I’m not sure about this, but I’m pretty sure they got their name from Between The Buried And Me album titles.
- The Parallax: Hypersleep Dialogues
- The Parallax II: Future Sequence
That’s okay if they did. I love Between The Buried And Me.
Also, some people might say Djent isn’t a genre. And I guess they are right; but it is a distinct style. I have mixed feelings with Djent style of music. As a bassist I never really liked the idea of drop tuning, as the bass seems low enough for me. If it is tuned too low, you can’t really distinguish any of the notes. When it’s that low, it all sounds the same to me. I also prefer more melodic and rhythmic playing. I like to groove. Although the drums get to play more complex patterns, the bass and rhythm guitar are stuck playing open bottom note chugs so a rhythm that sounds like it has epilepsy.
Anyway, like I said I have mixed feelings on Djent. As a listener, it does sound cool. Like dubstep in techno music, it sounds kinda trippy. I recognize that this style of guitar playing can only be played on 7 or 8 string guitars that are drop tuned. There is significant skill needed to keep time on these seemingly epileptic rhythms in non standard 4/4 time. I get it. It sounds cool. But I’d hate myself if I had to play it. I’d be bored out of my mind.
Alright, enough about “what exactly is Djent”. Their 2nd track, Burden stood out for me. I may have said that they are progressive, despite the entire album only being ~17 min long. There are a few abnormal chord changes that were pleasantly surprising. It is also difficult to pinpoint what is a verse / chorus. There is a melodic section that repeats a few times, but I’m not sure I would call it a chorus. The song also contains multiple breakdowns and bridges. Definitely a unique composition formula. I say it is progressive because they are nowhere close to a typical format for song composition. You know…:
- solo final chorus
so….like most songs, ever. I have to admit that it is refreshing to take the road less traveled. Actually, if I charted Burden by Parallax, it would look something like this:
- Verse (0:00 – 0:37)
- Chorus (0:38 – 0:55)
- Post-Chorus (0:56 – 1:02)
- Interlude (1:03 – 1:05)
- Verse (1:06 – 1:31)
- Chorus (1:32 – 1:49)
- Interlude (1:50 – 1:58)
- Bridge (1:59 – 1:36)
- Breakdown (1:37 – 2:47)
- Verse (2:48 – 3:01)
- Solo (3:02 – 3:12)
- Bridge (3:13 – 3:50)
- Breakdown (3:51 – 4:03)
- Slow Breakdown (4:04 – 4:53)
Atlas Syndrome is my favorite track on the album. It has a drum intro that reminds me of a Dir En Grey song, and a lead guitar riff that reminds me of Jordan by Buckethead. The kick drum matches up with the bass and guitars for the verses in this song. The drums sound a bit weird in some places. I’m not sure if the drums are programmed, but the kick drum sounds a little too … I don’t know… “mechanical”. The drums, bass, and guitars match pretty well in this track though. When they are all in sync like that, it helps hide the artificial sound in the drums. Before it sounds like I am talking shit on the drums, I understand the reason for programming drums when recording. Usually it is to make them stand out more clearly. I really need to see them live to have a better opinion on the drummer though. The chorus has a different type of scream/singing. I really like it. I believe they sang like that briefly on Burden. Whenever it gets to that part of the song, I just get really into it. They have a way of building up to it. By the time the chorus comes, its just like a release of tension. The chords used in the chorus really help to build tension, and then resolve at the right time that matches the emotional scream/singing. It makes me want to get up and release all my negative energy with the vocalist. Its very compelling.
I don’t know if Parallax has played at the Cotillion before. I think that your people should meet up with their people and discuss it though. They have the sound and the skill/talent. I’d pay the money to see them at the Cotillion. If I was in the audience at the Cotillion and it was my first time to hear you, I’d definitely wouldn’t walk away without a CD and T-shirt. Just saying. But seriously, look into that.
Listen to the guitar solo / instrumental part of Dedicated Self Destruction (1:20 – 2:38)
basically most of the song. It demonstrates an array of skill by most members. Soloists (obviously) keeps the leads interesting and different. The bassist does a bit of slapping with a nice tone. I have an opinion on distorted bass, but I’ve going to ignore it for right now because it actually sounds pretty good. The drums are pretty tasty throughout that section as well. It’s either a keyboard or the rhythm guitarist has a nice mellow background chord that, although is basic, really helps bring out the rest of the instruments.
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Download the album on BandCamp. You can also find in on iTunes, Amazon, CD Baby, and Spotify. And if you feel especially passionate, go spam somebody’s inbox at the Cotillion to get them on a show.