Review Summary: In the wake of Jupiter, this EP is released perhaps as a good idea, but without the execution necessary to make it an essential pick up.
Quite unexpected was
Jupiter, the third full release from and what would essentially mark them as the
former metal outfit Cave In. The drastic change would take place from the exchange of distorted, charged riffs and high energy assaults for bright, spacey ballads and ethereal, atmospheric experimentation. Even more strange is the transition when the band in question had the experience of tours with the likes of
Converge,
Isis,
Neurosis, and
Dillinger Escape Plan. However, quite possibly the most odd of the odd is the unprovoked accompanying EP release,
Moons of Jupiter.
First and foremost, the EP offers a "remix" of the title track
Jupiter as the opening track... a version that differs only subtly in the quality of the recording. Guitarist/Vocalist Stephen Brodsky, who essentially serves as the EP's mastermind, claims that the version is of a quality that the rest of the
Jupiter record
should have sounded. For most ears the difference is going to be minimal, if noticed at all, and the track really just gives the feel of a single's release with extras tacked on for good measure.
Omitting the first track, this leaves the last three to serve as severely stripped down versions of their fully recorded and mastered counterparts. In fact, each track consists only of Brodsky's voice and the piano accompaniment he plays, both recorded onto a 4-track. It should be noted, however, that the each of the piano versions were also recorded in one day while Brodsky was on a lunch break. As charming as this may be the time and effort put into this certainly shows in the result and, while it does cast a sort of haunting, minimalist slant, it doesn't always work quite as it was likely planned out.
Innuendo and Out the Other, which normally exceeds six minutes, is condensed to well under three and really only features the repetition of the "chorus" among a unison piano melody and warbling, echoing effects that seem to further distort the space.
The EP is not all strange though, as its other two tracks not only highlight some of the more memorable songs from
Jupiter, but also feature them in at least most of their entirety.
Big Riff's crunching, seething energy is harnessed into a melancholy walk lead forth by Brodsky's mellow, floating vocals which again serve as forefront. The final track spares the desperate, longing acoustic guitar of
New Moon's introduction for a piano melody that is simply played but is just as chilling. Even as it stands as a track that could have just as easily closed the album itself, it too ends much too quickly leaving something to be desired.
All things considered, the EP is nothing short of subtle beauty in some places, even if it seems like much of an oddity in others. As a compliment for its predecessor it can be very enjoyable, especially for those who particularly enjoy the original versions from
Jupiter. On its own, unfortunately, it just doesn't seem to have enough substance to effectively grab a hold of the listener. If the
Jupiter track were an alternate or piano version, or even if another song or two had been added for good measure, it could easily become a much more interesting piece to own. However, as something that clocks in at under ten minutes of
actual new material, one would be better off picking up the
Creative Eclipses EP.
Recommended Tracks:
Big Riff (Piano Version)
New Moon (Piano Version)
