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Many times, a member of any well-known band conceives the idea of a solo project only after having a lengthy career behind them. But exceptions to the rule are acceptable. The artist I'll talk about in this review is the very young Jeff Loomis already guitarist of the skilled Nevermore, who is part of the new generation of guitarists on the scene.
Even though the album is not obviously a must for instrumental albums of 2008, its creator still stands out, embodying a great passion for his instrument, excellent technique, and a good musical mindset. The album's sound is a mix between: riffs definitely rooted in thrash metal, vast and cold environments typical of technical sound, dissonances from the more serene Meshuggah, plenty of pentatonics and many ancient scales that give the tracks the "neo-classical" flavor that modern guitarists love so much.
Loomis, in addition to being an appreciable and fresh guitarist, is also a cook, and perhaps in this work, you can glimpse his second passion (don't take me for crazy), because it's as if he's "preparing a dish," since the song structures are pleasantly studied and compelling, all to satisfy all kinds of palates.
In an interview with Metal Hammer, Loomis declared that he had never studied any musical theoretical rules or composition notions; here we have a rare example of how sometimes, the knowledge of theoretical rules is only a facilitation and not an obligation. In many tracks, Loomis will be supported by exceptional guests such as: Ron Jarzombek in "Jato Unit," the cannibal Pat O'Brien in "Race Against Disaster," and most notably the recognizable bass solo by the great and guide for all bassists Michael Manring in "Cashmere Shiv."
Analyzing the various tracks:
"Opulent Maelstrom" has a direct and furious progression, thanks to a respectable accompanying session and obviously death-influenced drumming. Loomis' distortion is sharp and intense but not annoying, lightened with a skillful use of the wah pedal. The guitar parts bring us fusion-like nuances in this track; the choice to give counterpoints to the guitars, perfectly mixed, is acceptable and clever. Speaking of the present dissonances, one must admit they are not entirely original, but still lively and well integrated within the chaotic context of this piece.
"Jato Unit" is imbued with beautiful muted riffs, with a combative flair, because indeed you will notice how the whole album can be the backdrop of some battle, thanks to various contrasting elements that almost "fight" each other. Even those not into death metal will notice how the rhythms, guitar equalization, and cadences are similar to "Dead Eyes See No Future" by Arch Enemy, admitting how Michael Amott surely influenced Loomis.
"Cashmere Shiv" is deep and very epic with pleasant breaks. The initial open chords are repeated throughout the track which, as the title suggests, assumes rather rich oriental sounds; Manring's bass solo is to be appreciated. It is noted how the guitar enters when the track is already underway, playing mainly excruciating melodies. Loomis shows us how he knows how to best use artificial harmonics and vibratos; indeed, the vibratos allow for a clean performance of long notes, reminiscent of many doom situations.
"Sacristy" garishly exploits classical cadences and the guitar has a warm sound and a relaxed and clean attack. Even though it's a slow track, certain technicalities strongly impose themselves, but they do not give off feelings of hostility and do not evoke malign scenarios since the mood, in certain parts, is strangely wrapped in an almost "tender" sensation. This track is very interesting and worthy of many listens.
"Departure" is a primarily acoustic track but even in its simplicity presents string pads that fill it all.
The production is clean and attentive to details, and was executed in Loomis' home studio. Moreover, the guitarist does not bind himself to stereotypical guitar brands, using predominantly handcrafted instruments and thus of excellent sound quality. He mainly uses seven-string guitars tuned a semitone down and in open tuning, which indeed allows many passages and scales to take on particular nuances thanks to this usage.
It is noteworthy that this very talented musician does not have a particular ambition for a solo career, limiting himself to producing his works independently, thus he can be rarely seen solo on stage, but his mastery can certainly be appreciated with Nevermore, also as a composer.
Speaking of the group that accompanies Loomis in this endeavor, besides the already mentioned exceptional artists, we have: Mark Arrington on drums, who does an excellent job emphasizing the various intensities, Neil Kernon as programmer and keyboardist, also working with Nile and Cannibal Corpse, contributing to the formation of the more extreme sound of this album.
An optimal work, perhaps some tracks required a "reconnaissance of ideas," but it is still appreciable. A proper release in the solo metal scene that I recommend to everyone.
Kudos to the chef!!!
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