Ok, so this might be the best album title of the year, which was the main reason I gave this a listen with no warning what I was signing up for. As it turns out this an instrumental progressive metal band that has fully embraced synth wave. They have shrouded themselves in cartoonish anonymity. In reality they are Greg Burgess from Allegaeon, Cephalic Carnage bassist Nick Schendzielos and Havok / Fear Factory drummer Peter Webber. The second song finds a more jazzy melodic sense entering when you are not being dazzled by virtuosity. An almost fusion feel adds a more mature sensibility to things even when they introduce funk elements. "Nyetflix and Chill" feels the most South Beach inspired so far.
For instrumental music it does manage to keep my interest three songs in, which says something considering that I am not really impressed with shredding. I feel it is important to be a well rounded musician and capable of pulling out a sweep arpeggio when called for, but it loses it's luster when that is over done. I am more impressed with the bass shredding than the synth or guitar solos here. By the time we get to "Air Force Fun" I am beginning to get a little bored and needing something more to hook me in here. Sure the more orchestrated endeavors that unfold are impressive, but in terms of songwriting, rather masturbatory in what they have set out to do.
"Snark Side of the Un" just kind of runs together with it's acrobatics , until a more melodic jazz tinged break down arrives. While I know that Chris Broderick , Ben Ellis, Brian Hopp and Scott Carstairs are all lending the fretwork magic, but it is not worth noting as there is nothing that stands to mark the personality of their playing. Things get heavier in places, and the more jazz tinged grooves work in different way, but there is little to offer a noted shift in the colors they are painting the arrangements with. Perhaps this might be fun live, but I can not see this as an album that is worth more than background music. "Anti-Saxxers" does have sax on it, and is the bass players moment to shine once more.
"Critical Bass Theory" is a grooving exploration of their fret boards, that might dazzle people who are really into guitar solos. Sure it has a pumped up back bone, but despite the driving moments it might as well just be a jazz album that is played by metal heads. The last song does have it's melodic moments , but the bulk of the song is more shredding solos from most of the instruments involved, the drummer is the one guy who is not over playing and holds it all down. I will give this an 8, as they are great musicians, and this is well done it is just not my thing, but I can appreciate the talent invested in this.This album is being released on Metal Blade Records.
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