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THE OPPOSITE OF HATE

Progressive Metal • Brazil


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The Opposite of Hate biography
THE OPPOSITE OF HATE is a Brazil based progressive metal band founded in 2011 by Will GERALDO and Silvério SIMIONI. These two performers, locked in their own music studios, together formed this act, sharing similar ideas of creating an unusual brand of progressive metal that's heavily influenced by classic progressive rock bands such as GENTLE GIANT and more modern performers such as STEVEN WILSON while retaining a metallic edge and a quirky approach to songwriting. There can even be discovered electronica influences to their style at times. Between 2012 and 2014, work was underway in recording their first full length album with the help of numerous guest performers providing drums and bass, resulting in the album ''Beginnings'', which was released in January of 2015. Silvério provided the bulk of the guitar duties while Will performed most of the keyboards and also performed vocals with a few guest singers such as Anna STEFANO and Erik MULLER stepping in. Somewhat edgier than what is normally attributed to progressive metal yet remaining accessible, fans of heavy music with a bit of KING CRIMSON flair might want to give this group a listen.

Biography by Prog Sothoth

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THE OPPOSITE OF HATE discography


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4.00 | 4 ratings
Beginnings
2015

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THE OPPOSITE OF HATE Reviews


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 Beginnings by OPPOSITE OF HATE, THE album cover Studio Album, 2015
4.00 | 4 ratings

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Beginnings
The Opposite of Hate Progressive Metal

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Brazilian project THE OPPOSITE OF HATE is a studio based venture that started back in 2011 when musicians Will Geraldo and Silvério Simioni started to work together to create music, subsequently joined by Erich Bruschini and Marcinho Pereira. "Beginnings" is their debut album, and was released in 2015.

The Opposite of Hate is a band that have decided to give progressive metal a go, and have chosen to explore this genre in their own way: Those fond of progressive metal with strong and distinct similarities to the more well known bands in this genre can safely look elsewhere. Apart from some token references to Deep Purple my impression is that this is an album that doesn't directly fall in under any of the typical schools, directions or otherwise specific band inspired sounds of the genre in any major way.

One of the key aspects of this production is that it isn't one that revolves around technical virtuosity in any major way either. There's no true flamboyance at hand, few to none instances of a technically challenging instrument detail or maneuver that is jaw dropping or awe inspiring. In short: My main impression is that this is a production that revolves around moods and atmospheres rather than instrumental prowess.

The compositions tend to alternate between a set few types of sequences. We have the powerful, majestic guitar riff and keyboard driven sequences providing a rich and compelling atmosphere, the firmer, harder ones with dominant guitar riffs that may or may not be supplemented by guitar or keyboard solo, and then the gentler passages sporting plucked guitars as a key instrument with a more careful keyboards presence, and the alternative takes on that one with a more prominent bass combined with the keyboards. A specialty of the band appears to be to use the piano to provide a gentle presence in just about all types of arrangements.

The band segue between the style variations with relative ease, often using some delicate electronic effects to add some additional ear candy to the proceedings as well. They revisit earlier themes and arrangements in a clever manner that presumably has at least as an partial aim to strengthen the identity of the individual composition and to create a sense of separation between the songs on this album. Further emphasizing those aspects are the use of jazz-oriented details to a lesser or greater extent, some of the songs incorporating some directly jazz-oriented sequences, and to a lesser extent also the occasional use of guitar details that appears to have a subtly post-rock inspired sound and touch to them.

On an otherwise fairly well made and performed album there's only a few negatives to be aware of. The vocals on opening track Stolen Moments leaves a lot to be desired, and are not representative of the album as a whole. Thankfully. On a couple of occasions the lead vocals are placed too low in the mix, drowning too much in the instruments. And finally mix and production isn't of superior quality, but rather a functional and effective one overall. Not a point for the greater majority of listeners, but audiophiles will probably find this album not all that interesting due to this aspect.

If you tend to like and enjoy the majestic, powerful arrangements typical of progressive metal, and tends to be fascinated by bands that choose to contrast them with passages of a more careful and fragile nature, this debut album by The Opposite of Hate might be one that will interest you. In particular if you tend to enjoy bands where the instrumentalists focus mainly on creating moods and atmospheres and tends to shy away from flavoring the compositions with moments of technical virtuosity.

Thanks to aapatsos for the artist addition.

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