Post by RichFactWebmistress on May 28, 2003 0:28:09 GMT -5
I thought since I shared my review of The Amalgamut, it's only fair to share my review of Dualesc.
Row Alone
A Review of Through the Floods, Not With Them by Dualesc
Provocative and distinct, the music and lyrics enclosed on Through the Floods, Not With Them submerge listener’s ears from start to finish. This uniqueness shines through Matt McMillian’s singing technique. Abrasive, yet gentle all together makes the record an attention-grabbing listen. The instrumentation adds an essence that coincides beside the lyrics tightly. Dualesc demonstrates musical promise in these essentials. Not only melodically proficient, the disc is also emotionally invigorating. One of the unique bands to arrive in 2002, Dualesc has established that potential for innovative and exceptional music exists.
The building into “Belief” snags attention, jolting the listener when the song reaches full tempo. The layers of music build upon one another beginning with the bass until the song bursts, generating curiosity as to what will follow. The lyrics, emotionally charged, capture attention with, “So everyone’s breaking up, my hope is dying and I want it shut,” and “seems so much harder physically being in this place.” The guitar work and drums contradict the lyrical delivery, by being faster. Innovative with fluctuation between soft and hard singing styles and guitar work adds flavor. “Belief” asks a thought provoking question: Is your tongue the one that controls you? Left to be determined by the listener’s reflection of what significance embeds it, the question remains unanswered. Exceptional in this spoon-fed music culture, it provides originality for music fans.
By contrast, “Subtle” reflects its title by sliding gently into the song. In the beginning quiet guitar compliments the soft singing of the lyrics. “Undoing your bias will be as much fun as shattering glass” supplies lyrical imaging readily seen. It is followed by a crescendo of guitar as a flux between loud and soft parry with each other for the song’s remainder. “Remember that I was there too, you came on and faltered and wasted. . .” begins the build into climax, leading into the rough screams of “Live enlightenment you fuck,” and “I thought I could leave but I was never there” towards the end. Lyrically sound, compliments of the background instrumentation establish tone. These elements display promise, innovation, and inventiveness that are refreshing.
“Landscape,” lyrically fluid, captures attention with, “Conversation oasis lets my thoughts control you.” Contradicting the deliberate singing, guitars and drums provide a faster rhythmic speed, pushing the song forward. This makes “Landscape” an interesting edition to Through the Floods, Not With Them. “Caravan cross the spectrum try to see what you see” provides another fascinating image, leading back to the title. Dancing between abrasive and beautiful, it offers newness much appreciated.
Rapid and rushing, “Cita” acquires attention. Opening with, “Twisting and burning the earth like you own what owns you without which we’d be dust” sets meaning and tone as angry and disgusted. “Cita” places blame upon corporations and humans. “Corporate profits won’t make right” and “It’s falling apart again now it’s our fault,” communicate this with solid lyrics. The rapid guitar and drum work correspond with harsh singing, keeping with the atmosphere. The last line leaves the listener once again contemplative, “There is no substitute for what you can’t create.” It evokes an idea that although pop culture tells us corporate profits and materialistic ideals mean more, the things created by us signify more importance.
“Why should I believe in you,” begins “Virginity Plea.” Asking yet another question to muse, “Where am I God? Why should you know, when I should not?” follows themes articulated in the beginning. Musically apprehensive due to forceful guitar and steady drum work, the lyrics set at a slower tempo, position mood for this “plea” further. The amalgamation of electric guitar and acoustic provides an inventive method. “So in my mind deliberately amplified/the problem completes you,” lyrically structured well, adds an additional layer. Returning to where it began, “Virginity Plea” ends, “Why should I believe in you? /What has turned out to be true? What’s the point of me and you we’re through,” before moving into electric guitar fade out, with the acoustic persisting alone.
Bursting after the close of “Virginity Plea,” “Pour Over” assaults the ears with abrasive guitar work. Once more opening with a question, “Did I just make that choice or was it fate?” sets theme. Lyrically sturdy, “Pour Over” captures interest effortlessly. “Separate points on a line, don’t make me choose again/I’d hate to prove to them-their friends,” pushes the piece forward, along with piquing curiosity as to what follows. The drum work and guitars match each other rhythmically, contrasting the slower singing tempo. The chorus line, “Made a black and hot arrival plus one song” presents a clear image. Acoustical guitar comes to the forefront of the middle, before giving away once again to the electric. The song softens before leading into the final assault, complimenting the lyrics, “Whisper thoughts of too bad, think of the night she had.” From there, it too, returns to the original question, with guttural singing, “Control of nothing, up to fate, just like it was in the first place,” providing the answer.
As the guitar fades from “Pour Over,” “Green and Gray” begins. Lyrically, “Green and Gray” has several visible images. “You held the key for so long that it rusted in the lock,” “well, I say…row like you need to get home today,” “I drew pictures I want to keep re-painted on a wind swept sheet” and “…in circles I’ll row alone,” supply examples. The song dances amongst quiet singing and rough shouting in areas, with the guitar, drums and bass mirroring. Also lyrically exceptional is “Pray to be open-minded and alive…it only lasts forever,” and “Virtues are few and patience is not one of them.” As “Green and Gray” ends, the song slows, permitting the final line of “…in circles, I’ll row alone” to stand-alone.
contd. . .
RFW
Row Alone
A Review of Through the Floods, Not With Them by Dualesc
Provocative and distinct, the music and lyrics enclosed on Through the Floods, Not With Them submerge listener’s ears from start to finish. This uniqueness shines through Matt McMillian’s singing technique. Abrasive, yet gentle all together makes the record an attention-grabbing listen. The instrumentation adds an essence that coincides beside the lyrics tightly. Dualesc demonstrates musical promise in these essentials. Not only melodically proficient, the disc is also emotionally invigorating. One of the unique bands to arrive in 2002, Dualesc has established that potential for innovative and exceptional music exists.
The building into “Belief” snags attention, jolting the listener when the song reaches full tempo. The layers of music build upon one another beginning with the bass until the song bursts, generating curiosity as to what will follow. The lyrics, emotionally charged, capture attention with, “So everyone’s breaking up, my hope is dying and I want it shut,” and “seems so much harder physically being in this place.” The guitar work and drums contradict the lyrical delivery, by being faster. Innovative with fluctuation between soft and hard singing styles and guitar work adds flavor. “Belief” asks a thought provoking question: Is your tongue the one that controls you? Left to be determined by the listener’s reflection of what significance embeds it, the question remains unanswered. Exceptional in this spoon-fed music culture, it provides originality for music fans.
By contrast, “Subtle” reflects its title by sliding gently into the song. In the beginning quiet guitar compliments the soft singing of the lyrics. “Undoing your bias will be as much fun as shattering glass” supplies lyrical imaging readily seen. It is followed by a crescendo of guitar as a flux between loud and soft parry with each other for the song’s remainder. “Remember that I was there too, you came on and faltered and wasted. . .” begins the build into climax, leading into the rough screams of “Live enlightenment you fuck,” and “I thought I could leave but I was never there” towards the end. Lyrically sound, compliments of the background instrumentation establish tone. These elements display promise, innovation, and inventiveness that are refreshing.
“Landscape,” lyrically fluid, captures attention with, “Conversation oasis lets my thoughts control you.” Contradicting the deliberate singing, guitars and drums provide a faster rhythmic speed, pushing the song forward. This makes “Landscape” an interesting edition to Through the Floods, Not With Them. “Caravan cross the spectrum try to see what you see” provides another fascinating image, leading back to the title. Dancing between abrasive and beautiful, it offers newness much appreciated.
Rapid and rushing, “Cita” acquires attention. Opening with, “Twisting and burning the earth like you own what owns you without which we’d be dust” sets meaning and tone as angry and disgusted. “Cita” places blame upon corporations and humans. “Corporate profits won’t make right” and “It’s falling apart again now it’s our fault,” communicate this with solid lyrics. The rapid guitar and drum work correspond with harsh singing, keeping with the atmosphere. The last line leaves the listener once again contemplative, “There is no substitute for what you can’t create.” It evokes an idea that although pop culture tells us corporate profits and materialistic ideals mean more, the things created by us signify more importance.
“Why should I believe in you,” begins “Virginity Plea.” Asking yet another question to muse, “Where am I God? Why should you know, when I should not?” follows themes articulated in the beginning. Musically apprehensive due to forceful guitar and steady drum work, the lyrics set at a slower tempo, position mood for this “plea” further. The amalgamation of electric guitar and acoustic provides an inventive method. “So in my mind deliberately amplified/the problem completes you,” lyrically structured well, adds an additional layer. Returning to where it began, “Virginity Plea” ends, “Why should I believe in you? /What has turned out to be true? What’s the point of me and you we’re through,” before moving into electric guitar fade out, with the acoustic persisting alone.
Bursting after the close of “Virginity Plea,” “Pour Over” assaults the ears with abrasive guitar work. Once more opening with a question, “Did I just make that choice or was it fate?” sets theme. Lyrically sturdy, “Pour Over” captures interest effortlessly. “Separate points on a line, don’t make me choose again/I’d hate to prove to them-their friends,” pushes the piece forward, along with piquing curiosity as to what follows. The drum work and guitars match each other rhythmically, contrasting the slower singing tempo. The chorus line, “Made a black and hot arrival plus one song” presents a clear image. Acoustical guitar comes to the forefront of the middle, before giving away once again to the electric. The song softens before leading into the final assault, complimenting the lyrics, “Whisper thoughts of too bad, think of the night she had.” From there, it too, returns to the original question, with guttural singing, “Control of nothing, up to fate, just like it was in the first place,” providing the answer.
As the guitar fades from “Pour Over,” “Green and Gray” begins. Lyrically, “Green and Gray” has several visible images. “You held the key for so long that it rusted in the lock,” “well, I say…row like you need to get home today,” “I drew pictures I want to keep re-painted on a wind swept sheet” and “…in circles I’ll row alone,” supply examples. The song dances amongst quiet singing and rough shouting in areas, with the guitar, drums and bass mirroring. Also lyrically exceptional is “Pray to be open-minded and alive…it only lasts forever,” and “Virtues are few and patience is not one of them.” As “Green and Gray” ends, the song slows, permitting the final line of “…in circles, I’ll row alone” to stand-alone.
contd. . .
RFW