Things are changing here at the ole Abyss. There is going to be a formal announcement soon, so this is the informal one we are branching out into podcasts. The blog in this format is not going anywhere, the podcast is just going to supplement the more editorial aspect of blogging, the Podcast will be solely opinion pieces and interviews, while my opinion is just peppered in here as I give a walk-through of these albums. Before we get into this since we are talking like friends here, I will be honest with you and let you know what has changed here over the years as I have expanded my reach writing for various other blogs which have ranged from Cvlt Nation to Treblezine to Ghost Cult Magazine, is I am often assigned albums I might not check out on my own.
On my first pass through these albums, I do write up here, where you get more of my honest opinion, which is edited down to play nice with relationships within the industry once I rewrite it for mass consumption. So this is an album that I would not have checked out if it was not assigned to me. I am pretty picky when it comes to progressive metal. There have been some progressive death metal albums I have really dug this year like the new ones from Sadist and Ancient Death. There have also been bands that incorporate elements of jazz. Progressive metal covers a wide breadth of definitions, Opeth provided an excellent one last year. This French band is in a neighborhood that borders bands like Cynic, but also the softer touch of bands that are not really metal at all like Dream Theater. Thankfully the clean vocals on this album do not sound like Steve Perry.
What sets them apart is the saxophone solos that find them melding with smooth jazz. Everything sounds too clean for death metal production. The vocals are too harmonized and fine-tuned, They end up sounding more like Weird Al Yankovic. If you are going to listen to everything with a fine-toothed comb to study the sweep arpeggios then this might be the kind of guitar playing you are into. By the time we get to "the Seed of Singularity," I am pretty bored with what is going on here. If their claim to fam is going to be blending jazz, then they need to be doing it like White Ward.
It could be argued that "The Equation of Abundance" has a more Meshuggah-like throb. It is less mechanical but also packs less of a punch. 'Specific Obsolescence" plays with atonal passage as the intervals are shuffled around like Pokemon cards. It flows better than some of the previous songs. It is also more melodic with an anthemic guitar solo. "Dissecting the Real" does employ some time signature choices that are effective and for the crow who likes to cross reference everything off a metronome, they will find the counts hold up. None of this conveys aggression being vented through their instruments in a manner that means metal to me.
By the time we get to "Concealed," they really have not progressed all that much as they are using the same formula as they did at the onset of this album. This album is very relaxing and almost put me to sleep. I will give this album an 8 based solely on the fact it is well made for what it is and people who are into this sort of thing should expect this to fall along those lines when it comes to their tastes for music that they like to refer to as metal, more than the mathematic work of art that people who are into guitar solos will flock to.
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