FARTHER PAINT

The album transitions into "Hold Me" shifting their sound from the arpeggiated chords and scales of the previous track into a Latin-sounding opener where we are first introduced to Monia Rossi's vocals. Unquestioningly progressive, "Hold Me" continues to add layered elements beyond the simple vocal/keyboard combination that begins the piece until all members give us the first taste of their style as a group. Utilizing a variety of electronic alterations to the vocals gives it a sense of variety even though Rossi provides the only voice throughout the piece. If I had one criticism for the track, it is that the vocals are a bit difficult to hear as they are sometimes hidden by the instrumental elements. Unfortunately, there are times where this is apparent during other tracks as well.

"No One is Around Me" continues to showcase the versatility of the group. Slowing the tempo and opening with an electronic, almost industrial, hum we are shortly presented with Rossi's voice and the sound of a toy piano. When the sound of the piano is joined by the drums and guitars, the precision of the group's musical efforts become more apparent. Roughly half way through the piece the concept shifts until we are presented with an extended instrumental section utilizing sampled choir sounds to enhance the atmosphere. The quickly shifting synthesized sounds of Monocchi's keyboard trade the melody between Monocchi and Federici in short spurts of ever-increasing difficulty until Rossi joins us again at the end of the piece which softens at its completion into an atmospheric, idyllic hum providing a counterpoint to the darkness with which we started the track.

"Chains" is the shortest of any of the vocal pieces; the only track shorter on the album is the instrumental introduction. However, it becomes clear, at this point if not before, that Lose Control is not presented as a series of individual songs, but rather a sweeping melody from start to finish. Be sure that if you purchase this album in a digital format that it can be played without gaps between tracks or the seamless transitions of the album will be lost.

From the one of the shortest tracks, we switch to the longest with "Illusion in My Hands." Shifting between vocal sections and instrumental solos, this track shows the band's jazz influence as the focus continues to be passed one band member to another. Rising to a climax of rhythmic brilliance, the instrumental foundation of the piece drops out leaving us with little more than the pattering of rain and the vocal melody giving us what is the most passionate moments of Rossi's contributions to the album.

The full band ends "Illusion" together, leading us into the sound of static as we imagine someone twisting the knob on an analog radio searching for a station. Snippets of previous songs on the album are heard until, when the static fades, we are presented with "Anger," the second instrumental piece of the album, and by far the more intense and technically difficult. Each member of the band has their moment to shine while the drumming grounds the other band members and gives us a sense of tempo. Short bursts of electronic vocals and an extend section of vocal scratching reminiscent of rap music as well as various synthesized aural oddities keep the listener interested through the piece. Other influences are apparent here including jazz, funk, and industrial; at times, the piece feels almost avant- garde rather than progressive. Nevertheless, the focuses on complex rhythmic cadenza and percussive structures keep the track moving and lead us easily into the final two tracks of the album.

With what is the closest thing to a pause in the sonic structure of Lose Control, "Inside the Cage" opens with the harsh sounds of metal before Rossi's vocal line is presented almost without accompaniment. This brief moment of clarity is soon expertly muddied by the inclusion of the other instrumentalists. While more straightforward in presenting the melody than other tracks, consistently shifting keys, tempo, and style between metal and a Latin-influenced rock make this a more complex piece than at first glance. I hadn't noticed, until listening to the track during this review, that in and around Rossi's vocals, she repeats herself, mumbling and sub-vocalizing earlier words and lines providing a dark, mysterious sound which the band shifts in and out of as necessary throughout the remainder of the track.

The transition from "Inside the Cage" to the final track, "My Noise," is not as smooth as the others, but it only startles momentarily before the final sounds of the album are presented to us. In what is probably the band's most straightforward piece on the album, we are presented with a more traditional song structure with progressive, experimental elements included. The reduced structural complexity of the piece does not detract from its technical clarity as it gives us a final glimpse at each of the band's instrumentalists. As the track, and the album, closes, a high-pitched whine from the guitars is heard. Chords are not resolved, no cadence is provided, and the listener is left wanting more from Father Paint.