Sub-genre: Progressive Metal (with a side order of AvantGarde)
For Fans of: Voivod
Vocal Style: Gothic sounding Peter Murphy/Steele-esque
Guitar Style: Distorted electric
Keyboard Style: I hear a piano once
Percussion Style: Standard rock kit played much heavier than previous album
Bass Style: Picked electric, occasional overdriven sound
Other Instruments: Piano and Violin somewhere
Summary: Five years removed from a nearly perfect freshman effort, Carheart,
Virus returns with a more metallic presentation. The feel of dissonance in the guitar/bass
remains, but the contrast has taken a back seat to a more straight forward distorted sound. The
eerie clean breaks have been substituted with heavy handed power throughout the album, but not in an
overly-compressed Meshuggah style stomp. The musical structure still contains a significant
complexity, but not nearly comparable to Carheart.
A definite shift in vocal style
occurs as well. An almost evangelical dissertation is pronounced in very gothic fashion that is
reminiscent of the more guttural moments of Peter Murphy (Bauhaus). One thing that remains
the same is the darkness and despair conveyed by the sound. This is not one for those seeking out
the Yeses of the Progressive world.
The Highlight for me is the franticly busy Lost
Peacocks with its sinister walking bass and creepy chromatic chorus. The bridge vocal harmonies
will make the hair stand on the back of your neck.
Final Score: The first listen was at times disappointing due to the aforementioned
lack of contrast. Where Carheart required no break-in time, The Black Flux was
distinctly different in that regard. But the growth factor kicked in quickly. This album will appeal
less to Avant-Garde/RIO fans and more to Post Metal or Extreme Metal fans. 3.8 stars, rounded up.
Tapfret |4/5 |
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Tapfret
More black, less flux
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