Frameshift
In Absence Of Empathy

Frameshift is the project of one of the quirkiest and most prolific musicians of recent years: Henning Pauly is a multi-instrumentalist and an excellent composer. He alternates his solo works with releases under the name Frameshift.

Especially with Frameshift, he amazed everyone with the debut titled “Unweaving the Rainbow,” surrounded by excellent and famous musicians (to name one, James LaBrie on vocals). I absolutely do not hide that my approach to this Pauly was precisely given by James LaBrie, present in this group's debut. The result was astonishing, and I fell in love with this artist. But I also don't hide that the new “An Absence of Empathy” seems even more complex to me. First of all: a warm, powerful, and energetic voice like that of Sebastian Bach (former Skid Row) that leaves an indelible mark on the sound and melodies. It is an invaluable pleasure to hear him sing in such a professional and impeccable manner. Naturally, Pauly surrounds himself with other excellent musicians, like his brother on drums and some external composers who helped him create “Chain,” his first solo album.

Immediately noticeable is a tougher and more aggressive attitude: this second chapter of the Frameshift saga is more oriented toward a fairly mature prog-metal than old-fashioned prog-rock. But it's also worth highlighting the concept that spans the entire album. Although the songs are not strictly connected, they narrate human violence. The album and its concept take you directly into the minds of different people who have experienced violence or have used violence against others, and each song seems to have a kind of subtitle, almost thematic to the story being told. “Human Grain” starts the album off and carries forward, amidst fairly frequent time changes, the theme of the album. An energetic, very progressive song supported by Bach's excellent vocals. The lyrics are quite clear: the protagonist begins to experience violence through the media and the news they publish. “Just One More” despite having a seemingly cheerful pace, tells the first violent experiment: that of the serial killer. The title is nothing but the inner voice of the murderer pushing him to seek yet another (one more) victim. Commendable is the use of electronics throughout the track. The album, and the story, continue with “Miseducation,” which has the feel of an anthem. The piece features excellent orchestrations with the ever-impressive Bach. The story told immediately leaps to mind: violence in schools, this time psychological violence. This song contrasts with the eighth track, “Outcast,” where the psychological violence suffered by an unpromising student manifests as physical violence against his peers, in a track with excellent rock-metal development.

“I Killed You,” during its 9-minute duration, is a significant emotional and sonic crescendo. A track that does not present accelerations but very well-curated progressions in very pleasant harmonic interweaves. The theme examined is the realization of murder, where the protagonist, in a rabid outburst, kills his wife despite loving her. The following presents a direct antithesis between active and passive violence: “This Is Gonna Hurt,” with a rhythm initially almost funky, deals with the theme of inflicted torture. The most violent theme is organized in the two “Push the Button” (the war endured) and “Blade.” The former is a fairly bland track, while the latter is the best track on the entire album. “Blade” narrates the deeds of a Scottish hero warring for freedom (certainly inspired by Mel Gibson's Braveheart film). This track is intertwined with first-rate orchestrations, with choruses and melodic solutions that so evocatively call to mind Scottish bagpipes before Bach's powerful and angry voice bursts forth in its beauty. The final antithesis among the themes is that of rape: initially endured by a girl in “In an Empty Room” (softened by a sweet and reflective piano), and then an active rape in “How Long Can I Resist,” which narrates, in a whirlwind of distortions, the inner conflict between sexual desire and moral ethics. Before the album's closing, there's the antithesis to active torture: “When I Look into My Eyes” narrates the tortures endured. A very beautiful track with truly excellent lyrics, based on electronic textures.

The album closes with a wonderful “What Kind of Animal.” Melodious notes of piano and guitar supported by sweet choruses. The theme is what I would call repentance. As often happens in these musical territories, this successor to the acclaimed “Unweaving the Rainbow” was highly anticipated. Let’s say that, despite not being as homogeneous as the first, this album presents itself as a true musical work both conceptually and musically. Sometimes it presents drops in energy and pathos, but the concept holds everything together, and above all, a truly fit Sebastian Bach.

Among electronics, progressive metal, and symphonic elements, this album remains highly recommended for fans of prog-metal, rock, and music in its most complete expressions.