Scott Irvine
01/30/07, 05:06 PM
Tera Melos - Tera Melos
Released October 4th, 2005
Springman Records
Freeform within their self-titled album’s longevity and technical enough for math-rock advocates and those in favor of instrumental-over-all to come together in a celebration of odd time shifts and a potpourri of similar aspects of bands such as Dakota/Dakota, Eggs, and Fall of Troy. Already known for their ample-et-spastic stage presence, Tera Melos no doubt translates their animated rhythms and distinctly precise, yet somehow off-key, jazz cohesion to disk. Yet, in the middle of the sporadic static discharge, skewed guitar hooks, and the consistently dynamic solidity from track to track, it seems much more than that, but still somehow gets too wrapped up in itself to really highlight these attributes.
Becoming the up-in-coming fledgling flagship of instrumental-rock, Tera Melos diverge into quite an interesting motif; post-hardcore tendencies set to an often overbearing techno backdrop. The band is consistent for the most part with their sound, waning in impact only during the moments in which electronics over take the rest of the band (“Melody 5”). Though this is slightly forgivable, for tracks like “Melody 4” and “Melody 2” is reason enough to lend an ear. The latter instrumental employs stressed guitar noodling and splintered percussion as a precursor to on again, off again downhill breakdowns. But there again, the bubbly electronic effects and one-way keyboard skip-and-scuttle of “Melody 1”, though a good entrance to “Melody 2”, and noise-rock buzz of “Melody 8” really don’t do much, especially when they last over 28 minutes.
“Melody 3” and “Melody 7” is where Tera Melos falls in between covering up their tracks with unnecessary fuzz and truly showing what they are capable of. “Melody 3” is like an Appleseed Cast song that never really goes anywhere. A drizzling guitar line leads a spastic drum inclusion and draining background rhythm guitar/bass harmony on somewhat of a one-way street, nonetheless acting as a smooth segue between the album’s best tracks. “Melody 7” is one of the more upbeat instrumentals featured; predictably, however, digressing away from the song’s stylishly-fun sound within the first 45 seconds.
If this had been a more concentrated effort, we’d have a breadwinner here, folks. Unfortunately, Tera Melos takes the things they perfect and quickly ditch them for uni-faceted tracks with more electronics than need be. Fortunately this is a fairly dated release in terms of the band’s progression until now. Considering their tact and confidence with this self-titled release, we’re bound to see an even better material from them here soon.
Released October 4th, 2005
Springman Records
Freeform within their self-titled album’s longevity and technical enough for math-rock advocates and those in favor of instrumental-over-all to come together in a celebration of odd time shifts and a potpourri of similar aspects of bands such as Dakota/Dakota, Eggs, and Fall of Troy. Already known for their ample-et-spastic stage presence, Tera Melos no doubt translates their animated rhythms and distinctly precise, yet somehow off-key, jazz cohesion to disk. Yet, in the middle of the sporadic static discharge, skewed guitar hooks, and the consistently dynamic solidity from track to track, it seems much more than that, but still somehow gets too wrapped up in itself to really highlight these attributes.
Becoming the up-in-coming fledgling flagship of instrumental-rock, Tera Melos diverge into quite an interesting motif; post-hardcore tendencies set to an often overbearing techno backdrop. The band is consistent for the most part with their sound, waning in impact only during the moments in which electronics over take the rest of the band (“Melody 5”). Though this is slightly forgivable, for tracks like “Melody 4” and “Melody 2” is reason enough to lend an ear. The latter instrumental employs stressed guitar noodling and splintered percussion as a precursor to on again, off again downhill breakdowns. But there again, the bubbly electronic effects and one-way keyboard skip-and-scuttle of “Melody 1”, though a good entrance to “Melody 2”, and noise-rock buzz of “Melody 8” really don’t do much, especially when they last over 28 minutes.
“Melody 3” and “Melody 7” is where Tera Melos falls in between covering up their tracks with unnecessary fuzz and truly showing what they are capable of. “Melody 3” is like an Appleseed Cast song that never really goes anywhere. A drizzling guitar line leads a spastic drum inclusion and draining background rhythm guitar/bass harmony on somewhat of a one-way street, nonetheless acting as a smooth segue between the album’s best tracks. “Melody 7” is one of the more upbeat instrumentals featured; predictably, however, digressing away from the song’s stylishly-fun sound within the first 45 seconds.
If this had been a more concentrated effort, we’d have a breadwinner here, folks. Unfortunately, Tera Melos takes the things they perfect and quickly ditch them for uni-faceted tracks with more electronics than need be. Fortunately this is a fairly dated release in terms of the band’s progression until now. Considering their tact and confidence with this self-titled release, we’re bound to see an even better material from them here soon.