Dysrhythmia (Philadelphia, Pennsylvania)
Genre: Progressive Metal/Rock
Album: The Veil of Control
Release date: September 23rd 2016.
Record Label: Profound Lore Records
Oh boy! A few months ago, I heard Dysrhythmia live for the first time on their tour with Gorguts, Nero Di Marte and Psycroptic in Budapest, Hungary. And with no exagerration, that was one of the best concert expiriences I ever witnessed. Everyone had their jaws dropped in disbelief because the band was so tight live, flying all over the place without missing a single note! And then you realise that these guys can actually play their stuff live, and it even sounds better then! On that ocasion, Dysrhythmia performed some of their new songs from their latest album, The Veil of Control. Man! It’s like the band is on some kind of proving grounds, with bandmembers battling each other over their musical mastery, trying to outdo what others have done. This trio is just tight as fuck. So what should the fans of Dysrhythmia expect from this record? High-quality profound music. As always. A blender of sounds. Dissonant, melodic, wierd, noisy, aggressive, progressive state of the art. Wicked stuff! These guys are technical but they don’t sound like most of nowadays nintendo-tetris technical bands. And what’s most important, they don’t have this plastic sound omnipresent in the metal world, both music and production wise.
Self-titled album opener made me thinking: what’s this? Kevin’s Vaura-like approach, with „silent“ guitars irresistably reminded me of Primus for a moment. And that’s what I love about Dysrhythmia. The emphasis is not put on a single instrument, but instead, it varies from time to time, from song to song. And these dynamic and radical shifts are just awesome! The song that follows, Internal / Eternal has this repeating bass line with creepy guitars in the background. It just sounds like a space odyssey to me with the intergalactic struggle that is about to commence in the moment where the song reaches the point of culmination. Black Memory sounds as if it was written during Barriers and Passages era. It’s more melodic and colorful than the rest of the tracks on this record. Things are getting pretty nasty when the this wierd melody evolves into a neurotic noisy sonic hurricane. And yeah, Jeff Eber is playing blast beats on this record. The song is closed by a killer “breakdown”. Killer stuff!
If the mad scientist’s brain was to be portrayed through music, Selective Abstraction would be the perfect example. Odd timing + killer riff... what more do you need? Severed and Whole...well, this pick-slide reminds me of a good old Megadeth song Bad Omen. And it’s damn cool to hear it. The boys just love that trick! And it sounds just as awesome as on the latest Gorguts’ record, Pleiades Dust. You’ll know what I mean if you have already heard that stuff. In Severed and Whole the band is just all over the place! But probably the finest track of this record is When Whens Ends. I am quite sure that I’ve heard this song live in Budapest in April this year. Damn! The part when the band stops for a moment is soooo brutal! It’s like they’re holding Cerberus on a leash, and the monster is trying to get you, but the band pulls him over and says „Easy boy“! You just have to hear that live and then you’ll realise how gigantic that part really is! Not to mention that pure noise riff. And yeah, Colin Marston’s bass line that follows reminds me of the stuff he did on Gorguts’ latest record. The only „bad“ aspect of this album is its lenght. The same problem I have with latest Gorguts' and Krallice's albums. It's waaay to short for me... an extra 10 minutes would be nice, you know...
Ancient Egyptians worshipped crocodiles as deities because they believed that these animals, as the gods of the Egyptian pantheon, have no tongue. Same is with Dysrhythmia's music – it may not have the lyrics but it's fucking godlike!