Blotted Science
The Machinations Of Dementia

The epitome of musical sincerity (and therefore synonymous with excellent works) can be found when three schizophrenics decide to rebel against the laws of "normality" and invite us to visit their "asylum." The protagonists of this visit are none other than: Ron Jarzombek (in my opinion, one of the best guitarists around and one of the most complete), who escaped from another asylum called "Watchtower," Alex Webster, who fled from the asylum "Cannibal Corpse," and Charlie Zeleny under the care of Jordan Rudess.

The work that the three propose to us is one of the most avant-garde, mind-bending, complicated, schizoid, elaborate, and thoughtful albums of the math-metal scene (and not only) of recent years. In "Machinations of Dementia," the group decides to baffle the listener, thanks to four elements: the compact and very varied sound, the intelligent use of odd or at least mixed rhythmic patterns, unison riffs enriched with unsettling breaks, and the non-improvised and non-random structure of the songs. The riffs seem to "sail" on a carpet of odd times, creating shifts of accents on additional syncopations, giving the tracks a great sense of movement and making them almost danceable.

To better accomplish the "destruction of reason," the group gives the tracks names derived from explicit and rarely used surgery manuals. The apparent tonal and rhythmic anarchy could be somewhat related to Zappa's "static density"; even very simple times such as 4/4 are dissected, divided, and rendered almost impossible to interpret through the use of irregular groups and other asymmetric patterns.

But let's talk about the tracks. "Synaptic Plasticity" is based on the continuous "call-and-response" exchanges between the band, the first guitar, and the second guitar. The rhythmic section does anything but lend stability to the track, creating further rhythmic carpets and overlaps. Webster's sparse and relentless bass sound stands out from the ensemble with its incredibly fast phrases.

"Laser Lobotomy" is like a drill penetrating the brain. Perhaps the track that best represents the sound and ideas of this group. Jarzombek dives into sliding Arabic scales abruptly interrupted by fast sweeps; at this moment, a sort of duel is established between our ear and Jarzombek's guitar.

The fifth track "Activation Synthesis Theory" guides us into a dark tunnel with ominous arpeggios supporting Jarzombek's solo, whose sound strongly resembles that of Holdsworth, undoubtedly one of the figures most influencing Ron's style. The unsteady and tense rhythm plays an important role together with the extremely fast guitar scales because ascending progressions are used, which confer elasticity and anxiety to the track.

"Bleeding in the brain" is introduced with violent breaks and very long and deep pauses. Here the trio ventures into territories where no one has gone before, managing to execute with obsessive precision unheard-of timings, such as the 19/16 in which Jarzombek "flies" with extremely fast legato, and the drums and bass cleverly emphasize the various accents.

Once again, we are impressed by the rhythmic creativity, the clever and schizoid insights, and let me say it, the enjoyable groove. All these tracks are conceived not only as compositions but also as real mathematical calculations or as building constructions!!!!

The keyboards also play a role in the brief "Narcolepsy." A pathetic and oneiric organ sets the eerie atmosphere, unfazed by the entry of Jarzombek's heavy distortions. "The Insomniac" explicitly modal, with a very fluid progression, is enriched by roaming passages like the peculiar "delay" present in the middle of the track, almost contrapuntal. In this track as well, we notice the group's great attention to dynamics because not only are the powerful outbursts characteristic of techno-death used, but also acoustic and lullaby parts, mainly keyboard-based and perfectly mixed, which gift us moments of profound delirium.

With sweat on our foreheads and distorted minds, we reach the last track "Adenosine Buildup" immersed in powerful guitar phrases. The album strangely ends with an ethereal guitar arpeggio that gives us no serenity despite being very calm since it resolves in no key but remains suspended (the famous "deceptive cadence").

The production, done remotely, deserves much praise as it perfectly enhances the album's ambiance. The crystal-clear sounds, honed to the last resonance, blend excellently with the rhythmic storms that bombard our heads for about an hour. The only flaw to reproach the group is almost the inability to live replay this "sonic cathedral" since, being a project built by only three elements, they relied on additional recordings of guitar doublings and other effects. Despite this, the work is a very enjoyable album of great energy, requiring more than one listening. Good luck to all who will listen to it.

P.S.: I had trouble sleeping at night.