These three gentlemen have gotten together to make beautiful music and how! Progressive is definitely the primary vibe from this record, which features some Travis Smith (Death, Fear Factory, James Murphy, etc.) artwork, but that seems to be too limiting of a descriptor. Elements of classical, jazz fusion, rock, Metal, maybe bluegrass (can you say mandolin?), or even country (more cowbell!) are mixed at will and blend seamlessly while pouring through your system’s speakers. The tunes are often complex but refrain from the self-aggrandizing wankery that often plagues this genre.
While the guitars fill much of the sound with vitality, vigor, and vim, and the drums are quite intricate, providing a framework of multi-textured sounds that span many genres, it is the bass that really stands out on this record. I am quite familiar with Manring’s prowess via Thońk and Attention Deficit and it is his fretless excellence that drives the music. Some may claim his playing is overkill but the bass often goes unheard and this is a welcome respite. My biggest complaint is one of production or mixing. When Snelwar gets heavy, relatively speaking, his guitar seems too thin, but that is a minor point. This album is easily recommended for fans of Liquid Tension Experiment, Gordian Knot, and those who don’t think jazz/fusion is dead.
|1. The God Interface|
|2. Torn Between Dimensions|
|3. A Gap In The Stream Of Mind, Part One|
|4. Grasping At Nothing|
|5. Coming Home|
|6. The Event Horizon|
|7. A Gap In The Stream Of Mind, Part Two|
|9. A Gap In The Stream Of Mind, Part Three|
|10. At War With Self|
|Buy other At War With Self albums|