The Apparatus

 Wednesday, 12 December 2007 "Welcome to the Laboratory. Here, we delve deep into the inner workings of the physical mind. You will observe, as we have, that our findings are not always pleasant, and indeed ofttimes plunge into the realm of disorder and chaos. But are the minds of our subjects truly in a state of chaos, or do they simply exist on a different plane of random order so complex that we have yet to fully realize it? ...shall we proceed?"

Those liner notes when the CD case is opened greet the music fan with the sense of humor present in guitarist Ron Jarzombek's writing style. Even though this music has the typical Jarzombek flair, it remains wholly technical death metal. Instrumental technical death metal, that is. The absence of vocals really helps drive the point home that death metal is a genre to be respected for its structure and technicality. Those that shrug off death metal because of the vocals should have nothing to complain about here. Instrumentation is given the utmost priority when it comes to these delightful 57 minutes.

This is both a technical progressive metal and technical death metal fan's dream. Look at this lineup: Ron Jarzombek, Guitar; Alex Webster, Bass; Charlie Zeleny, Drums. Before this album was completed, things indicated a storm was coming. Two previous drummers, being Chris Adler (Lamb Of God) and Derek Roddy (Hate Eternal), had conflicts with performing on this project for various reasons. Also, Watchtower's planned/mostly written 'comeback' album had fallen by the wayside for the time being. Jarzombek also was in need of finding a new 'toy' to use for composing music.

Thankfully, these hiccups haven't affected the whole of this awesome project. Having both Webster and Zeleny on the same record with one of metal's most underrated guitarists is rather fortuitous to say the least. What came out of this record? Is it more Spastic Ink riffs or something new and exciting altogether? It's a little of both. It's clear that Jarzombek has his own style; if you like it, you'll be in hog heaven. If you want technical death metal in the style of Cannibal Corpse or Necrophagist, you'll get that as well. It's essentially darker Spastic Ink, except with the best of death metal's trappings.

The brand new system of composition that Jarzombek uses is something called The Circle Of Twelve Tones, which came from the theory of the Circle Of Fifths. According to Jarzombek, "It's a clock looking diagram that spells out the major scales in 5ths moving clockwise and counterclockwise starting with C at 12:00. To the right of C at 1:00 is G, then on to D, A, E etc... Moving to the left from C are F at 11:00, Bb at 10:00, Eb, Ab, etc... Going clockwise is moving up a 5th note by note, going counterclockwise is moving down a 5th."

Jarzombek then incorporated this organizational method into coming up with the twelve-tone circle. "I've always been a believer of learning as many rules as possible, then bend, abuse, and break them. So how about we just throw all the notes anywhere on the "clock"??! What would that sound like? Well, of course it depends where you throw the notes. Isn't that what a 12 tone row is? Yeah, and I've done that numerous times before, so what's so different about laying the notes out on a "clock"? It creates patterns, LOTS of different patterns. And they all lead to different chords, scales, and note clusters."

What the listener gets is some really rewarding tech death. The performances from all the musicians are quite impressive. The level of precision is so sharp that you could cut your finger on it. It helps that Webster helped co-write some tracks with Jarzombek, so the songs have a different flavor than what fans are accustomed to. The first track is perhaps the most varied and successful on the album, and that's saying a mouthful. It has insane runs, dynamic soloing, a thunderous breakdown - a technical one - and some cool synth stuff that could be found on an old Roadrunner Records tape from the early 90s. The album flies by so fast that you're wondering if there's more. It's one of the most value-heavy albums ever released, as the notes and parts come and go so smoothly that you're not being taken aback by the myriad transitions and changes. Simply put, it is a masterpiece of instrumental technical metal. And, it's pretty good music, too.

 Tuesday, 11 December 2007 Now that we've all had some time to absorb 'Miss Machine,' three years, DEP has now unleashed the follow-up album that cemented their place in popular metal. 'Ire Works' expands on the themes set up by 'Miss Machine' but is far more successful at it. The pop sensibility is there, but there is a lot more tact and attention to the crafting of some interesting, technical songs that the group was initially made famous for in the first place. 'Ire Works' is the band's second best full-length and could end up pleasing fans of 'Miss Machine' and 'Calculating Infinity' simultaneously.

Here's the good: this album boasts a better selection of music styles to pick from this time and they're implemented rather well. "Fix Your Face" starts out pretty well and even features guest vocals by former DEP member Dimitri Minakakis. It's too bad that they're buried far down in the mix to make any impact. "Lurch" is even more complicated, technical and it's the signature DEP sound that old school fans were lacking for a while. "Horse Hunter" has a very, very refreshing jazz fusion riff 25 seconds in. It lasts ten seconds, but it's so sweet. This song also features guest yelling from Mastodon vocalist Brent Hinds. Sure, there are slight tinges of rock and roll, but they add to the songs well.

Tracks 5 through 8 are highly rewarding. "When Acting As A Particle" is very atmospheric. It features strings and a really cool percussion section reminiscent of Tool's later work. This gives way to "Nong Eye Gong" and it is yet another track that would fit into the 'Calculating Infinity' days. It's jazzy, off-timed and catchy. It works! "When Acting As A Wave" is similarly off-timed, but the chopping and rearranging the track gives it an IDM feel. The goofy electronic stuff that DEP toyed with on 'Miss Machine' is rectified here; whenever an industrial influence comes in, it is handled well. "82588" is another chaotic, noisy track that features DEP's sound. There's a downside to these tracks, though: they're too short. Most of these are a minute and a half on average. I wished they were longer, but they work within their means. In the smack middle of the album, these songs are welcome and fit well.

Here's the bad: "Black Bubblegum" and "Milk Lizard" are the album's worst tracks and they stick out pretty poorly. "Black Bubblegum" is a cheeky, hip, clubby pop rock ditty that has the pretentious nature of having a hit single on its mind. The vocals are incredibly dorky and the song reminds me of newer Nine Inch Nails. That is not a good thing. "Milk Lizard," to its credit, has some really cool guitar soloing and a very creative, dissonant piano bit near the middle, but the song can't tie its own shoes. It's corny and has a sleazy rock and roll swagger to it, and that's not my thing. Additionally, the lyrics on this album are extremely trite and cringe-inducing. Here are the lyrics to "82588:"

"Fallen angel how you've changed
Poison runs through your veins
You were never a saint but now you're a sin
Spoiled rotten from within
Who clipped your wings so useless?
Cut them yourself?
Chewed off your own?
Good thinking
You were coming apart and I thought I could help you
Through the fever
Not the first one
Not the last one
I'm not sorry for you
I remember a time when everything that you knew I thought I already knew in my mind
And I thought you knew the same
I know truth will set you free
Cracked and crazy baby"

Then again, DEP's strength was never in lyrical poetry, but musical. The band has had some lineup changes, with most notably the departure of founding member Chris Pennie. Pennie joined Coheed And Cambria earlier this year and Gil Sharone of Stolen Babies has replaced him. Sharone is the man. People boo-hooing about Pennie leaving can wipe those little tears away, because Sharone is Pennie's equal. He fills in just right and has a wonderful command of the kit. I'm glad he's found a band that will propel his talents upward. Ben Weinman, founder of the band and the last remaining original member, has a great grip of the direction the band is going this time around. His soloing and trademark guitar work shines through much better on this album than the previous. Vocalist Greg Puciato is a bit more restrained on this album, which is good. Whenever he goes really high-pitched, the scream falls apart and becomes a hollow, thin and laughable imitation of any better hardcore vocalist. He only breaks this threshold a couple of times on 'Ire Works.' His standard scream has gotten much better and fuller, as did his clean singing. The bass is still not present enough for my liking, but it seemed to do the job well, so I can't fault anything here. Musically, I'm pleased that the band has thought this album out much more than 'Miss Machine.' 'Ire Works' is classier and relatively consistent, previous tracks excluded.

Here's where the line gets drawn: people who were mortally offended by 'Miss Machine,' as I was, need to give this album a fair shot. I was very pleased. This album needs to be assessed on its own basis. This is not 'Calculating Infinity.' This is 'Ire Works.' DEP is not a tech metal band anymore. They are progressive metal with technical elements. 'Ire Works' is far more representative of their new sound and it works more often than not. They are real musicians who take their craft seriously enough. Be thankful that at least a third of this album is up to par with anything on 'Calculating Infinity.' The other tracks, such as "Dead As History" and "Mouth Of Ghosts," the album's ender, are successful as ambient, atmospheric pieces. I wouldn't mind an entire new album based solely on the stuff set up by "Mouth Of Ghosts," but the band would probably do something crazy and put some technical metal tracks in there just to spite me.

 Tuesday, 11 December 2007 "Spiral Architect is about continual development, idealism, and intensity. Spiral Architect is controlled anarchy. The aim is to make music that challenges the listener, as well as pushes the abilities of the musicians and man. A new era of thinking man's metal is about to begin..." -- Spiral Architect's personal manifesto.

This record is of monumental importance to me. When I was ignorant of the vast diversity of metal way back in the early 2000's, a buddy of mine played this CD on me in-between shifts at the movie theater we both worked at. Instantly, the intense creativity, sheer originality, technicality and melody caused my perception in music to change forever. Spiral Architect creates technical music that transcends 'progressive metal' into something far more beautiful and complex. The time signatures and absolutely mind-melting transitions push this album as the most progressive and technical album ever made. It's not for everyone and few will really understand where it's coming from, but its importance is not to be taken lightly. Regardless if one likes this music or not, one must be able to respect the talent.

This is one of those rare albums that manages to be so incredibly complicated, so obscure and obtuse but doesn't lose its sense of composure or sheer ear for what makes music good in the first place. Listening to this band is, for me, the musical equivalent of looking God in the eye.

This band is undoubtedly its own entity in every aspect. Their song progressions are so unpredictable yet remain so profound and harmonious. The lyrics are intelligent, esoteric and truly progressive. I still have very little real understanding of what they speak of, but I do know that the writings of Ayn Rand ('Atlas Shrugged,' 'The Fountainhead,' and 'Anthem') were behind it. The final track of the record is named after one of these books ("Fountainhead") and paraphrases a part of it. "Where's the I, Fountainhead of progress?" the lyrics ask. The lyrics are very much as progressive as the music that play around them.

The technical skill of all the musicians is enough to gawk over. There is not one member of this band that doesn't amaze on every level: timing, writing and playing skill, etc. The drummer, Asgeir Mickelson, is a rhythmic beast. He rivals some of the best drummers in metal such as Danny Carey when it comes to creative patterns and sheer technical skill. The vocalist reminds me of former Fates Warning vocalist John Arch, with his dynamic, soulful wailing. The bassist, Lars K. Norberg, is heard at all times delivering some mind-melting patterns. Bass is always heard in the mix, and it pops in and out like watching popcorn jump out of a kettle. The dual guitarists are in a constant dialogue and nail the harmonizing and the solos to a tee. As a bonus Cynic/Gordian Knot bassist Sean Malone guest starred on this album by playing the Chapman Stick on track four. The production, by Neil Kernon, is clear as water and mixed to perfection. Every instrument is heard perfectly well and that's something that few CDs can claim to do since the 70s ended.

Don't be fooled into thinking this is another cheesy pseudo-power metal/prog act. These guys took obvious influence from Fates Warning and WatchTower back in the '80s and somehow crossed musical dimensions to create an album so artfully and technically accomplished that it has yet to be equaled. They even covered an '86 Fates Warning song "Prelude To Ruin," from their album 'Awaken The Guardian,' on the Japanese release of this CD. This is my most listened-to album and continues to refresh and amaze me with each spin.

The only downside is that 'A Sceptic's Universe' is the band's only album and it was released in 2000. The liner notes reveal recording took place in '98 and mixing in '99. I've heard they're currently writing for a follow-up and I'm sincerely hoping its day is in the next decade. This is technical progressive metal at its finest. I hope another band, including Spiral Architect itself, can come close to replicating the accomplishment that is this album. Everyone who considers him or herself a technical metal fan must purchase this album. It may not click with you at first, but if you give this album the attention it deserves, the myriad of musical layers and enhanced comprehension will make you glad that you took the time.

 Tuesday, 11 December 2007 Perhaps the most controversial of all tech metal follow-ups, The Dillinger Escape Plan has, for better or worse, shattered its illustrious pedigree made by their 1999 masterpiece called 'Calculating Infinity.' Barring a lineup change, big things were expected from the band and when this album dropped, fans were more divided than ever. DEP changed their sound to become more pop-friendly. This is evident on the song "Unretrofied." The song is so sentimental and soft that most fans of popular music--the whole spectrum--could like it. Not a bad thing, but when the band made one of the most influential albums of all time, catering to the MTV crowd is a slap in the face. The techno/industrial aspect of the song, and most of the album, comes across as dorky and silly. It's becoming harder and harder to take the band seriously after a performance like that.

There are some bright spots to be had, though. "Panasonic Youth" and "Van Damsel" retain much of the chaotic nature and ferocity from anything on 'Calculating Infinity,' further proving to me that the band is still capable of playing the technical hardcore that made them get on the map in the first place. "Phone Home" is still the best song that Nine Inch Nails never recorded. "We Are The Storm" is halfway effective as both a tech track and a post-hardcore number. The album's ender, "The Perfect Design," kind of recaps what the album started off with until it gets into slightly successful sludge to close the record out. It's not all bad. It's just that the band's choices in variety are not to my liking, to understate.

Musically, the band plays their instruments very well. Guitar work is extremely high quality, as are the jazz fusion-ey drums. However, newcomer vocalist Greg Puciato doesn't do the job that well as a screamer. He can sing well, as evidenced on the album's handful of soft parts, but when he screams, it seems forced, scratchy, throaty and weak. It doesn't seem genuinely emotive in any way, and that's a problem when the press prides the band on being groundbreaking and powerful. In the mix, the vocals are turned up a bit too loud. Bass is barely able do differentiate between the guitar and drums. At least the mixer got three out of five instruments right.

It's clear that DEP would rather play awkward half tech/half pop ballads with tracks like "Highway Robbery" and "Sunshine The Werewolf." It sends me a mixed message and I don't like what it's saying. Chaotic, technical music and sing-along songs can't be reconciled no matter how hard this band tries to do so. Tracks such as "Setting Fire To Sleeping Giants" and "Baby's First Coffin" are the most experimental songs on this album, yet the organization is so slapdash and sloppy, with the latter being a prime example of how not to structure a song. If anyone is trying to discredit tech music, he or she should just play these two songs for any music major and watch the tears roll down from both sets of eyes.

Conversely, DEP isn't really trying to be tech. Gasp! They're trying to do something different and I will applaud them until the world ends, but this record is just not a sufficient example of successful cross-genre hybridizing. It feels cheap and dishonest underneath the clear talent and musicianship here. The band is trying to make its own new sound and it seems to be working. 'Miss Machine' got into the 2004 Top 200 at 106. I'm glad for them. These musicians do deserve success. They are talented, hard working individuals that love their fans and are probably solid dudes in the process. The downside is that this band is not the same band that turned the DIY, extreme music world on its ear just five years ago. It's better to leave the extreme music world with one fantastic, mind-blowing record (and a great earlier EP) than no record at all.

 Tuesday, 11 December 2007 This is refreshing. It's progressive metal that isn't melodramatic and goes for the balls. It's also over fifteen years old. Right before the big technical metal explosion of the early '90s came around, WatchTower was this little band from Texas with a lot of creativity and even more talent. WatchTower nailed the progressive thrash movement of that time period with this absolute classic record. It's their second album to date and is a big step up from the previous album recorded four years prior. This record is unbelievably deep and intense, especially for 1989. Along with Fates Warning's early albums, 'Control And Resistance' is a cornerstone of tech music.

What's really cool about this record is the appearance of Ron "Spastic Ink" Jarzombek with his expressive-but-brief solos, fills and leads. Former guitarist Billy White and bassist Doug Keyser pretty much formed the sound for the band and they did a great job. Jarzombek only co-wrote the music (with Keyser) for three of the eight songs, and lyrics for the last one. To give you an idea of the diseased genius of these musicians, I present an excerpt from Jarzbombek's solo album that details how he and Keyser came up with writing music. "During WatchTower's 'Control And Resistance' tour way back in 1990, Doug Keyser [Tower bassist] and I came up with this ridiculous system for writing tunes. We assigned the letters of the alphabet on the guitar, starting with the letter A as the open low E on the 6 string, ascending chromatically to the letter Z on the 1st fret of the high E string. We would spell out various words, thus creating melodies."

In all the time that has passed, what's up with the record? Drummer Rick Colaluca used electronic triggers and this dates the highly groundbreaking material a bit. The drums sound kind of cool in a retro sort of way, but the toms sound so slappy and cheap in comparison to today's drums. Vocalist Alan Tecchio took over from original vocalist Jason McMaster for this CD with mixed results. His voice is too high and uncontrolled for me. He does sound a little bit like McMaster, but there isn't much anchor to his performance. Some of his delivery is pretty bad as well ("Mayday In Kiev") but it's sometimes very effective ("Life Cycles," "Control And Resistance"). Some of the lyrics are pretty infantile ("Mayday In Kiev," "The Fall Of Reason") but that hardly detracts from the manic execution of the music present. Of course, Jarzombek and Keyser are incredibly attuned to their surroundings. No pun intended.

If it wasn't for bands like Fates Warning and WatchTower, mega-bands like Dream Theater wouldn't exist. Technical metal fans need to buy this album, as WatchTower is still a very rewarding vault treasure. Do your ears a favor. Put down 'Images And Words' for a while and listen to some real progressive metal.