When the band
Spiral Architect comes to mind, one can only visualise intense melodic chaos or the impossible pictures of M.C Escher. This relatively new Norwegian metal band that formed during the year 1993 has since its beginnings absconded from contemporary progressive styles which bands like Dream Theater,
Fates Warning and
Symphony X seem to have epitomized. After listening to the album several times, one can identify the certain key elements of jazz-fusion combined with the powerful metallic tones of the guitar, vocals and bass. These essential elements comprise an unusually unique style of music that I have yet to find amongst many contemporary musicians.
Before listening to 'A Sceptic's Universe', the band's only full-length album, I advise listeners to take a long breath in order to stay focussed on the transient odd meters and fast-paced vocals. I noticed that before the start of the first track
'Spinning,' which I assume derives its name from the wild imagery of rotating objects and gyrating visions; a short intake of breath is heard. I envision this being a type of warning or signal, as anybody about to attempt any kind of tremendous feat like this song, would surely hold his or her breath to prepare for a most unpredictable rush.
Tracks like
Cloud Constructor,
Fountainhead and
Conjuring Collapse are songs that are in constant motion but seem to carry elements of obscure style and flair. Images that come to mind are cracked mirrors and that scene in "contact" where Jodie foster flies through the wormhole. The songs have a lot going happening within them and many subtleties can be identified. If anyone has been to a place that is always changing with every visit, then I think this is how 'A Sceptic's Universe' should be approached. I can always find something new with every listening.
In terms of composition,
Spiral Architect appears to be a band that identifies an image or theme and subsequently writes their music in accordance with it. The perception of each image/theme may vary between listeners, however the song 'insect,' with its various thrusts and twirls, in my mind revolves around buzzing bees. Apart from the gradual build-ups and subtle buzzing noises, the contrasting section that incorporates an element of a Latin/Spanish feel to it kind of signifies the death of the bee as it falls to the ground after a fierce sting.
Anyway, I personally feel that this album has a lot of depth to it and surpasses much of today's musical standards, which can consist of 2 dimensional approaches to creating music. There is at no time throughout this masterpiece that I felt like a guitar riff or drum fill wasn't meticulously planned and crafted. However, in the odd section that is improvised, I feel there are still remnants of some kind of pre-planned structure, which would have been elaborated upon.
The guitar styling of Steinar Gundersen and bass playing of Lars K. Norberg are the driving force behind the creation of the band's unique style. Another interesting stylistic feature of this band is that every instrument is totally involved in each song and with each other. One will find that in modern progressive outfits it is usually the keyboards, guitar and often drums that are in control and guide the band. However in the case of
Spiral Architect, one may find that each member is in total control of everyone else, like a kind of interlocking unit.
The band is able to showcase their ability to achieve contrast in the song
'Occam's Razor' which is strangely eerie and atmospheric, with many backwards guitars and elements of funk inspired bass lines. Funnily enough,
"Occam's Razor" which is a lot more laid back than the majority of songs on this album, follows straight after
'spinning.' I can only interpret this as a type of recess, as
'spinning' is so involved that perhaps the band 'thoughtfully' wanted to give their listeners some time to recover.
Øyvind Hægeland plays a prominent role throughout the album, however I feel that his vocal work shines during the song
'adaptability,' where a short interlude is heard with Hægeland using a spoken word style approach to provide a contrast to yet another dizzying track.
The use of studio effects like delays, echoes and harmonizing between pre-recorded vocal tracks aid in achieving an interesting and fresh approach to song writing, and combined with the powerful rhythm guitar playing by Andreas Jonsson who accompanies, this interlude creates an interesting atmosphere that should satisfy any serious metal head.
Of all the songs on A Sceptic's Universe, the cover of Fate's Warning's
'Prelude to Ruin' easily typifies the new standards of what modern tech-metal should sound like.
This fun adaptation, which can only be found as a bonus track is certainly a change from the band's usual sound. I especially enjoyed the drumming work in this song. The sound of the kit itself, the crispiness of the crash and snappiness of the snare drum convey the perfect sound in conjunction with the tone of the guitars, vocals and bass.
But more importantly, the unique playing style exampled by the other instruments is seemingly evident in Asgeir Mickelson's drumming. The strange combinations and use of the entire kit in his various beats, as opposed to mere rolls and fills, contribute to the band's uncanny rhythmic style. The feel of Mickelson's playing during certain parts of the song seem to encapsulate his technique and ability even during slightly less technical rhythms, which might be a quality that all aspiring metal drummers should attempt to possess and harness.
All in all, this powerful music maintains its own unique style and voice and although it echoes the riddling sounds of other genres,
Spiral Architect's "A Sceptic's Universe" is an album that should be saluted. I only hope this album reaches great heights with audiences across many oceans, and duly achieves the recognition it deserves. If you are a progressive metal fun and are looking for something new and fresh, then indulge yourself in the majesty of
Spiral Architect's "A Sceptic's Universe."
Written by
Yoni Monday, April 7, 2003
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