2002-11-11
Music is based on contrasts. Surprising as it may sound, even when exploring the most simple, inferior forms of mass-appealing musical pieces, the basic, quintessential contradiction may be easily located, well rooted in the innermost core of the musical forming proccess: the combination of different instruments, representing the diverse entities, each one presenting a singular relatively dull audible dimension, negating its counterparts by being seperate of them by tinge and function. Then, in a manner a bit similar to the famous philosophic Dialectic evolvement (which, according to classic western philosophers starting at Hegel, Is the dynamic proccess generating the eternal inner progression of the universe) the negation is negated once again by the realiztaion of the mutual creation of a new, richer completion, yielding the mavelous level-transition of the inner conflict, advancing from the existential state of sperate beings to a unision . As you might have read on some of my previous reviews, I reckon this idea might also be developed to determine that the greatest musical pieces include a notable,significant embodiement of the constructed Dialectic-like manner on the compositional level.
Shadows Fall is a palatable case of implementation of the aforementioned principle on rather unforeseen grounds. Being yet another Hardcore act Overcast-spinoff (also see Killswitch Engage review), I have expected this to be a nice Metal album at the best, commercial Nu-Metal being the worst-case-scenario. I was surprised to find an effort to excel my expectations, comprising a binding batch of unified contrasts.
The fusion of varied elements exists on several levels on Shadows Fall creation: most of the tracks consist of a joining of different musical genres, usually including a combination of traditional Thrash Metal and Swedish-influenced Death Metal. Unlike many Metal bands, Shadows Fall manage to maintain this well-known feature interesting and unusual, generating a negating confrontation between these too-knowm genres, creating the Synthesis necessary to ascend the common banality of this combination. Another apparation of the meltdown method is visible in the aesthtical level. While the clean-growling vocal mixture is not original and was already practiced numerous times, this performance not presenting any renewal of the fashion, the dual guitar work is often excellent, imparting each guitar with a different melodical character, fully aware of the consequences regarding the given harmonical scenery , perfectly applying it to change moods and feels. Also, some acoustic passages are present, fitting well the creative context , never sounding forced or superfluous.
And most important: the great compositional work on the album allows all of the above mentioned elements to unite and feature the requested overall integrity.
No, this album is not truly a superb one: unfortunately, the saddeningly expected American quasi-emotional Rock elements have their despised representation on the piece, mostly on the vocal facet. Moreover, at times it seems that repulsive Nu-Metal influences did manage to sneak into the creation. And as negative influences of these two genres prevade and harm the positive overall , the album noticably loses the continuity and succession which characterize the greatest of creations. This is a mere collection of completely separate musical pieces, even if very good ones. Still, for those of you who will settle for a bit less than overwhelming, I would highly recommend this one.
Tom Orgad
