...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



..::OPIS::..

Tony Fredianelli was by far one of the brighest stars from the Shrapnel catalogue, but for some mysterious reason he failed to cover himself with glories which went, more or less deservedly, to some of his colleagues and contemporaries like Jason Becker, Marty Friedman, and Yngwie Malmsteen, to give a few notable examples. For many his main contribution to the metal world remains his solo album, "Breakneck Speed" (1993), which took technical all-instrumental speed/thrash to its extreme and best, a feat achieved the same year by another up-and-coming at the time shredder, Toby Knapp, on the latter's album "Guitar Distortion" (this one comes more brutal with an overt shade of death metal).

If we compare the three acts that helped establish the careers of the three major performers of Shrapnel (Hawaii, Cacophony, and Apocrypha): Marty Friedman, Jason Becker and Toni Fredianelli, that is (we exclude Yngwie Malmsteen, of course, since he himself takes a whole chapter of guitar music history), we'll probably have to put Hawaii's "One Nation Underground" on top of the bills mostly due to its pioneering value as one of the first genuine speed/thrash metal albums ever recorded rather than for its musical or production merits. However, the album reviewed here comes a close second and well deservedly so. On the other hand, Apocrypha were the only act of the three to survive long enough as a unit to record three whole full-lengths.

"Area 54" is a sheer squasher, a steamroller which these ears are yet to come across. Certainly, we're not talking some ultra-heavy antediluvian doom metal in the vein of Candlemass here, nor any battle hymns ala Bolt Thrower. This is musical volcanism served in a very technical, sophisticated way which can only make one wonder at how perfect such a symbiosis is, and how listenable it has been made. The band already started down this road with the previous effort "The Eyes of Time", but the inconsistency in the songwriting department left a lot to be desired, and that same sloppiness in the songwriting must have been the main reason why many fans never bothered to check this album out. It also showed the other members of the band playing a more prominent role in the proceedings compared to the debut where their presence was reduced to mere humble assistants to Fredianelli's exploits.

The band literally reached their creative peak here and Fredianelli established himself as the undisputed master of the riff, unlike the other aforementioned guitar players for whom the focus has always been on the lead-driven shred. The man comes up with some of the heaviest, ship-sinking riffs to ever grace the music scene. The album effortlessly transcends the borders of the existing metal genres sounding heavy, power, thrash and speed metal at the same time, a feat achieved almost as seamlessly by another album that same year, Judas Priest's "Painkiller". It has such a wide appeal that one can only be perennially mystified as to why this effort never entered the blood system of many a metal fan around the world, and hadn't stayed there for good all these years.

The uncompromising nature of the album is boldly stated by the opening 'volcano' “Terrors Holding Onto You” which begins immediately with a shattering portion of super-heavy twisting riffs that march on with a flair of technicality the latter ably translated on the following “Catch 22”. The band’s fans have realized by now that the guys are not quite attracted by speed so it should come as no surprise the steadfast adherence to steam-rolling mid-paced riff-patterns even on short galvanizing thrashers like “A Night in Fog”. The collaboration between the musicians is admirable with Fredianelli sounding a bit subdued pulling out nice short lead sections wherever necessary: check out the one on “The Power Elite”, the latter number being a relatively laid-back one with a somewhat radio-friendly approach.

Fredianelli is eventually given a chance to display his wizardry on the short "masturbation" “Instrubation #3” which is mostly doomy jazz/funk-isms on a lead-driven base with a short virtuoso performance on the bass near the end; a strangely mellow cut compared to the surrounding material. And not only that, but it seems to have thrown its shadow on the title track after it which is a cool heavy ballad, but not much else. After the not very striking middle comes “Tiananmen Square” which is seismic power/thrash with lashing guitars, and the tad mellower “The Detriment of Man”. “Refuse the Offer That You Can’t Refuse” serves the only faster-paced moments on the album along with some great leads by the man, but its adventurous spirit isn’t quite matched by the closing “Born to This World” which is a radio-friendly slacker taking quite a few points away despite the inspired musicianship encountered and the cool memorable chorus.

The band members literally disappeared without a trace after this effort except Fredianelli, of course, and it’s another mystery why they hadn’t been claimed by any other acts, especially the singer Steve Plocica who is a true talent with a very emotional, high-pitched tember in the vein of Warrel Dane (Sanctuary, Nevermore). His open attempts to emulate Rob Halford on the higher registers may sound a bit naïve, but most of the time he leads the show with panache and sounds equally as suitable for any metal genre.

Fredianelli gave himself another chance with his aforementioned solo album three years later, and gave speed/thrash a full-on instrumental template (along with Toby Knapp again) for other aggressive virtuosos to follow although very few were those tempted to capitalize on it so far. He himself never dared to achieve such a feat again. Apparently he had managed to fully satisfy his hunger for “breakneck speed”, something he was denied on the Apocrypha albums. I’m sure quite a few were the fans dismayed to see him joining the alternative rock outfit Third Eye Blind and sink into well-deserved oblivion, falling way behind all of the aforementioned guitarists who continued to cause waves more or less regularly with their skills. Will he manage to rise again for another portion of the good old same? Well, he’s not with The Blinds anymore, so who knows? Maybe he’s preparing for “Area 55” somewhere out there...

Bayern



..::TRACK-LIST::..

1. Terrors Holding On To You 4:20
2. Catch 22 5:16
3. A Night In Fog 2:54
4. The Power Elite 4:16
5. Instrubation #3 2:52
6. Area 54 3:17
7. Tian'anmen Square 4:16
8. The Detriment Of Man 4:41
9. Refuse The Offer That You Can't Refuse 3:56
10. Born To This World 3:58



..::OBSADA::..

Dave Schiller - Drums
Chip Chrovian - Guitars (rhythm)
Tony Fredianelli - Guitars (lead), Guitars (rhythm), Vocals (backing)
Steve Plocica - Vocals (lead), Vocals (backing)
Breck Smith - Bass




https://www.youtube.com/watch?v=ZomAJU8v1uI



SEED 15:00-22:00.
POLECAM!!!