Album Title: A Dream In Static
Label: Independent Release
Year Of Release: 2015
The buzz of being an early discoverer of a new band is one of the best on Earth, at least for me anyway. I first became aware of a band called Earthside when I was given the heads-up by their UK publicist about a track that had just been released on Youtube. I listened almost immediately and, perhaps as much as 5 seconds later, I was picking my jaw up off the floor. Throughout the following eight minutes as the song, entitled ‘The Closest I’ve Come’ developed, I had to frequently repeat the process as well as battle goosebumps, shivers and a goofy grin that seemed to affix itself to my face for the entirety of the composition.
From that moment on, I knew that I had to keep my focus on this new band and chart their progress carefully. The next, exciting step was to interview drummer Ben Shanbrom at the behest of the aforementioned publicist, despite only hearing two tracks at that point. It turned into an epic interview that required two blog posts to publish it in its entirety. During the conversation, I became instantly aware of just how focused, driven and disciplined Earthside are, something that shines through in their music without a shadow of doubt.
I have since been privileged to have access to the entire debut album, entitled ‘A Dream In Static’ and it is everything that I had hoped for and more. Earthside, from New Haven, Connecticut, are comprised of drummer Ben Shanbrom, keyboardist Frank Sacramone, guitarist Jamie van Dyck and bassist Ryan Griffin. And each member needs to take a bow because together, they have brought the metal world something truly brilliant.
The album kicks off with the track that I alluded to above, ‘The Closest I’ve Come’. In keeping with a good proportion of the album, it is an instrumental track. Now, I’m not always the biggest fan of instrumental-only music but this is an entirely different beast. The composition weaves its way through a plethora of clever and engaging ideas at once both instantly melodic and complicated. It begins quietly with a captivating melody and is soon joined by some striking drumming before it explodes with real intent via a modern djent-esque guitar tone and powerful rhythm section. I actually get a little emotional listening to it now as it has had such a profound impact upon me over the last few months.
However, the best is reserved for around the 1:30 mark when an epic-sounding melody to end all melodies kicks in with spine-tingling results. The song soon markedly shifts direction with the entire central segment exploring a more classically progressive instrumental blueprint full of wickedly precise and complex ideas, off-kilter timings and subtle keyboard embellishments. Despite its intricate nature, the music never strays into pointless overindulgence; every note has been thought out and keeps one eye on the melodies, texture and atmosphere which for several reasons calls to mind a sci-fi soundtrack. The song then closes via that opening melody which comes back bigger and bolder than ever, leaving an indelible mark on my brain. What a way to open your debut album.
Up next is the track entitled ‘Mob Mentality’ and is the ‘other’ track that Earthside have already unleashed on the metal community to almost entirely positive and effusive praise. It’s not hard to see why because it’s an absolute behemoth of a song. Front and centre of the composition sits Lajon Witherspoon, vocalist with Sevendust and who is the first of a small handful of guest vocalists to grace the record. The choice is typically brave and adventurous from Earthside, but Witherspoon puts in a huge performance, flitting masterfully and with consummate ease between soft and soothing and all-out aggression and power.
Not content to leave it there, Earthside have also enlisted the help of the Moscow Studio Symphony Orchestra to add yet another dimension to the near ten-minute bruising prog metal composition. If Earthside were after a song with the vibe of a movie score, it has been achieved here, with stylish aplomb. The changes in tempo, the movement shifts as well as the frequent alternation between light and shade and from subtle restraint to all-out aggression means that ‘Mob Mentality’ is imbued with a thoroughly believable and intense sense of drama and theatre throughout. All at once, the song sounds rich, ambitious, muscular, fragile and above all, completely and utterly compelling. In short, it is progressive metal genius.
Track three is the title track and features another guest vocalist in the shape of TesseracT’s Daniel Tompkins. It’s impossible to say that this is one of my favourite tracks on the album because as you might have guessed by now, they’re all nothing short of exquisite. That said, I love the more overt groove and unsurprising djent leanings on ‘A Dream In Static’ that are beautifully and seamlessly blended with some sumptuous melodies that are wonderfully accentuated by Tompkins’ stunning vocal performance. When he belts out the big notes, you can’t help but listen and get drawn into the music that little bit more, to the point that I find myself living the track rather than simply listening to it. The fact that I’m not generally-speaking the biggest djent fan in the world just serves to underline how sickeningly good the song writing must be to draw me in in the way that it does.
As a brief aside, there are certain points when the ‘djent’ tag is justified but make no mistake, ‘A Dream In Static’ is not a djent album. The influences are far too varied, the tones, the textures, the atmospheres, the styles and the overall execution call to mind a myriad of different genres and sub-genres, everything from soul and jazz through to classic prog and even melodic death metal. But crucially, Earthside take all these elements and blend it into something that is quite unique and very much their own.
Back to the tracks themselves and ‘Entering the Light’ returns Earthside to their instrumental surroundings whilst also being the shortest track on the record at a mere 5:27 in length. It is nevertheless another dramatic track that again has more than a passing resemblance to a piece of movie soundtrack music, albeit very different to what has gone before. I adore the central melody courtesy of a hammered dulcimer played by guest Max ZT as it offers a stunning counterpoint to the returning Moscow Studio Symphony Orchesta and the more traditional rock/metal instrumentation around it, both of which inject urgency and drama, wrapped up in a gorgeous piece of song-writing. It may be a Graeco-Roman instrument but to these ears, the dulcimer lends a slightly oriental feel to the delightful composition. The booming and shuddering bass that erupts somewhere in the centre of the track is great too, but to pick out any one performance does all the others a real disservice.
‘Skyline’ is, as far as it’s possible for Earthside, more of a straightforward instrumental metal track. That said, it’s still insanely complex, challenging and full of clever ideas with the bass guitar catching my ear most of all. However, it has more of an all-out jam feel to it, as if each member of the band is given the freedom to cut loose. That is until the half-way mark where everything falls away to be replaced by a tentative piano melody whilst the song rebuilds itself, like a phoenix rising from the ashes in a blaze of glory. The lead guitar line is spine tingling and around it is the sense that the composition is building towards something. That ‘something’ turns out to be a massive crescendo in the best post rock/metal tradition, full of elegant atmosphere and a deceptive, brooding heaviness.
Hot on the heels is ‘Crater’, which features one of my all-time favourite metal vocalists, Soilwork’s Bjorn ‘Speed’ Strid. The guy is a monster and he fully demonstrates that here. To begin with, he’s offered the opportunity to really explore his softer, more melodic side before he launches into the chorus of sorts with some of his best work to date in any band or project. It helps that the track behind him is satisfyingly powerful of course. It’s suitably urgent, with equal parts quiet restraint and all-out metal aggression and epic melody, the perfect foil to the many facets of Strid’s voice. Frankly, the result is beyond stunning. The composition is flawless and Strid is God-like; note perfect and his voice drips with emotion and bucket-loads of sincerity, particularly when he cuts loose and calls to the heavens with his rough and gravelly timbre.
‘The Undergrounding’ is the final instrumental piece on ‘A Dream In Static’. It features some inspired synth sounds that create the track’s U.S.P. and help offer something different to what has gone before. Those Meshuggah-inspired riffs return but all the while accented with plenty of other ideas meaning that all-too-soon, the relatively short track is at an end, albeit via a riff that’d be right at home on a classic doom metal record thanks to its pace and earth-shuddering heaviness.
And that leaves the final track, ‘Contemplation Of The Beautiful’ to close out the record. It begins with some sampled sounds that lend it a theatrical bent. The chosen vocalist for what is the longest track on the album is the less well-known Eric Zirlinger (Face The King, ex-Seer). What’s most ear catching about this piece of music is the pronounced light and shade. At times, the track is beautifully quiet and introspective with softly-sung passages. At others, out of nowhere, the music explodes with the power of an unstoppable force with Zirlinger screaming his lungs out in savage, uncontrolled fury. Around half-way, the track descends into more adventurous and quirky post-rock territory before beginning the gradual ascent towards another indescribably monumental peak of musical majesty; the agonised screams return alongside the most grandiose of melodic crescendos imaginable, leading to one of the most epic compositions I’ve heard in a very long time.
As the album draws to a close, I’m left stunned. How can this be a debut album? Where the hell have Earthside come from? Where can they possibly go from here? ‘A Dream In Static’ is not perfect but it is very close. It is one of the most intense, challenging and ambitious recordings I have heard in a very long time. It is also flawlessly executed and produced with the help of David Castillo in a way that allows every instrument and every subtle nuance to shine through.
I’m not a gifted musician, so I prefer to reflect on how albums make me feel; Earthside’s music elates me, excites me and delivers something new on each and every listen. On that basis alone, mark my words, Earthside are going to be huge. A band of this talent, dedication and focus that has produced something as jaw-dropping as ‘A Dream In Static’ as a mere introduction to the metal world cannot possibly be anything else. And you know what? They thoroughly and unequivocally deserve everything coming their way. Bravo gents, bravo.
‘A Dream In Static’ is out on 23rd October 2015.
The Score Of Much Metal: 9.8
If you’ve enjoyed this review, check out my others right here:
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Teramaze – Her Halo
Amorphis – Under The Red Cloud
Spock’s Beard – The Oblivion Particle
Agent Fresco – Destrier
Cattle Decapitation – The Anthropocene Extinction
Between The Buried And Me – Coma Ecliptic
Cradle Of Filth – Hammer Of The Witches
Disarmonia Mundi – Cold Inferno
District 97 – In Vaults
Progoctopus – Transcendence
Big Big Train – Wassail
NightMare World – In The Fullness Of Time
Helloween – My God-Given Right
Triaxis – Zero Hour
Isurus – Logocharya
Arcturus – Arcturian
Kamelot – Haven
Native Construct – Quiet World
Sigh – Graveward
Pantommind – Searching For Eternity
Subterranean Masquerade – The Great Bazaar
Klone – Here Comes The Sun
The Gentle Storm – The Diary
Melechesh – Enki
Enslaved – In Times
Keep Of Kalessin – Epistemology
Lonely Robot – Please Come Home
The Neal Morse Band – The Grand Experiment
Zero Stroke – As The Colours Seep
AudioPlastik – In The Head Of A Maniac
Revolution Saints – Revolution Saints
Mors Principium Est – Dawn of The 5th Era
Arcade Messiah – Arcade Messiah
Triosphere – The Heart Of The Matter
Neonfly – Strangers In Paradise
Knight Area – Hyperdrive
Haken – Restoration
James LaBrie – Impermanent Resonance
Mercenary – Through Our Darkest Days
A.C.T. – Circus Pandemonium
Xerath – III
Big Big Train – English Electric (Part 1)
Thought Chamber – Psykerion
Marcus Jidell – Pictures From A Time Traveller
H.E.A.T – Tearing Down The Walls
Vanden Plas – Chronicles Of The Immortals: Netherworld