YAWN is an Experimental Metal band based in Oslo, Norway. Without any information included in their EPK, I don't have a line-up, or any information about the band. Perhaps that is the way they like it? This 16-track album, titled "Materialism" is what we are here to review.  "Cement III: Gobsmack" leads off the album. It features heavy drum beats on the off-rhythm, followed by keys that don't follow a particular melody line. "Cement III: Fall Out" is another short burst of ethereal background music with the drums slowly gaining in audibility. The third movement is another odd and eerie song, featuring more heavy drums and aggressive guitar rhythms. Bass guitar and leads come in from there, and this is quite obviously experimental music.

"Chaos I: Artificial Superstition" features soft, even tones of strange percussion and other oddities. The second movement involves some increased sonority but this music borders on straight up noise. The third movement picks up where the second left off, with strange clean bass guitar tones as well as some more percussion. The fourth movement is much harder, with Djent tones coming through in the guitars. The final movement is under a minute in length, and just features more noise.

"Lachrymator II: Ignite" sparks the fourth movement. Heavy, pummeling guitars and drums hold down the bottom end, while eerie leads play above. The second movement features more ethereal tones, with bell strikes. In the background, eerie tones develop, swell, and then retreat. The third movement begins with a heavy, weighted feeling and some lead guitar notes. This song in particular would qualify more as music, since it follows a somewhat "normal" trajectory. The final movement involves more energetic percussion as well as some keys.

"Tokamak" is the final movement, divided into four parts. The first part is again barely even considered music, with just some tense background tones. The second movement begins with another eerie lead guitar melody and some heavy notes behind it. The third movement features that same lead melody with increased sonority in the percussion. From there, slow, quiet and tense tones take the track to completion. The final movement rips with super-heavy guitars and percussion.

This album was very strange. To call it experimental doesn't even really reflect what they present here. It's all instrumental music, and much of it barely even qualifies as music per se. Perhaps what I find most critical about the album is does this really take an entire band to make? The mostly quiet tones could no doubt be created by one guy with a sampling machine. This Progressive music fan can tolerate and appreciate many different types of music, but I would not recommend this to anyone, save for a few oddballs out there.