you hunger for relief from
putrid animosity you
stand and stumble
in despair while
odors rise up through the air
reminding you of your decay
and how you gave your life away
to sadness with a smiling face
your madness made you fall from grace"
With such lyrical
and conceptual premises deriving from subjects such as the invisible
cage of rules and lies imposed by the so-called progressed system, that
is capitalism and democracy, can one sum up the vision of the Chicago
duo. Thru three chapters they want us to ponder over and realize what
isn't told or is understood by media but we don't pay too much attention
to any longer owing to overexposition: global famine, wars, terrorism,
unlimited resource-hounding and exploitance are plagues that could be
very quickly erased if THEY (politicians, burocrats, capitalists, corporations,
weapon producers, reconstruction companies, church leaders) wanted to;
but to them it is more profitable to keep things so and let the majority
of us like mindless cattle imposing their will by all means.
A SLOW, CONSTANT CHANGE IN MENTALITY IS THE ONLY SOLUTION TO STOP OUR
PLANET SELF-DESTRUCTION. AND IF EVEN THIS DOESN'T MOVE YOU AND YOU ONLY
GO ON WORRYING ABOUT YOUR LITTLE WORLD, TAKE INTO CONSIDERATION IT'S
TIME FOR RADICAL CHANGES AND THERE IS NOT PLACE FOR MANY ON MARS, REMEMBER!
IS THIS HOW YOU AND YOUR CHILDREN WANT TO LIVE ? I DOUBT...
Therefore we can't but wait for a a band escaping from the easy Metal
canons, risking to astound in positive or in negative, certainly not
leaving indifferent, as clearly couched by "On Death & Dying",
"The Weight of the World" and "The Fear that
Remains", examples of dramatic modern Metal strenghtened by
pulsating rocky samples. It's also right to mention the above-the-average
drum parts, the vocals alà Afi ranging the complete tone-color
spectrum; tho a fine Maidenian break at the end, the blend is original,
probably hard to assimilate at once, but then destined to conquer.
The second part of the CD begins with "The Lie", a
cool song where the icy on the cake is represented by eccentric, yet
very inspired high vocals, while "God Hates Me" is
my favourite track for two simple reasons: best title (indeed it seems
written by or for me), and odd patterns, followed by several strata
of operistic vocals.
Things quite abruptly change with "Love Is", a somber
composition, in which only beats, vocals and shy keyboards appear to
mourn a betrothed girl lost for eternity.
Really unique, "Where Dust Belongs", deploys human
Rap beats and dreaming vocals; they are not spoken as it happens with
Rap 99% of the times, they are sorta a white gospel, so as to turn the
track to a hymn to awaken people with regard to today's growing state
of human desperation.
In order to conclude the second act we meet "Heresies and Blasphemies",
a rather long piece on the trail of the most creative Mudvayne and American
Head Charge. Once again main singer Dale Tippett, Jr. reveals all his
talent of 'pusher of stupefying vocals' preceding a bass break and dark,
very heavy guitar riffs. Something Beautiful take out the ace from their
sleeves drawing out a whispered acoustic break, later getting slightly
close to the early A Perfect Circle. Afterwards it goes back to Mudvayne
precepts and Thrash rhythms once dear to the shamefully undervalued
Texan heroes responding to the name of Anacrusis. Another bass break
and threatening vocals different from the standards close the assault;
you've gotta believe me, one needs big balls to write such a song!
Another potential hit might be "A Statement of Being",
thanks to perfect, moving, penetrating vocals; unbelievable classy Gothic
metal with refined guitar lines; there really is no wrong pause or random
detail here; in case you are into Evergrey and Danzig, their fusion
with the Illinois act's mark is bound to make you go nuts.
A bit below the average because of a faulty recording, "Dancing
in Rubble" improves thru a standing ovation refrain; it becomes
very wicked by utilizing a good 4 extreme genres in few seconds' time
and in the end it fades into Gothic metal, first mysterious and later
In "Some Kind of Destiny" the orchestral structures
are not so far from Virgin Steele meets Savatage, but most of all Saviour
Time for the last change of scene: "How Do You want To Live?"
is a steady and frantic track containing gothic and even brutal vocals
during the Death-core moments. In this case the 2-piece enters upon
an experimental kind of Metal bringing forward what was expressed many
years ago by bands like Watchtower or Anacrusis again, yet in a theatrical
manner and with different vocals to them, repeatable not without difficulties
on stage. It's a shame that the production doesn't support the vocal
traits thoroughly, however the piano/guitar solo duet compensates that,
deignly closing this dramatic piece of art cut clean thru.
This extravagant and corageous combo have proven to be heirs of the
90s Crossover innovators (Rage Against the Machine, Jane's Addiction,
Alchemist and the likes), and the ones came out in the last 10 years
(Tool, System of A Down, etc.). After some fake newcomers' disappointments,
they are among the few to compose not with the unrewarding intent of
sounding forcedly strange at all costs; on the contrary their music
spontaneously springs forgetting the rules and the fear of sporadic
physiological mistakes when walking unusual ways. Last but not least,
positive signalizing for the front and back-covers, bringing back the
times of the early anti-multinationalistic Napalm Death's and the apocalyptic
All of this renders "States of Being" a record especially
recommended for open minded fans in search of real pioneers and not
the nth Progressive band.
MARKUS GANZHERRLICH - 20th June 2006