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record reviews the isosceles project  

FORSAKEN

After the Fall
(I Hate)

KOWLOON WALLED CITY
Gambling On the Richter Scale
(Perpetual Motion Machine)

SUPERCHRIST
Defender of the Filth
(Self Released)

THE ISOSCELES PROJECT
Oblivion's Candle
(Valkyre)

CHINESE
The Conquest of Tomorrow
Today
(Whoa! Boat)

WARPATH
Damnation
(Self Released)

AVSKUM
Uppror Underifran
(Prank)
 
BLACK BONED ANGEL
Verdun
(Riot Season)
 
MORE REVIEWS

THE ISOSCELES PROJECT
Oblivion's Candle
(Valkyre)

The first cut of this debut is titled “Doppelganger” and is quite impressive. I haven’t heard an opening of an album this strong in a long while. “Doppelganger” is not progressive in the jerky, busy, petulant, preposterous, ambitious sense that most prog rock usually is. Instead, it’s concerned with rocking out and offering a satisfactory fourteen minutes of cool riffs, upbeat rocking passages, senseful changes, logical evolutions and tremendous combinations. Best of all, there is no vocalist to distract us or fuck things up a bunch. The music is the center. And deservedly so. Canada’s The Isosceles Project are doing things right in this debut.

 

The Isosceles Project is comprised of guitarist Eric Euler. I dig his work a great deal. The desperate solo come the eleventh minute of the first song is astounding. Not perfect. Just effusive. His heavy riffage ain’t no laughing matter either. Euler commands with authority, he leads the band through fuzzy patches and rough terrain.

But it’s not all him. In the title track, the drum and bass combo work adds a happier hue, and they are almost all there is for half the track, where Euler goes clear and soft they sprinkle cymbals and almost rumbling submissive bass work. The tune gets rocking of course. Shit, this is so much better than listening to Fates Warning.

 

There are many annoying aspects of progressive rock. One is the assumption that the accumulation of notes suffices. It does not. And it never will. Sure thing, this Canadian trio have an admirable concentration span, to play such long songs you need that, but so do they possess the rare ability to balance out technique and spectacular drama with sensible melodies.

As a music lover listens to Oblivion’s Candle is difficult not to feel certain joy. Joy because the music is there, joy because it is loud, joy because it rocks, and joy because its at times exhilarating. The accent changes in last track “Whispers in the Factory” are fantastic. Nothing short of that. And so is the rest of the album. Highly recommended.

 

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