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Some bands are happy to wear what they play on their sleeves. While there’s quite a few Meshuggah influenced bands, and a lot of progressive/art bands out there, they’ve never quite crossed paths this much before, so you just know someones vision is coming to fruition.
The melting and shifting between Meshuggah meets progressive is for the most part actually pretty seamless. At one moment you’ll be running along with a polyrhythm, and before you know it, somehow you’ve gotten yourself into jazzy off-time prog runs. Like many progressive artists who want to get the “art” aspect into the music, they usually just shove something in from out of nowhere, in this case it’s more spacey efforts like processed, computerized vocals, clean echoing guitars, or oddly layered singing. Though for the most part the vocals are similar to Car Bomb, of which a few other passages could get a comparison as well.
For the most part, the execution on “Measuring the Abstract” is well done, much like students writing a term paper. To be honest, the real strength is actually the clean sung choruses, as you wouldn’t actually be suspecting them with the Meshuggah influence. The biggest downside tends to be the forced nature that comes with progressive, forcing the strange time signatures fit rather than flow. The song titles are without a doubt though, terrible due to their cliche nature. “Spawn”? “Tactile”? “Room 101”? Those could’ve been pulled from anywhere, and have difficulty holding any meaning, while “Dissolving Soul Fragments” and the album title go over-the-top with over metaphorical progressive standards. Not that people in the real world actually care what a song title actually might mean…
Originally posted at www.waytooloud.com