The Apparatus

 Tuesday, 18 November 2008 It seems a bit irresponsible to start this off with a potentially misinformed introduction to Japan's independent music scene, and I am probably even less qualified to suggest where Nenem fits into its vast hierarchy. However, I will attempt to offer some fundamental comparisons in the hope that readers gain a basic understanding of what this band is doing and where they're headed. We will begin with the assertion that Nenem is a fusion band. Their musical style gives props to classic Japanese prog-fusion (e.g. Ain Soph), with a contemporary slant toward the jazz-based instrumentation of QUI. But despite these similarities, they show a determined tendency to jump the rails for the sake of experimentation. In fact, Cool Dawn Place sees Nenem toying with traditional notions of structure and rhythm to the extent that they are often billed among indie or math rock outfits. The good news is that regardless of where you drop the needle, this album is well worth the time you'll spend trying to understand its split personality..

As the track listing may indicate, many of the songs titles on Cool Dawn Place consist of Japanese kanji that have no direct English translation. While somewhat frustrating from a reviewer's perspective, this admittedly adds a keen sense of mystery to the album's presentation. The opening cut (which benefits from this distinction) puts on a climactic display of "math-y" fusion, with a dense bass line that serves to anchor its heavily reverbed guitars. Seemingly contradictory scales emerge to create an oddly discordant melody, not unlike the imagined result of Pyramids playing with Dob Caballero. "M.I.H." serves as the follow-up, with its more active rhythm and a somewhat pop-oriented main riff. This song is one of few that essentially stays within math rock parameters (if there is such a thing), complete with a rapid crescendo that ends in a quick burst of chaotic intensity. The third track is propelled by a heavy bass line that underlies a cascade of shimmering keyboards and glistening guitar fills. The listener is unexpectedly hit with some chords from a Hammond organ at 1:40, which lends a retro atmosphere to the proceedings. The oddly-titled "dot@5" shows Nenem at their most progressive, with a level of interaction between the musicians that suggests Camel or Gentle Giant. Unfortunately, the mood is disrupted by some emo leanings on keyboard and guitar at 3:00, but a Crimson-esque guitar dual at roughly 4:30 replaces it with due haste. A bit of space rock influence (a la Tangerine Dream) follows on the sixth track ("gabon"), with random cosmic blips and oscillating synth cycles bouncing back and forth over an incredibly furious bass accompaniment. The guitars and keyboards here maintain a rather minimalistic flavor, even as the band injects a brief bit of Zeuhl (i.e. Magma) influence before its conclusion.

The seventh and final song throws the listener a wicked curveball, as a human beat-box and electronic drums set up a quirky rhythm that is humorously accented by a scratched record effect. It seems that Nenem decided to abandon their patent seriousness with this track, which also features a mellotron and some dude rapping in Japanese (no joke). It's something that has to be experienced to be fully understood, but it's nice to see that these guys can cut loose and have fun when the situation calls for it. Overall, Cool Dawn Place is an album that will be mostly appreciated by fusion fans, although some might be put of by its eclecticism. Fans of technical music will also find plenty to enjoy here, although the math elements are a little less prominent than they might like. My gut tells me that Nenem will find their biggest audience among tolerant prog geeks, who will find their quirks endearing rather than overly complicated or just plain annoying.

 Thursday, 16 October 2008 Over the past ten years, the nation of France has delivered a consistent stream of quality metal that strikes an impressive balance between extremity and originality. From the progressive death of Gorod and Hacride to the blackened weirdness of Deathspell Omega and Blut Aus Nord, the French seem to have a cultural penchant for the avant-garde that translates exceptionally well in a heavier medium. Despite falling a little short of the ground-breaking norms established by their countrymen, Hollow Corp possesses a certain level of conviction in their pummeling riffs and jackhammer rhythms that serves to offset the lack of distinction. In essence, their sound embodies 'Nothing' / 'Catch-33' era Meshuggah coupled with the sort of post-metal dissonance typically associated with early Pelican or Mouth of the Architect. But through and through, 'Cloister of Radiance' displays a progressive sensibility that enables Hollow Corp to push beyond the boundaries that often inhibit their peers.

One immediately striking facet of this record is the degree of effort that went into its composition. Nearly every track is incredibly well-structured for maximum effect. Even longer cuts, such as twelve-minute epic "Peripherals", are so engaging that the listener is barely aware of how much time has elapsed. Even if curiosity compels you to glance at the clock, you'll hesitate to do so for fear of overlooking an interesting fill or key transition. This is obviously music that was composed for active listening, as it will tend to alienate those who approach it more passively. This isn't meant to imply that Cloister of Radiance necessarily prohibits simple headbanging or "rocking out", but there is a sense of earnestness here that goes beyond the tired mantra of heaviness for its own sake. Aggression is but a single shade (albeit a dominant one) in Hollow Corp's diverse pallette of textures, and their expert manipulation of dynamics affords them endless possibilities in mood and structure.

The albums kicks off with "Elevation", a cut that falters a bit due to the one-dimensional delivery of vocalist Stephane Azam. Luckily, drummer Laurent Michalak leads the band through a series of Meshuggah-esque syncopations that prevent it from sinking into the mire. As the track proceeds, Azam re-appears with a passable chorus (a la Mouth of the Architect) and an oddly deep, pseudo-operatic vocal (a la Laibach) that offers a nice contrast to his earlier mono-barks. As the album proceeds, it becomes apparent that "Elevation" is actually the most straightforward cut, as subsequent tracks maintain its brooding heaviness while moving into more eclectic territory. "Code" provides an interesting break with its abstract jazz interlude (not unlike Meshuggah during their more pensive moments), complete with an intriguing solos by Mathieu Roszak and Guillaume Schleret in which the two somehow emulate the tone of a marimba on their guitars. The appropriately titled "Opium" sets an entirely different mood, as its arpeggiated guitar lines weave a dreamy soundscape that eventually crashes in a volley of abrasive, discordant riffs and Quaalude-soaked sludge. Furthering the theme of expanded consciousness is "Thujon", which seems to reference one of the primary ingredients in absinthe. It is here that Roszak and Schleret prove their ability to entice just as easily as they devastate with a pleasingly melodic, clean-toned riff that regularly devolves into savage blasts of discordant brutality.

The aforementioned "Peripherals" provides another highlight, with a very laid-back intro of seesawing guitars over an eight-note bass line. Later sections feature an abrasive lead guitar break over bludgeoning rhythms, complete with clean, flatly hypnotic vocals that provide an interesting degree of contrast. After several listens, certain parts of this track bear an odd resemblance to the anthemic power-thrash of Nevermore's early efforts. However, its slightly industrial leanings will prevent most folks from reaching the same conclusion. While the song might seem a bit drawn-out by some standards, it never comes across as a series of incongruent parts that have been hastily patched together. Furthermore, it's nice to see that the band avoided tacking this song on to the end of the album, as so many others are doing these days.

While never quite hitting the climactic high of "Peripherals", the remainder of 'Cloister of Radiance' fares reasonably well with its potent mixture of plodding beauty and aesthetic violence. They may not be reinventing genres or challenging the status quo, but exceedingly few bands reach this level of accomplishment so early in their careers. The prospect of Hollow Corp's future is exciting and a bit overwhelming when considering the merits of such a well-crafted debut, and it will be interesting to see where they go next.

 Tuesday, 30 September 2008 According to their bio, Atlanta's Synapse Defect has occupied a place in extreme metal since 2004. Issues surrounding their tenuous line up eventually prompted a move to Orlando, which has apparently given them enough stability to record a short demo and a nine-track EP. One might think that the intervening years (three, to be exact) would have allowed time for them to nail down a specific sound or musical direction. However, at least half of the material on Conspiracy To Overthrow shows a band that is struggling hard to find an identity.

Online sources indicate that Synapse Defect falls under the "technical death-grind" banner. While this designation is a bit inexact due to its broad nature, there are few other terms that would accurately describe the first eight and a half minutes of this EP. After an appropriately cold, mood-setting intro, the band erupts into a series of frenzied riffs that suggest a rawer, dirtier take on the Dillinger Escape Plan. Vocalist Maximus Watness enters the fray with an abrasive rasp, although he is equally capable of registering a skin-peeling hiss ("Decimal 2") or gut busting death-croak ("Corporation vs. Social Megabe"). "Passing The Polygraph" provides a harrowing shot of nostalgia, as it shows the band toying with sparse time signatures that recall Tribe or Crust-era Sadist (minus the jazz elements). The aforementioned "Corporation vs. Social Megabe" is a blissfully brutal tour-de-force that features extensive fretboard tapping (a la Human Remains) countered by lumbering sludge riffs ( e.g. Crowbar) before dissolving into a pot of thrashing fury.

At this point, even the most discerning set of ears would agree that Synapse Defect is off to an incredible start. But these opening cuts only prove that they lack staying power, as the remaining tracks are clearly loaded with blanks. "Tetanus" impotently lurches forth with a discordant riff and accented rhythms that were probably thrown out during Fear Factory's last rehearsal with Dino Cazares. "The Zen of Regurgitation" tries (unsuccessfully) to emulate Forbidden with a main riff that wallows in contrived mediocrity, while "Moderator 7.4" and "Monsanto And The Tides Of Pesticides" completely replace any semblance of chaos with more heaps of uninspired thrash. Adding insult to injury is a ridiculously long electro-ambient track ("Mainstream Mathematics") that is every bit as boring and pointless as its eleven minutes and fifty-one seconds imply. The improbability of someone actually listening past the two-minute mark should have prompted its omission, but apparently that's too much to ask.

What is so frustrating about this band is that they have such far-reaching potential. The first three tracks, while not entirely original or groundbreaking, show that Synapse Defect has the technical ability and boundless energy to record a truly soul-scorching album. These initial cuts show them taking the refined approach of more established acts and filtering it through a cloud of primal rawness. That in itself is a fairly unique approach to songwriting, but they aren't content to expound upon it. Whether the latter half of this disc was intended to "diversify" their sound or just indicates a sense of laziness is beyond me, but I sincerely hope that Synapse Defect will take the criticism for what it's worth and learn to focus on consistency rather than variety.

 Tuesday, 26 August 2008 While the origins are somewhat debated, it is generally agreed that contemporary progressive metal is the shared progeny of three musical parents: Queensryche, Dream Theater, and Fates Warning. While all displayed a penchant for prodigious musicianship, extended song durations, and epic subject matter, each of these bands pursued different musical paths with varying outcomes. For instance, Queensryche earned the "metal" tag through early releases (e.g. 1984's 'The Warning'), despite their steady push toward accessibility that eventually landed them directly in the mainstream. Dream Theater touted similar ambitions, but opted for a different approach by flirting with commerciality while retaining their progressive roots. While it seemed to work on earlier releases, the success of this formula has been well documented in the hit-or-miss quality of the band's output since 1997. That leaves the overlooked and underrated Fates Warning, an equally substantial component of the prog-metal triumvirate. Beginning as a product of the northeast power metal scene, this Connecticut-based quintet quickly grew bored with its myriad cliches and began writing songs of greater complexity. While 1984's 'Night on Brocken' showed potential, its successor (1985's 'The Spectre Within') established Fates' ability to compose multi-faceted epics that seamlessly combined adroit technical skill with memorable hooks and choruses (e.g. "Pirates of the Underground", "Epitaph").

For all of the album's merits, however, it paled in comparison to the unbridled progressive mastery of 1986's 'Awaken the Guardian'. While previous records hinted at the band's capabilities, this was their full realization. Featuring the tightly syncopated drumming of Steve Zimmerman, unpredictable (yet melodic) bass lines of Joe DiBiase, and the dueling guitar tandem of Jim Matheos and Frank Aresti, 'Awaken the Guardian' was an unprecedented balance of metallic aggression and progressive beauty. But despite the overwhelming level of instrumental virtuosity, one of the album's most distinctive performances came from the lungs of vocalist John Arch. Whether eliciting a powerful tenor on "Valley Of The Dolls" or a shattering falsetto on "Guardian", Arch set a benchmark for the genre that has yet to be surpassed.

As the subsequent tour behind 'Awaken the Guardian' drew to a close, Arch left the band under amicable conditions. The following year saw an obscure vocalist by the name of Ray Alder joining Fates' ranks, with surprisingly favorable results. Although criticized by older fans for sounding "effeminate" or "whiny", Alder's debut performance on 1988's 'No Exit' proved that he was more than a simple replacement. The songwriting of Matheos and Aresti (with considerable input from DiBiase and Zimmerman) had taken a darker turn, and Alder's haunting delivery on 'Silent Cries' and 'Heavenly Shades of Death' proved to be the perfect accompaniment. A successful tour followed, after which Zimmerman announced his plans to depart.

Prior to the recording of Fates' fifth opus, Matheos was fortunate enough to meet L.A.-based percussionist Mark Zonder. Zonder, who was on hiatus from his gig with epic metal veterans Warlord, agreed to come on board indefinitely. An intense recording session followed, resulting in the pivotal release of 1989's 'Perfect Symmetry'. Metal Blade Records has seen it fit to reissue this album as a deluxe set of three discs, two of which contain the original album (plus assorted demo tracks) while the third is a DVD of live performances from the ensuing tour. While the previous Fates Warning reissues of 'Awaken the Guardian' and 'No Exit' have been impressive in both content and packaging, each was lacking for one reason or another. 'No Exit' contained excellent video footage of the band both on and off stage, but its bonus tracks seemed drab and pointless. 'Awaken the Guardian' had a good set of demo tracks from the original album, but the live footage (which admittedly, was all they had available from that tour) was of abysmal quality. But this current installment seems to remedy the situation, as Metal Blade has clearly gone out of its way to provide a high-caliber product on all fronts.

For me, 'Perfect Symmetry' has always been a highly nostalgic affair. It represents the thrill of discovering that my two favorite musical genres could be merged into one without sounding forced or pretentious. Albums such as Iron Maiden's 'Powerslave' and Metallica's 'Master of Puppets' inspired me with songs that endured multiple variations in mood and tone. As a result, I was eased into the strangely beautiful realm of progressive rock. As I sat spellbound by the complexity of Rush, Yes, and King Crimson, their influence on Fates Warning, Watchtower, and Dream Theater finally made sense to me. It was sort of a "back-door" approach, but the end justified the means.

Simply put, each of the eight tracks on 'Perfect Symmetry' is a stand out. Despite having lost two members from the original line up (both of whom seemed indispensable), the core trio of Matheos, Aresti, and DiBiase struck back with an album that was arguably the defining moment of their careers. Sweetening the pot were the performances of Alder and Zonder, whose contributions proved to be equally distinctive and crucial to the final product. Alder's confidence had clearly jumped a few notches, as he belted out infectious choruses ("Through Different Eyes") with a level of conviction that sustained itself through the more difficult tracks ("A World Apart") as well. Zonder responded in kind, as he managed the daunting task of keeping time with the idiosyncratic tempos ("Part of the Machine") and quirky rhythms ("At Fate's Hands") that characterized Fates Warning as a progressive entity.

In keeping with the compositional style of their previous album ('No Exit'), the majority of the tracks on 'Perfect Symmetry' were penned by Matheos or Aresti. Matheos had served as Fates' primary songwriter since their debut release, with Aresti playing a supplemental role since joining the band prior to the release of 'The Spectre Within'. But the latter's input had seen a gradual rise over the years, with 'Perfect Symmetry' featuring three tracks on which he received sole credit. Interestingly, those songs ('Static Acts', 'A World Apart', and 'The Arena') were among the band's strongest. While Aresti had apparently derived inspiration from Matheos' style, his melodic overtones and sense of structure were entirely his own. In fact, a careful analysis of his playing throughout this album and the two that followed (1991's 'Parallels' and 1994's 'Inside Out') reveals that Aresti developed into a guitarist who was in many ways superior to his band mate.

In hindsight, 'Perfect Symmetry' showed that Fates Warning had progressed and developed without losing their edge. Some criticized them for having set aside the raw heaviness of 'No Exit' in favor of a more polished approach, but others saw this as a sign of maturity and progress. Admittedly, many bands seem to use the term 'maturity' as a euphemism for 'sell out'. But one would be hard-pressed to level this accusation at Fates Warning, as nothing on 'Perfect Symmetry' was consistent with popular trends in metal or any other genre. While interest in metal among the general public had seen a rise in the late '80s, there was nothing about this album that would interest the average high-schooler or frat boy. It simply required too much time and effort to fully appreciate. Even the one track that Metal Blade slated for a video clip ("Through Different Eyes") only survived a couple of rotations on Headbanger's Ball due to its proclivity for the likes of Rush rather than Warrant or Tesla.

As previously mentioned, the bonus features here are well worth the time spent sorting through them. The second disc features the entire album in demo form, which is surprising in its overall value. Rather than simply including practice sessions that sound nearly identical to the album versions (which was the tendency on the 'No Exit' reissue), this set provides instrumental takes of several songs that were (at the time of recording) still in the developmental stage. This unique perspective allows the listener to hear the evolution of songs as they were brought from the drawing board to the studio. Additionally, the trebly sound quality has a paradoxical effect on the bass and drum tracks that somehow brings them to the forefront. This allows you to listen past the guitars and fully appreciate the talent, skill, and interaction between DiBiase and Zonder.

The last component of this package is a full DVD of live footage, which includes dates from Fates Warning's U.S. and European tour of '89 and '90. Generally speaking, the footage is of fair-to-good quality, with average sound and decent track selection. One particularly interesting effect of touring that is perfectly captured here is the tendency for the band's performance to tighten over time while the vocalist struggles to keep his voice intact. While Alder consistently delivers an impressive performance, he appears to be less comfortable with the high-end wailing (a requirement of Arch-era material) on the later dates in Houston than he does in Amsterdam or New Haven. But this is not intended as a criticism, as it simply indicates the variety of performances available from different stages of the tour.

Overall, this set is a spectacular effort that speaks highly of both band and label. Fans will be delighted by its magnitude, which must have required a tremendous level of interest and devotion. Newcomers will also find points of interest, although many will do better by familiarizing themselves with the band and their history before delving into something this comprehensive. The 'Perfect Symmetry' reissue should be the standard against which others are measured. Given that the interest in nostalgia doesn't appear to be losing any momentum, labels would do well to follow Metal Blade's lead.

 Sunday, 17 August 2008 Since signing to Relapse, it seems that Pittsburgh's Don Caballero has gradually shed the "math rock" tag that plagued their early years. It wasn't so much the fans who objected, but the band (especially founder/drummer Damon Che) always felt that its application was limiting, if not misleading. 'Punkgasm' serves as an indication that the openly technical displays have faded, although the band has clearly retained their experimental nature. Nonetheless, it seems that their current objective is coherence rather than convolution. Gone are the days of (enjoyably) struggling through 'Don Caballero 2' without a compass or roadmap. This record shows a band that is no longer content to thrill the average elitist while everyone else runs for the door. In fact, those reticent ears who still couldn't grasp 2006's 'World Class Listening Problem' (despite its relative accessibility) may finally "get" Don Caballero after giving the new disc a few spins.

Before going any farther, it seems appropriate to address another significant change in Don Cab's compositional style. The guitar work on previous albums has traditionally held to a "no solo" policy. Whether this rule was instated due to the band's distaste for the solo's ubiquitous presence in rock music (or as a limitation designed to bring about creative means of avoiding them) is unknown. Regardless, there are several places on 'Punkgasm' in which the band violates their own resolution with interesting results. On that note, speculation has led me to question the possibility that the solos of guitarist Eugene Doyle are modeled after those of the late Denis D'Amour (of Voivod fame). The similarity is in Doyle's twisted note sequences, as they recall D'Amour's method of emulating Rush albums as they were spun backwards. But even if this is the case, Doyle's expressive fretboard histrionics seem to transcend imitation.

Moving on to the songs, one immediately striking feature is their short duration. Most run between two and four minutes, with one exceeding the five-minute mark while a couple of others reside in the minute-and-a-half range. It has been my observation that most bands of this sort are, at some point in their careers, guilty of over-doing it and extending songs that have no business being extended. Thus, it seems that Damon Che and Co. avoid this trap on 'Punkgasm' by making their point quickly and clearly.

The festivities begin with "Loudest Shop Vac In The World", a song that begins by following the precedent set on 'World Class Listening Problem'. The band starts with a simple rhythm over a single-note guitar riff, which builds gradually with the help of suspended and dissonant chords. There are some quirky guitar fills here and there, but the song's initial stages suggest that it lacks the pressing urgency of earlier efforts. However, a transformation occurs at 3:22 that had me eating my words. Here the bass line becomes more mobile while the guitar responds with a sharp, angular riff that attacks with tight precision. Sampled screams at varying pitches (and in rhythm with the song) enter soon after, adding an unsettling atmosphere to the mix. Then a quiet section comes at 5:20 with loosely improvised jamming and a recurrence of the previous guitar riff before the song experiences an abrupt ending.

"The Irrespective Dick Area" is one of the album's shorter cuts, but it squeezes in some nice interaction between separate guitar tracks as they work together to complete the riff. "Bulk Eye" provides a bit of unevenness as its discordant chops, flailing drums, and wigged-out solo give way to a decidedly rock 'n roll motif at 2:45. While atypical for Don Cab, this section comes off as anything but a standard rock jam, with shards of monochromatic licks and dissonant chords thrown around for good measure. "Shit Kids Galore" comes in next with a scratchy analog recording of Damon Che playing a well-executed drum solo. The complex rhythms sound especially interesting when they are isolated from the usual front-line chaos of guitars and bass, making this track a welcome addition. "Celestial Dusty Groove" throws an unexpected curve ball with softly sung vocals that sound like something extracted from the Haight-Ashbury district of the late '60s. What really defines this track, however, is the paradoxically modern sounds coming from its vintage-toned guitars .

The remaining tracks generally take the lead of their predecessors and continue to expound upon 'Punkgasm''s theme of increased listenability with a proportionate rise in experimentation. However, this is not to imply that any part of the record becomes "standard" or "typical" after the first four tracks. On the contrary, the a capella vocals of "Pour You Into The Rug", sweet harmonic overtones of "Why The Couch is Always Wet", and stuttering percussive attack of "Slaughbaugh's Ought Not Own Dog Delta" see Don Caballero continually redefining themselves over the course of its duration. Furthermore, the (intentionally?) predictable chord progression of "Dirty Looks" and AC/DC worship on the title track show a band that is past the point of catering to expectations. In the end, even pissed off ex-loyalists have little choice but to admit that these guys are marching to the beat of their own (off-time) drummer.