Frameshift
Unweaving The Rainbow

Frameshift is not a side project of the already well-known singer of Dream Theater, James LaBrie. It is therefore a true band, and a new and very interesting reality in the field of progressive rock-metal. But it also goes beyond.

Their album could be defined as a project: "Unweaving the Rainbow" is based on three expectations and main points:
1) to produce an album where James LaBrie appears in top form like never before
2) to combine the various elements of progressive rock with a modern production
3) to use the works of Richard Dawkins (a contemporary writer) as concepts.

Let's say the work has succeeded, quite well, indeed, very well. The album is pleasantly arranged in 13 songs, opening with "Above the Grass ptI", and closing with "Above the Grass ptII". In total, 15 songs. The result is a harmonious, melodic album that sounds very original and fresh. Rich in excellent atmospheres and exciting acoustic and vocal passages.
Already from the cover of the album, one perceives a sense of peace and tranquility, and this is the right feeling one gets while listening to the album during its total duration of 69 minutes, which honestly, doesn’t feel heavy at all. And this wonderful tranquility is felt from the initial "Above the Grass ptI", accompanied by a gentle acoustic guitar.

The beauty of the album is just that: it takes the listener into an external environment, as if we were lying on a green meadow contemplating the blue sky and the rainbow that peacefully breaks this harmony. "The Gene Machine" breaks this harmonious feeling, with a solid sound backdrop of distorted guitars and electronics. This doesn’t fall into metal, on the contrary, it maintains that prog-rock atmosphere that is much needed in today's music. The track is pleasant and enjoyable in its speed. Just like the second track "Spiders", with its cadenced and rhythmic progression. The highlights of the work are definitely the slow parts or the calmer pieces. "River out of Eden" contains resonant and relaxing melodies thanks to the non-intrusive use of the guitar, while "Your Eyes" is a sweet acoustic ballad but with a cheerful tempo.

"La Mer" represents the pearl. In its calm, it evokes the beach, the calm sea waves, and the sweet notes of a piano in the background. "Nice Guy Finish First" breaks this dreamy atmosphere, bringing us to a more playful mood, a more progressive and complicated song, full of choirs and truly remarkable solutions. "Arms Races" represents the hardest episode of the whole album and certainly the most prog, lasting over 8 minutes. But it's an excellent piece: especially for a truly extraordinary section rich in strings, leading into the exhilarating instrumental part. "Origins and Miracles" resumes the calm atmospheres, now with a keener eye on underlying melancholy.

I would like to emphasize how smart and valuable the use of the piano (not keyboard) is throughout the album: it truly makes each passage unique and enriches it with sublime atmospheres and quality. "Off the Ground" resumes the rock-prog pace. Thus elements of rock alternate with elements of pure calm: this is again the case with "Walking through Genetic Space" and the subsequent "Cultural Genetics" where LaBrie launches into sampled and distorted voices. "Bats" seems to excellently close the album, being a very rhythmic and energetic piece. But it wonderfully concludes with "Above The Grass ptII". A small suite rich in every possible element: acoustic and distorted guitars, strings, piano, and sampled keyboards. A wonder for the senses.

Thus concludes a truly excellent album, commendable, excellently played without excesses but with intelligence and moderation while keeping everything at a very high level. A great progressive rock album, rich in atmospheres, sensations, and commendable musical moments.