First off, thanks to the Militia Group for sending us this CD. Not only does it please me to get free stuff, it also pleases me when the free stuff is enjoyable and worth writing home about. Nevertheless, free sh*t is great; even when it sucks, I can still hock it for crack.
Anyway, totally off topic. In writing this review, I hope to expose you to all the styles and fortes this band carries. I know next to nothing about this band except there are four members, and you could have figured that out if you noticed the little section above with the roster and names. Another paragraph rendered pointless.
Rhetoric of a Marionette is a six-track CD, about twenty-five minutes. And these are twenty-five minutes well spent. This disk is packed with quality music by four boys who jam well together.
The first thought that came to mind when I first played this CD, besides, "I need to get drunk immediately," was "Wow. The potential is overwhelming." The production of this CD isn't the greatest, but it in no way hinders the power and message of the sound. This band plays with every possible impression that screamo can have, from blunt to equivocal, questioning to authoritative, lustful to rational, inebriated to sober. And this is not only lyrical--the band literally speaks in melody, harmony, and rhythm.
The melodies aren't ordinary stuff. Mo seems to like to meander with his voice and then come in on a strong, robust chorus. A perfect example is "Grave of Fireflies," where he sings and screams through verses and then comes down clean on "I'm vanishing, I'm desperate" like a sort of anthem. His voice kind of reminds me of the guy from Under a Dying Sun, and a little bit like the guy from Bouncing Souls. All in all, definitely melodic, but none of that Rivers Cuomo-brand pop sound.
One of the greatest parts of this CD is the guitar work. Very strong lines that clearly define the harmonization that also serve as a supporting secondary melody. In other words, this isn't ordinary four chord twanging. I especially love the delay and reverb effects utilized on the intro ot "12.8.80." Some of the guitar lines remind me of Omar Rodriguez's (At the Drive-In, The Mars Volta) writing style, even though the music as a whole does not sound alike. Also, listen closely for synthesizer, flute, and saxophone loops that are imbued throughout the songs.
The lyrics are also something different. Think of the weirdest lyrics you can muster, maybe like Mars Volta. Blueprint Car Crash does weirder. Now think of the most straightforward lyrics, maybe like a 50 Cent rhyme. Blueprint Car Crash does more upfront. If anyone can explain to me what "Ebrahaim, lotfan mono bebagshin" means, I'll give you a dollar, and yes I know it's not English. "12.8.80" is the weirdest Lennon tribute song I've ever had the pleasure of hearing ("The fool is you, the walrus is John"). Then there are those not-so-subtle proclamations. "Passion is decieving," and "you'd let me run cum in your mouth but not touch your heart." Again, the lyrics really show the varying types and levels of intensity Blueprint Car Crash can convey. As Fat Mike might say, their intentions are "opaquely-clear." Wow, I'm so profound.
One warning note: if you thought Estrela, Glassjaw, and At The Drive-In were too weird to enjoy (I don't understand the rationale behind that, but people are different), then you might not like Blueprint Car Crash. There is definitely some weird stuff going on here. Anyone in the mood for bizarre, good music, this is the place to go.
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C.L. '04 |
