...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

To album koncepcyjny przedstawiający powstanie wszechświata, ale także trajektorię człowieka i jego ograniczeń we wszechświecie, z zaskakująco optymistycznym zakończeniem.
Gdybym miał nawiązać do innego zespołu, najbliżej byłby Voivod - oba zespoły mają bardzo charakterystyczny, progresywny styl.
DBC unika jednak niektórych bardziej psychodelicznych i noise/grindowych wpływów wczesnego Voivod na rzecz bardzo precyzyjnego, technicznego thrashu.
Swietny materiał!

FA


“Dad Brain Cells” my ass; the music presented on the album reviewed here can only increase your brain capacity. I still suspect Einstein and the other geniuses from the distant past had somehow had access to music of the kind, one to enhance their intellectual abilities and propel them to other unfathomable dimensions.

A lot of the speed/thrashing bashers (Destruction, Deathrow, Living Death, Voivod, etc.) from the mid-80’s stopped to look around at some stage, asking themselves whether they really liked this interesting primal noise they were producing… or they were actually capable of creating much more engaging and challenging music. Our “brain donors” here were one of them. It’s not that their energetic, uplifting thrash/crossover debut was a weak effort by any means; it’s just that they knew they could do more within the metal boundaries, and contribute more fully to the overall expansion of the Universe.

With Voivod (“Killing Technology”, “Dimension Hatross”) and Savage Steel (“Do or Die”) having already pricked the unbreakable, conservative “ozone layer” of direct, no-bars-held metal on Canadian soil, the album reviewed here only had to follow an already sketched trajectory. Well, not exactly since the guys had other visions, ones that didn’t quite coincide with those of their other colleagues, consequently producing a “marvel” of a slightly different kind. The moment “The Genesis Explosion” starts creeping forward with these trippy melodic rhythms, the fan knows that there won’t be any brain cells dead; on the contrary, he/she may have to start looking for a bigger head as their number will be inordinately increased in the next 38-min; emergency situation for sure partly relieved by the steady mid-tempo riffage before a sudden speedy passage brings memories of the debut, aggravating the atmosphere to headbanging proportions. “Heliosphere” is a hallucinogenic progressive experience, amazingly confounded to just under 3-min, swirling bouncy guitarisms with a psychedelic aura which move up and down the intensity scale the whole time to a dizzying, also dramatic effect. “Primordium” is an even more surreal shredder with gradual pounding riffs steam-rolling forward in a morose, officiant manner still letting a speedy stroke slip through the cracks towards the end. The instrumental “Exit the Giants” begs to differ, though, and a pile of fast intense riffage pours over the unsuspecting listener who will have no choice but to “endure” this energizing cannonade which later makes room for jarring, quasi doomy Confessor-esque developments.

“Rise of Man” elaborates on those minimalistic doomy tools adding a pinch of weird Voivod-ish jumpiness to the proceedings which evolve in a patient serpentine-like fashion with more melodic tunes added to the fore, those reaching operatic dimensions at the end. “Estuary” is a speedy estuary… sorry, escapade the guys creating a melee of vigorous, dynamic arrangements this hyper-active barrage receiving a couple of less ordinary embellishments. “Humanity’s Child” has a most enchanting melodic hook as a start, but afterwards the band give way to their more aggressive nature with hard-hitting thrashing heavily involved, with mazey progressive complications turning this cut into a psychotic, multifarious masterpiece worthy of Mekong Delta and Coroner. “Phobos & Deimos” is sustained in the same vein sounding even close to the mentioned Swiss masters weaving tapestries of overlapping riffs which refuse to follow a regular pattern, but are perennially configured in various more or less expected time-signatures the few more dynamic sections restoring some normality, not without the help of beautiful melodic ornamentations thrown in mid-way, all this leading to the climactic head-spinning epitaph. “Threshold” is another Coroner-esque twister with consistent mid-paced intricacy surrounding the listener who should have no problems following the stylish, relatively predictable rifforamas. “Infinite Universe” is a most logical finish, both music and text-wise, to this compelling diverse saga with the gradually escalating tension which inevitably hits the fast-paced parametres, the latter coming close to death metal even, a spellbinding contrast formed with the bizarre melodic additives and the atmospheric doomy finale.

The word “auteurs” simply begs to be used here to describe the unique approach to music applied on this “universal” opus. In a manner quite reminiscent of Voivod’s last two (at the time) the delivery transcends the borders of thrash and embarks on a journey around the progressive metal kaleidoscope without following any rigid canons. The experimentation is not as ostentatious as the one on the works of their compatriots as thrash is still featured prominently giving a nice dynamic flavour to the complex mosaics, a more belligerent edge that I personally miss on “Dimension Hatross”, for example. The thrash metal fanbase would still be bemused by what the guys had cooked here, but bewildered faces would be more than just an isolated phenomenon in the crowd; it won’t be easy for one to swallow all the nuances present at just one listen as a layer after layer of visionary musicianship will be peeled off after each subsequent exposure to it. On the other hand, one won’t get tired of it as the whole panorama clocks on under 40-min, and everything flows quite smoothly and effortlessly, with a weird airy spaced-out feel, excluding the few unnerving time-signatures already mentioned towards the end.

Mentioning spacing out, there was by all means more room for more eccentricity and eclecticism to be applied to this exciting amorphous musical formula, but while the audience were anticipating the band’s version of “Nothingface” or “No More Color”, they announced the end of their spell with the music industry. A sad follow-up which at least had a posthumous sequel six years later, “Unreleased”, a mini-album comprising six unreleased tracks, a pretty decent but not as visionary affair mixing the immediacy of the debut with the psychedelic intricacy of the album reviewed here; by all means worth checking out albeit inferior to those “sounds of the Universe”; sounds that still ring in the ears of brave explorers, intrepid scientists, occult stargazers, and a bunch of inebriate metalheads from across the street.

bayern



..::TRACK-LIST::..

1. The Genesis Explosion 4:32
2. Heliosphere 2:46
3. Primordium 3:39
4. Exit The Giants 3:59
5. Rise Of Man 4:47
6. Estuary 3:09
7. Humanity's Child 2:35
8. Phobos And Deimos 4:54
9. Threshold 3:20
10. Infinite Universe 4:45



..::OBSADA::..

Lead Guitar - Gerry Ouellette (R.I.P. 1994)
Guitar - Eddie Shahini
Bass, Vocals - Phil Dakin
Drums - Jeff St-Louis (R.I.P. 2019)




https://www.youtube.com/watch?v=20hl5gN4gc0



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