In terms of instrumentation and songwriting, Inner Surge achieve an intriguing synthesis of styles, sometimes with one or another being highlighted, in other cases with closer integration. Less eclecticism and subtlety can be heard in band founder Steve Moore's vocals, which alternate between clean singing reminiscent of Maynard James Keenan in A Perfect Circle mode and standard hardcore-style screams, with little in between. Musically varied though the songs are, the tone of each is determined mainly by which voice prevails--and the rant-screaming is so unignorable that it doesn't take much to constitute predominance. The major shifting of gears from the more melodic first three tracks to the increased aggression and discordance of the next five (after which there are other shifts) results primarily from the switch in emphasis from singing to screams. Yes, Moore does indulge in some screaming during the opening three songs, but mostly of the "normal" sort, going hardcore only briefly in "The Outcome."

Moore's extremes are more off-putting than is case with many a dual-natured singer because the music is so much more diverse (very pleasingly so) than he is and because it could be heavier, thereby muting him somewhat. Although the sound is clear, it's a little trebly and flat, its multidimensionality derived mainly from the presence of hollow expanses which, while interesting, don't do anything to divert attention from the vocals. There's riffing on this album that is begging to be made bigger and badder (See "The Outcome," for instance.). More inventive use of effects wouldn't hurt either. Most in need of beefing up, however, are the drums, which sound choked down, the snare tuned very high, à la Helmet, its thinness providing insufficient underpinning and diminishing the music's weight.

Increased heaviness would be welcomed by listeners inclined to tune out hardcore screams and by those who do embrace them but might find Inner Surge to be otherwise not harsh or tough enough. I also would like to see the iconoclastic approach to genre conventions heard in their music applied more to the vocals. And while Moore's lyrics are the most unimpeachable (no pun intended) element of Signals Screaming, some improvements could be made there as well: the tendency to repeat a phrase multiple times in succession can be annoying, depending on how it's delivered, and some of the rhymes, even the off-type, seem a little "obvious." Being less concerned with rhyming might open things up for him further.

Signals Screaming is a huge departure from Inner Surge's previous album, the more subdued and possibly more eclectic Matrika, and there's every reason to expect further evolution on their next release, the writing for which is presently well underway. Also in the works is a DVD, which is but one of the band's multimedia endeavors, others including their presence on soundtracks for several films, one of which, director Fredy Polania's Cabras (featuring videos by the bands involved), is currently a candidate for the upcoming Steven Spielberg series On the Lot.

written by Maud

Playing time: 45.28