interest. Each rendition offers a new angle, a fresh take on the original, and that’s something that always piques my curiosity.
Now, focusing on this particular version, it’s evident that the band hasn’t wandered too far off the path. What stands out immediately is the heavy use of synthesizers and electronic elements. They’re fundamental to the song’s character, driving the track and giving it a distinct personality.
The vocals deserve a special mention. The echo effect used is a great artistic choice that elevates the song. It adds a depth and resonance that complements the electronic backdrop beautifully. It crafts a nice atmosphere.
I’ve always appreciated when artists revisit their own work, offering new interpretations of their songs. It’s like watching a painter rework a canvas, adding new colors and textures. This rendition of “We Got No” doesn’t feel like a simple rehash or filler content. Instead, it feels integral to the record, a piece that belongs and adds value.
And let’s not forget – the track is incredibly catchy. It’s one of those songs that linger in your mind long after you’ve heard it. The combination of catchy rhythms, electronic flair, and those haunting vocals creates a blend that’s both memorable and enjoyable. It’s a testament to the band’s creativity and their ability to keep their music fresh and engaging.
“Beautiful Souls” marks a really cool shift in the album’s mood, beginning with a gentle, soft piano intro that sets a contemplative tone. But just when you think you’re getting a soft ballad – the track quickly evolves into an all-out groove, anchored by an absolutely infectious bassline. This transition from calm to funky is executed so smoothly.
The mellow feel of the song is one of its standout features. It’s the kind of track that doesn’t jump right at you for your attention but rather, it kinda just invites you to sit back and enjoy. I can easily see myself playing this in the background on repeat. It has this unobtrusive quality that makes it perfect for those moments when you need a backdrop that’s engaging but not overwhelming.
Digging into the production, there’s a lot to unpack here. “Beautiful Souls” is a track that can be as straightforward or as complex as you want it to be. It’s all about how deeply you’re listening. There’s an ethereal vocal overlay lurking in the background, adding a layer of depth to the track. It’s not in your face, but I mean it’s subtle, and its impact is significant.
The use of laugh tracks is another great element. It’s these little touches that elevate the song, giving it a unique character. These layers, both in terms of sound and emotion, make “Beautiful Souls” a great listen. It’s a track that’s enjoyable on the surface but offers much more for those who delve deeper. With that said, it’s one of my favorites on the record.
Man Betweenzone’s cover of”Golden Brown,” is like exploring a treasure trove. The original track, has this unique, almost surreal quality that has I can only described as a ‘fever dream.’ Its blend of what feels like a progressive sea shanty with a hauntingly beautiful melody is what has cemented its place as a timeless piece. Well, I mean for me anyway. Others, I’m sure found it in the song subject matter.
Betweenzone’s rendition takes this classic and spins it into what can best be described as a futuristic jazz interpretation. It’s refreshing to see how they’ve maintained the essence of the original while infusing it with their own creative vision. I would best describe it as ‘otherworldly’.
The production in their version is, indeed, a high point. They’ve managed to stay true to the complex and progressive nature of the original while introducing a barrage of new elements. The futuristic jazzy feel is particularly great, as it adds a new layer of sophistication to the track. The incorporation of the carousel-like melody using synthesizers, and the addition of a sitar-like sound, enrich the song, giving it a new dimension while respecting the original composition’s integrity. A great cover, of a great song.
For me, getting to hear a cover of Depeche Mode’s “I Feel Loved” was a really, really cool look into a reinterpretation of a classic. I’ve always loved that track, and takes me back to the summer of me graduating high school, as I blasted that all season. The original song, as we know, is quite a standout in Depeche Mode’s discography. Known for its danceable beat and its Grammy nominations, “I Feel Loved” is a track that beautifully contrasts introspective, melancholy lyrics with an upbeat tempo – a signature style of Depeche Mode. Which is as I mentioned is something Betweenzone has done on a few of their own tracks.
Their version of this iconic track brings a unique flavor to it. While maintaining the essence of the original, they’ve added their own twist, dialing back on the pulsating dance rhythm somewhat, but still keeping it perceptible. Their interpretation leans more towards a standard rock vibe, which is an interesting departure from the synth-driven, electronic sound of the original. But again, that style is still very much their in their version.
I’m really impressed with what Betweenzone has done here. They they’ve reimagined it, adding a layer a good chunk of freshness. This to me really, is the textbook definition of what a good cover should be. It’s a brilliant example of how a band can take a well-known track and stamp it with their own unique musical identity.
“Means of Control” truly has been stellar showcase of the band’s versatile musical skills, from blending original compositions with some fantastic covers. This album is a great showcase to their ability to straddle the line between paying homage to classic tracks and injecting their unique artistic flair into each piece. I mean, even in their own work with the MoC versions, and other versions. So in a weird way, this band is so good, they can do great covers of their own songs. Which is a phrase I never though I would say.
One of the most striking aspects of “Means of Control” is the production quality. It’s not just good, it’s exceptional and top tier. From the outset, it’s evident that meticulous attention has been paid to every detail in the production process. The sound engineering on this album is top-notch, with each track offering a crisp, clear, and balanced sound, with so many great little quirks.
In terms of instrumentation, “Means of Control” gives you a rich and diverse palette. Whether it’s the groovy strings in their more funky tracks or the vibrant synths in their upbeat songs, the instrumentation was great. The album’s overall sound is modern yet timeless, a quality that is hard to achieve. It’s a sound that’s rooted in contemporary production techniques but also pays respect to the classic elements of rock and electronic music. To sum it up, it’s a great record.
