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"Infinite Cycle Demo" Divinity |
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What it is supposed to be: Unfortunately no packaging or information was provided for review. What it is: Technical thrash. With vocals. Harsh vocals. Harmonized harsh vocals. Then cookie monster vocals. More harsh vocals. Finally, 'gang-shouted' harsh vocals followed by non-sequitor clean vocals. Analysis: This type of music was overdone ten years ago by Forced Entry, and countless other SF Bay Area or SF BAy Area sounding bands that disappeared faster than the hair and waistlines of most of the proponents of the genre. This, and the afformentioned bands, music is formulaic: vapid lyrics, poco accelerando polka beats, monochrome delivery, and pseudo-anger, all pointlessly perpetrated, perfunctorally performed and painstakingly passe. That said, the musicianship is of high caliber,the guitarist solos with passion, and the band is tighter than a tour bus commode. Summary: I don't know anything about this, who performed it or when it was done, but if this is the same group of individuals responsible for R.A.C.E or Enditol, I wonder at the intent of this project. There are some interesting vocal lines on tracks 2 and 3 that seem out of place in this 'morass of thrash' but overall this music falls short of the high standards set by the other projects mentioned. Rating: 2/5 (The 2 is for reminding me why I liked Anacrusis circa 'Manic Impressions') Contact the band/music and related: http://members.shaw.ca/enditol/music.html email Sacha: enditol@hotmail.com Review by Jan-Mikael |
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"Demo Tracks 2003" Enditol |
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What it is supposed
to be: What it is: Highly technical, ferociously aggressive, often melodic, subtley melodic and definitely intricate instrumental metal, delivered with lock-step precision and infused with a warped sense of Bartok-esque rhythmical maturity. Analysis: Sacha has tremendous mastery of
his instrument. He avoids metal, prog and 'fusion' cliches effortlessly
and manages to combine keyboard sample orchestration and subtle use electronica
with a razor sharp distorted rhythm and lead sound to great effect. The
music is well thought out, showcasing his ability to develop a theme or
melodic/rhythmic fragment into more than a series of repetitive 'connect
the dots' red-faced, sweaty-palmed guitar histrionics. Drum programming
is of the highest order, understated yet effective, and the production
is whistle clean and transparent. My only complaint is the rudimentary
doubling of guitar parts by the bass(not exclusively but predominantly).
Counterpoint in the bass would have removed some of the stark harmonic
contrasts, and provided an emolient, allowing for a richer sound without
sacrificing the impact. A small quibble though, as the focal point here
is the guitar,the compositions, and the overall goal of heaviness and
complexity! Summary: If you were a fan of early nineties instrumental thrash projects like Chris Poland's 'Return to Metalopolis', Toby Knapp or Tony Fredianelli's solo records (both Shrapnel alumni, though less compositionally astute than the chap(s) in Enditol), or Frederick Thordendal's 'Sol Niger Within', then Enditol's instrumental version is for you. If you like heavy, complex, yet strangely pensive and textural music that requires repeated listens to fully appreciate, you should contact these guys through their website for further info on ordering. Rating: 3/5 (Absence of packaging/concept or final mastering precludes higher rating, but the overall level of professionalism musically and technically is high) Contact the band, music and related: http://members.shaw.ca/enditol/music.html email Sacha: enditol@hotmail.com Review by Jan-Mikael |
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"the Revolt against Cultural Extinction" the R.A.C.E |
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What is it supposed to be: Futuristic artwork and imagery abound, song titles perpetuate the theme and are cleverly juxtaposed out of numeric order to provide a stream of consciousness narrative in lieu of printed lyrics. The center insert picture is thought provoking and atypical of the type of artwork progressive bands are fond of overusing. The CD tray picture is cleverly designed and the photos of the band and their nom de plumes are also part of the highly creative concept. Refreshingly complete, the marriage of the computer graphics, storyline, and narrative title page, provides a unique, focused and compelling package. What it is: Clever packaging often hides slipshod composition, or non-thematic material that doesn't match the intent of the concept. R.A.C.E avoids these pitfalls by providing genuinely creative, and at times sublime music that astonishes without overwhelming. The music is well orchestrated (rhythm guitars are well crafted, samples are used judiciously and musically, and effects are sparse yet effective), has both melody and intricate harmony (lots of luxuriously voiced major seventh and ninth chords in the background vocals), and provides variety in rhythms from song to song, a truly astounding feat, considering that the drums are programmed. The overall effect is one of strong thematic unity, performed and recorded with expertise and attention to minutia, resulting in what is (sadly) a rarity in modern progressive music: songs that provide aural and emotional impact! Analysis: Sonically R.A.C.E has clarity and depth, and the drums are artfully programmed and recorded, integrating organically into the whole. I have to mention that they are so well orchestrated that I had to look at the libretto to see that there wasn't a drummer listed. No small accomplishment! Typically programmed drums are discernible immediately, and are apoplectic at best. Not so here. Kudos! Unusual chord structures, and odd metered, technically challenging lines and phrases are effortlessly negotiated, and distorted, clean and acoustic sounds contribute equally to the overall heaviness of the tracks. The few guitar solos evident are tasteful, and well thought out. This is intelligent arrangement, and testament to the restraint of musicians who can probably shred with the best of them but choose to rather serve the song. The vocalist is outstanding, falling somewhere between Doug Pinnick(King's X), Devin Townsend (SYL/DT Band et al) and Daniel Gildenlow (Pain of Salvation). He has a strong baritone, and combines the cleaner tone with a very aggressive yet ultimately melodic raspier delivery to great effect, never losing sight of melody, discernability or emotional impact. Well constructed melody lines add depth to harmonic movement, and reinforce band/vocalist counterpoints very effectively, lending an air ot authority to every lyric. The words could be gibberish and still succeed; they aren't. Even rarer than cohesion musically is lyrical integrity, and while the material may not be relevant to everyone, it is at least as well written as the music. I would be hard pressed to provide a 'sounds like' description, but I hear elements of King's X, the Galactic Cowboys, and (does anyone remember?) T-Ride! Rating: 4+/5. I am impressed by a band who are able to captivate me repeatedly musically, and R.A.C.E deliver not only superb prog metal, but well written songs, intelligent lyrics, unique concepts and sonic excellence. High marks for originality! Contact the band, music and related:
http://members.shaw.ca/enditol/music.html Review by Jan-Mikael |