If Quiet World is the kind of thing the members of Native Construct come up with whilst heavily involved with their college studies, then their future not only looks rosy but the music scene is destined to some real greatness ahead. The band’s debut album is a fascinating end enthralling adventure entwined in more styles and flavours than London Fashion Week and an imagination which simply bewitches that of the listener. It is not without a few flaws yet for an introduction to the band and their creativity, a ‘wow’ is in order.
Native Construct consists of vocalist Robert Edens, bassist Max Harchik, and guitarist Myles Yang, three music students who came together creatively in 2011 whilst at the Berklee College of Music in Boston. Using the composition and arranging skills learnt in their studies, as well as the technical craft and inbred inventive talent of the band members, the trio began drawing on a torrent of genres from progressive and classical rock to heavier technical incitements, as well as musical theatre, jazz and plenty more. Between 2011 and 2013, Native Construct set to work writing and recording what was to become Quiet World, predominantly self-producing the concept release, whilst continuing their studies. It came to the attention of Brian Slagel at Metal Blade Records at some subsequent point, and as their press releases says “What began as jam sessions simply for fun eventually turned into a full-fledged musical endeavor.” The band was signed to the label and the album, with its vocals being recorded with Jamie King at The Basement Studios in North Carolina, is now out there to surely stir up a worldwide appetite for this potential drenched band.
Quiet World brings a tale, to simplify it, of a mute and slightly unstable man who has an unreciprocated love for a girl which leads to obsession and eventual resentment. He also creates for himself a new, fantastic world where there are no oddballs or outcasts, which is where the album comes in. It is an eventful lyrical exploration more than matched by the musical adventure around it, and started with Mute. From an isolated climate with random sonic textures flying round the senses, the song bursts into theatrical and orchestral life. Strings and melodies spin an immediately potent and cinematic landscape of sound and emotion whilst the ravenous drum work is an uncompromising tempering of the fiery beauty. It is an invigorating start coated in elegance and menace, keys and guitars duelling with rhythms for voice whilst equally sharing the spotlight, whilst the vocals of Edens roar and serenade across the magnetic proposal. Relaxing into an avant-garde/jazz lit calm coloured by a seducing of piano and infectious harmonies, thoughts of bands like 6:33 and Pryapisme come to mind, and even more so as volatile and tenacious elements add their erratic and compelling presence to the mix. There are moments which for personal tastes do not quite hit the same sweet spots as others, but constantly evolving and unpredictable with that cinematic orchestral temptation returning in full persuasion, the song is intoxicating drama.
Following song, The Spark of the Archon, opens with an eighties bred synth pop shuffle, keys and percussion a smiling lure before riffs and grooves bring a rawer edge to the entrance. Once in full pop rock flow though, the song has a strong coincidental whiff of UK band 12 Stone Toddler to it with a Mike Patton/Mr Bungle touch too. Music and vocals again bring fluid scenery of unexpected detours and wrong-footing escapades whilst crafting an immersive and easy to greedily devour proposition. Lyrically at this point the protagonist’s new world sees the rise of Archon who leads an uprising in this new land against opposing character Sinister Silence.
The proceeding tracks bring for the main, different episodes in their enduring struggle, Passage next stealing attention and imagination with its stroking embrace of shadowed kissed strings around equally evocative guitars. Sultry and exotic, intimidating and melancholic, the track as those before has a perpetual shifting in its tone and sound, though it is more stable in its progressive flight and controlled in the additional additives of textures and styles seducing the imagination. In saying that the pent up creative bedlam which marked the previous tracks has to go somewhere, and like an itch which has to be scratched it bursts out through gypsy folk breezes and technical metal roars, to name just two of the delicious strains of the almost psychotic enterprise released.
Your Familiar Face also has a calmer interior within its walls, emerging as the most restrained of all songs upon Quiet World but unafraid to throw an unexpected twist and wink of creative mischief into its theatre of sound. It is a captivating caress on the senses but it has to be said by its end ears were hankering for that warped ingenuity, which is swiftly fed again by Come Hell or High Water. Sombre strings play with and incite body and mind right away, though behind their sombre face there is a twinkle which is taken up by rhythms and the swiftly joining vocals. Like a stage show song, it grows in stature and emotional drama, becoming a hearty bellow and in turn a snarling vociferous provocation, especially vocally. Of course by now expectations are redundant, the song ebbing and flowing in all aspects and extremes whilst conjuring new unpredictable and riveting antics.
The album is completed by firstly Chromatic Lights, a short instrumental detour within a raw ambience, which leads into the closing Chromatic Aberration, an epic twelve minute plus psychotic tapestry of emotion and unbridled creative mayhem. It is a chaos which is as perfectly shaped as it is emotionally deranged; every groove, melody, and rhythmic trespass a coherent and engrossing incitement in a cinematic flight across tempestuous and constantly changing emotional climates. The track is a dynamic and scintillating adventure all on its own, a mouth-watering musical emprise which combined with the rest of Quiet World simply leaves ears and emotions smiling.
We mentioned the album is not without issues but to be honest the more you listen and delve into Quiet World they are hardly of relevance, except to ensure that the band’s next offering when they have no other distractions, is an already highly anticipated proposition.
Quiet World is available now on Metal Blade Records via http://www.metalblade.com/nativeconstruct/
https://www.facebook.com/NativeConstruct
RingMaster 23/04/2015
Copyright RingMaster: MyFreeCopyright
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Casuistry has growth in every aspect from its striking predecessor, a new maturity and exploration fuelling songwriting to sound, lyrical endeavour to technical resourcefulness. This also applies to the rigorous challenge on the senses and psyche of the listener which will be too much for some, but the rewards as evidenced straight away in opener Believe the Unseen, border on intoxicating at times. From its first breath, the song offers a bestial roar on ears, the throat ripping bellow of Bartosek alone a fierce and gripping incitement matched by hellacious riffs and rhythms. It is a brief savagery though as mere seconds later spiralling melodic enterprise flows from the guitars of Johnathan Matos and Matt Mendez, entangling the predacious bassline of Alex Vazquez and the rugged beats of Phillips in their midst. Within thirty seconds the song is a creative tempest, an unpredictable maelstrom which allows thoughts a glimpse on getting a handle of things before stirring its body and threat up all over again. Thoughts of Trepalium hint away across the track but also as everything turns in on itself and dives into new ideation, the likes of The Faceless and The Contortionist spring up.
It all starts with Error Terror, a warped sonic disturbance of jazzy intent brewing up to the point where the band step forward with sharp hooks, wiry grooves and bustling rhythms. It is an immediate flavoursome tonic of sound, becoming more acidic and tangy with the vocals of Trip Hazzard, his appearance seeming to spark a more citric touch to the guitar enterprise of David Anderson and Thomas Cox. The song continues to prowls the senses as the meaty beats of Paul Hopgood collude with the throaty lines cast by Thom Draven’s bass, but throughout and just as potent is an infectious almost virulent swing to the track. It is a mighty and compelling start to the release and quickly matched by its successor.
Hentai Babies has a busy sound which as shown in the last song, at times can hide some of the great twists and nuances working a way in songs. The second track provides a whimsical kiss of keys from within its depths but easy to miss as you leap around to the call of the encounter. It is not an issue or flaw but something extra to discover over subsequent plays, not that you are ever given a moment to take a breath with Yo!, the following One Potato Two quickly jabbing with an initial tease of guitar and punchy beats provided by guest drummer Rían O’Gandhi, before opening up into another full-on stroll coloured by a swaggering bassline and the ever alluring vocals. Lyrically repetition plays a big part of songs which might not work as well for some as others across a whole album, but it definitely only reinforces the anthemic quality of songs and makes them even easier to join in on, much to the neighbour’s annoyance admittedly.