Jordan Reyne | The Annihilation Sequence

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Rock: Avant-Prog Metal/Punk: Alternative Metal Moods: Mood: Angry
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The Annihilation Sequence

by Jordan Reyne

A tale of decadence, power games and the destruction of identity, Two portions of rage, darkness and industrial, sprinkled with grunge, electronic and goth.
Genre: Rock: Avant-Prog
Release Date: 

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  Song Share Time Download
1. The Annihilation Sequence
4:15 $0.99
2. The Player
4:15 $0.99
3. The Narcissus
4:28 $0.99
4. The Wall
4:46 $0.99
5. The Cab Driver
4:25 $0.99
6. The Gentleman
4:46 $0.99
7. Pieces of Me
6:23 $0.99
8. Bite (The Hand That Feeds)
6:45 $0.99
9. Bite the Hand (Flesh Eating Foundation Remix) [feat. Flesh Eating Foundation]
6:59 $0.99
10. No Safety in Silence (The Mercy Cage Remix) [feat. The Mercy Cage]
5:26 $0.99
11. The Cabbie (Werk Remix) [feat. Werk]
4:53 $0.99
Downloads are available as MP3-320 files.


Album Notes
Album review by Reflections of Darkness Music Magazine. August 2013.

From the very beginning it is clear, ‘The Annihilation Sequence’ inhabits its own world, a dystopia made frighteningly real and current. There is menace a-plenty on the title track, and the all-pervading sense of voyeurism and political manipulation, as the snarled line “You’ll do what you’re told” plays out over a paranoid, jittery beat. A collage of sparse, industrial sounds pepper ‘The Player’, and the distorted vocals repeat “Curse you!” while shallow breathing in the distance gives this a creepy urgency and sense of panic. The breathing continues and surges to the foreground in ‘The Narcissus’ and it’s a clever device, a single minor chord supporting it, sinister in the extreme. Some excellent vocal acrobatics result in the desperate, harsh whisper of “Fuck me”, and it’s clear, in this bizarre piece of music, that something very special is taking place. It’s a glimpse inside a nightmare, a film-score for some unmade fall from grace, a chilling encapsulation of everything that is cold and empty in modern society. That’s quite an achievement.

‘The Wall’ is a more straightforward song, an easy melody, some beautiful singing, and a simple backdrop. It’s straight back to business though for ‘The Cab Driver’, a stuttering beat underpins the storytelling, it’s desperately sad, the sampled voice notching up the sense of loneliness and futility and by the line “Let’s pretend you want me” a deep melancholy has worked its way into the senses. This is not for the faint hearted. The impressive range, and vocal dexterity of Jordan Reyne is best heard on ‘The Gentleman’, and ‘Pieces Of Me’ shows off a complex arrangement of sounds, loops and samples, giving it a heady, hallucinogenic feel. It’s a relief when it’s over, but in a good way. By ‘Bite (The Hand That Feeds)’ it’s as if the journey is winding down, a weariness setting in, the darkness giving way to some softly sung and harmonised advice of “Learn to bite the hand that feeds”. It’s the big comedown song, waking up and seeing a hint of dawn, and it ends with a quickening, urgently picking up the pace and the call to arms. It’s stunning in every way.

‘Safety In Silence’, and it’s refrain of “You’re so paralysed”, perfectly sums up this incredible album. It’s a modern hymn to a dysfunctional society, where hopelessness, apathy, paranoia and repression are acceptable and tolerated, one where we become more impotent and powerless the more we become aware. It’s the future, in the present, bleak, observant, and uniquely presented. Jordan Reyne has achieved something truly self-contained and original here, it’s an impressive achievement, and this album represents a freedom that thankfully can still be found in modern, forward-thinking music. A must-buy!



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