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The World Died Yesterday
Released: 2014, Self-financed
Reviewer: Metal-Rules.com UK Team
As the UK was warming up to a blistering line-up of Summertime metal festivals, April 2014 saw the release of Dissolve's debut album 'The World Died Yesterday'. The album holds many aspects of a decent prog-metal record; warbling vocal sustain, solo's lifted straight out of sweep pick-tionary 101, some killer riffs and an instrumental diversity that keeps you on your toes and wanting more.
The opening riffs of each track have all the feel of being chain dragged along a desert highway by a hoard of bikers giving the finger to a bus full of placid old women. A ride that might be fun for a time but, without sustainability, has all the durability of a pringle between the butt cheeks of a pro wrestler. Perhaps that's where this offering falls down a little for me. The elements are all in place for me to really like this album but something that's hard to identify holds me back from giving it a whole-hearted recommendation.
Each track holds a certain drive and energy that breaths new life into a genre that some might consider to be a hopeless cause for smaller bands hoping the challenge the established elites.
Pace and power combine seamlessly with more melodic sections that allow you a small breather before they draw you back in with another satisfying sucker-punch to the throat. So why are there points through each play through I feel the need to take a look in the mirror and question my acceptance of this album being an accomplished synergy of aggression and intricacy? My first inclination is that the vocals are far from anthemic and lack a finesse that, at times, mixes about as well with the sounds around them, as a cheese grater might with one's face. Those who know me would be well aware that vocalists often make or break albums for me, and it does fill me with a little sadness that this album would draw me towards that latter.
I did sometimes get the impression that a couple of solos on the album carried the air of desperation of one attempting to prove that all of those years being locked in their parent's basement were spent better than beating their own high scores on guitar hero. This may have been improved by some slightly better production, adding a little more nuance and verve, to what is ultimately pretty tight guitar work. Perhaps this is a harsh criticism of a self-financed debut album, but it does lay out some direction for improvement. As mentioned before, most of the more riff heavy sections on the album are very listenable.
The vocals on the other hand, do seem to detract from the energy and excitement that is built in the opening moments of each track. The overall feel of the album, suggests it was delivered by a band confident in their debonair and swagger, with riffs that demand movement from amongst the crowd. While I appreciate the more melodic stylisation that Chris Veleris has gone for (over a more typical scream-o archetype that is more default for many metal genres these days), I found each song's momentum being hampered, akin to a freight train wading its way through the mud.
Despite the few hangups I have with the finished article, there's still plenty to be enjoyed off of this record. Musically, they have crafted a stand up piece that is well suited to the genre and is already receiving recognition through distribution via digital media. Personally, I look forward to seeing what they can deliver when their new line up is announced.
1. The downward spiral 05:00
2. The world died yesterday 04:48
3. Core of all depression 04:40
4. Freezing winds of sorrow 04:37
5. Narcotic stains 03:56
6. Decolorize 04:16
7. False reality 04:15
8. Assymetry 05:21
Chris Veleris - Guitars, Vocals
Panagiotis Gatsopoulos – Bass
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