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Saturday 01 July 2023
Lifesigns concert, Poppodium Boerderij, Zoetermeer
Door de Brexit komen titels die uit de UK afkomstig zijn nog altijd
met vertraging binnen. Soms valt het mee en duurt het slechts 2-3
weken, maar het komt helaas ook voor dat we 4 weken of meer moeten
wachten. We doen ons best om alles zo goed en snel mogelijk te
regelen, maar het blijft lastig...
|Titel||Cause & Consequences|
|Genre||Progmetal/Gothic & Related|
|Omschrijving||Anasazi is a french progressive band born in 2004
in Grenoble, France.
Their mains influences are going from Porcupine
Tree to Tool, Dream Theater to Peter Gabriel.
mathieu madani : guitars, bass, keyboards & voice
bruno saget : lead guitar
anthony barruel : drums
Some albums, even prog albums, don‘t have to re-
invent the wheel to succeed. I had never heard
Anasazi in the past, but as I worked my way
through my first listen of Cause and Consequences,
I kept nodding my head thinking "Good choice."
Like many prog metal bands, Anasazi switches up
the feel often, but it never feels forced. They
also don‘t milk a particular idea too far (which
many other bands do). The influences are certainly
here - Tool, Opeth, Porcupine Tree, and
traditional heavy rock, but the number of
different rhythms, tonalities, melodic elements
always kept me interested. There is very little
shred (although it is well done in the few places
the guitarist lets loose). Thankfully, the band
neither leans on Dream Theater or Meshuggah.
There‘s plenty of groove, great riffing, and
vocals that have some attitude and snarl without
ever going into extreme realms.
There is a LOT of death themes in the lyrics,
which did not appeal to me as much as the music
itself. What did appeal to me was the production.
I could hear everything clearly. During vocal
sections, the vocals were the loudest element.
When there was a guitar solo, it was clear. Riffs,
including the spaces between notes, sit on top
when it‘s time. While one would assume that all
professionally mixed and mastered albums would be
this way, modern overuse of compression and
overdubs often makes (especially metal albums) a
soup of sound where the only clear element is the
kick and snare.
The final epic is indeed the star of the album,
taking the listener on a journey that has many
stops along the way but always knows where it is
headed. The opening riff encapsulates all the
things the band does well - a syncopated riff a la
Opeth, then a layered vocal over a Tool groove,
and then a not-quite-chorus that if anything makes
me think of King‘s X. What I love is that even if
one instrument is making an obvious nod to a
classic band, other members of the band are
pulling from somewhere else. The result is
interesting, rocking, and a great listen from the
opening to the close.|