UNDERSTANDING CONSEQUENCES

DAY WITHOUT DAWN Understanding Consequences is great sample of new prog generation. Musicaly virtuoso, something like mix Porcupine Tree, Mars Volta and Anekdoten. I want notice guitars, occasionally remind Steve Howe play technique. Prevailing nice vocal, but i hate in places when it overgrow growler metal howl. For this music not pertinent that kind vocal, for that reason only 4 stars. DAY WITHOUT DAWN can grow in to the future.

First of all, Day Without Dawn is what you would call the continuation of The Postman Syndrome to a certain point, similar to East of the Wall's case and as of now are called Biclops. In Understanding Consequences, Day Without Dawn moves away from what characterized its predecessor. They have created a more distinguishable sound making it more their own. No longer will you have the similar sound to bands such as Tool, A Perfect Circle and System of Down but instead you get a unique and refreshing new sound that sounds similar to The Postman Syndrome instead of all those bands.

Understanding Consequences does a great combination of progressive rock/metal, post rock/metal and very few others such as jazz, that create a nice smooth and clear sound in a very distinctive way. First of all, the vocals in Understanding Consequence play a very important role. The constant change between the different vocalists and the change between styles create smooth variations in the music. The music is intensive, melodic, heavy and well composed, with barely any flaws.

The first song of the album The Wake kicks off with a drum pattern and eventually is followed by the rest of the instruments. It has a very "post rockfish" feel to it with jazzy and metal dynamics. It's rhythm it's rather moving and explosive as similar to many of the songs of the album. Possibly one of the best song's of the album. The vocals are extremely colorful and striking and create an extremely emotive ambience along with the guitar. Another standout song would have to be Seducing the Dead. This song has that classic prog feel to it, with vocals that bring to mind The Beatles, Yes and other classic prog bands. Its second part tends to be a lot darker with a sort of evil chorus in the background. On the other hand The Deeper Wells has a dark intro and then switches to a very cheery vocal line that sounds similar to Toby Driver from Maudlin of the Well. The last song: The Undertide is the most elaborated song of the album and works well as the album closer.

In overall Understanding Consequences is filled with great moments, great songs and everything you would expect from a great experimental/prog metal band. Highly recommended!

One of the best surprises of 2008.

This is the best album from 2008 I heard so far!

Some albums find us (instead of more common case when we're searching for a particular album). I'd seen DWD added to PA, but didn't care to check them. Then a friend of mine had sent me a LastFM recommendation. I've checked their video there and it left me impressed. I began to search for this album, being more than intrigued with its background story. DWD were a post-THE POSTMAN SYNDROME/pre-BICLOPS band, and 'Understanding Consequences' was their debut but sadly post- humous full-length release. And when I finally got I wasn't too excited - lame cover artwork, short songs (judging from tracklist timing) and probably nothing special in it. I'm absolutely happy to say that I was wrong!

DAY WITHOUT DAWN can be described as a mixture of OCEANSIZE (arpeggi guitars and complex signatures), DREDG (melodic lines and tasteful rhythm-section), COHEED AND CAMBRIA (vocals and the whole alternative flavour) and to some point THE MARS VOLTA, PORCUPINE TREE and TOOL. But this description adds absolutely nothing to what this band really is. Thank God today we have LastFM and MySpace (where they have some free tracks) and anyone can check their stuff to get assured in their unique manner and approach. Each song varies in mood and character; it's hard to regard them as 'catchy', but the more you listen the better you like them! My favourities are 'The Undertide', 'The Wake', 'The Second-to-Last Page' and 'Your Diminutive Hand', but honestly, it's terribly hard to point out a single best track here. I've never liked winds, but unexpected trumpet solos here and there make this album even more eclectic and tasty! Yes, this is the word to describe it - it's TASTY.

This is simply one of the best Modern Prog album I've ever listened to! Anyone who's into Modern Prog MUST HAVE this record in his/her collection. Extremely recommended!

Throughout all music styles and tastes the criteria for a "good vocalist" have always varied. Some maintain that vocal range is the deal, some claim it's how you present yourself while others favor "feel"-- the list is endless. I have always had some demented, indescribable criteria of my own of what I like in a vocalist. One thing that will forever stay on my list of "no-no-noes" is singing out of key. It will never, in this universe or another, be something that I'll talk in favor for. I think that there are times when a singer can step out of bounds-- I'm not a harmony fascist that demands that everything must happen within the confines of a certain scale or a specific "right approach". However, what happens vocally on this album is nothing short of a travesty.

Normally when a singer is lacking in a band you just have to tune the singer out and decide whether the music is strong enough instrumentally to work anyway. A lot of times this formula works and I have myself found that I can see beyond mediocre or even bad singers when the music in itself has been good enough. I tried this with Day Without Dawn-- my God, did I try it. Each listen I would at first get lured in by the beautiful chord phrasing and great melodies-- and then that shrill voice comes into the sound picture and it's like brain freeze for me. It's not so much a matter of me not preferring the way he sings, but a matter of him being constantly off key. His voice slides wildly between notes, almost constantly under or over shooting his mark. It's like they recorded the album and then transposed everything a half note down but kept the vocals as they were.

I realize that no person could really miss the fact how incredibly off the vocals are on this project, and considering the reviews, some even love it. This is an artistic choice by the band and by the singer, so there are no excuses. This is hands down the most horrible thing I've encountered in the world of singing.

This has been more of a long rant than a review, but hopefully some of you will consider this a warning. If you are sensitive about false notes in music, like I am, this will literary be like torture for your ears.

Oh yeah, the instrumental parts are brilliant and had this been recorded without the dreadful singing(I think this goes for the screaming as well, but it's almost great in comparison) it would probably be one of the greatest metal albums I've heard. All the more reason why I loathe it so passionately.

A fantastic record totally thrashed by insufferable whining and off key vocals.

2/5