Released: 2013, Norse Music
Reviewer: Metal-Rules.com UK Team
Columbian sextet Indomite have abandoned the punchy confines of the straight-up metal box in favour of a more expansive arena. 2012's 'Theater of Time' has ambitions as big as its pitch-range, and while it manages to secure a great deal in its efforts, it's just a shade off the mark from where its creators want it to be.
Let's start with optimism. The gents, who came together as half a dozen competent musicians with an evident love of classic metal, have stated their purpose quite pellucidly from the outset: they just want to be epic. As EPIC as possible. Initially knowing one another neither personally nor creatively, years of rope-learning have finally fostered this nine-tracker, which, with all the hallmarks of a Final Fantasy soundtrack, is conspicuously sophisticated in ironic contrast to their moniker.
Maiden-esque riffs tussle with James LaBrie-style croons, in a corridor 26 light-years long in space, surrounded by planets and King Arthur. Intricate fretboard acrobatics shine on 'Parasite' and 'Carnival Curse'; they pen the 'satisfying' quality of those resolving melodies brilliantly, and the effects, synths and virtuosic strength blend electronic and manual aspects of their musicianship together with delicate craftsmanship and imaginative song-writing.
Arboleda's vocals are particularly good when thrown into high-end wails and screams, with a vibrato that could scalp a wookie. Difficulties come however when he approaches more intimate or sensitive territory, such as in 'Rain': with as much cheese as this, the only way to make it work is for technicality to be absolutely on point, and even then, the cringeworthiness can be too much. Since there are tuning and articulation troubles, the singer verges on sounding like he’s badly fronting a Dream Theater tribute band at times.
The tracks also stray in so many directions, it's hard to pin down any recognisable grooves. Although I find it easier to let the whole album roll through without trying to latch onto anything, and although the hooks themselves are pretty decent in isolation, the problem is that they're in isolation: they're not repeated often enough to be memorable or stick in my head.
Nevertheless, what is apparent is that Indomite are instrumentally and compositionally skilled, and have the chops to refine their goods into something resembling the 'Time I' masterwork that they're aiming for.
If they're attempting Operation Air-Grab, it would be best tackled through conciseness and themes. A slightly underachieving, but not unimpressive, venture from some of Medellin's notable risers.
Review by Rhiannon Marley