Musician's music to say the least. Jarzombek shows a variety of influences here, from Holdsworth to Satriani as far as his style and technique are concerned. Fans of LTE will find this to be on a whole different level as essentially this is much more complex than LTE, as well as the band having originated before the LTE project.
The biggest complaint here is the vocals, which are quite ridiculous, as music this complex should just stick to being an instrumental output. Also of note is some cool guest appearances on the album, and I believe Freidman of Megadeth fame produced the record on his label if I'm not mistaken.
This is about as technical as it gets folks. The concept here is quite hilarious it's about a redneck who buys a computer and doesn't know how quite how work it at least from what i can make out.
The opening track 'Aquanet' is my favourite starting with nothing more appropriate than the sound effect of a modem dialing up before launching into a tech assault. The funnily titled read me is another great song, it's probably one of the most technical but also utitlises dynamics very well in the middle. Melissa's Friend is another highlight - one of the funniest songs and one of the most melodic too. This one is a must for fans of technical metal.
Extreme but also showing much of the melody and myth of the neoclassical metal pioneered by Schenker, Uli Jon Roth and Yngwie, 'Ink Compatible' will appeal to a wider range of fans than your typical Behold the Arctopus CD. Surprises around every corner and well worth many good listens. Being able to charge their viciously impressive playing with intelligent and complex composition, Spastic Ink immediately set themselves apart from the rest of the crowd, leaving a dedicated fanbase hungry for more.
Seven years later, a few things changed with the band's sound on the second record 'Ink Compatible', but the tongue-in-cheek nature of the album coupled with its technical brilliance make it nothing short of a great follow-up to the original.
To one as yet uninitiated with the music of Spastic Ink, the band takes progressive metal to very technical heights, and features incredibly complex arrangements, albeit at the sacrifice of well-rounded music. Although I was always impressed by the arrangements of Spastic's msuci the first time around, it always felt as if the compositions lacked cohesion as complete pieces.
On 'Ink Compatible', there has definitely been a marked improvement on that front. Instead of the songs feeling like individual collections of jaw-dropping riffs and musical ideas, 'Ink Compatible' has pieces that take the form of actual songs; all to the band's benefit.
In most ways, 'Ink Compatible' is an improvement over its predecessor, although it certainly takes some extra time to grow in light of the added complexities to composition structure. However, I do not necessarily choose this album over the first.
The biggest reason for this is certainly the use of singers here, which as one may have expected from a band as technical as Spastic Ink, does not work in the band's favour. Although there are some great singers like Daniel Gildenlow of progressive metal titans Pain of Salvation at work here, the vocal melodies never sound inspired, and instead tend to distract from the real delight here, being the excellent instrumentation.
Some of the voiceovers wear thin quickly as well; one can only hear interludes about hillbillies' views towards personal computers so many times before deigning to skip over it! Perhaps there isn't as much of the same charm this time around for Spastic Ink, but the album is certainly a step above 'Ink Complete' in terms of its writing and- in some cases- musicianship itself.
Spastic Ink finally sounds like a full band effort here as opposed to the debut, which sounded closer to being a Ron Jarzombek solo album. An excellent album by any stretch, although it is more hit-and-miss than what I've previously heard from Spastic Ink. Mindblowing, one of the most technical and original bands you'll find in this site, courtesy of Ron Jarzombek's Awesomness. This album is weird, melodic, technical, creative, dynamic, even fun, but more important This album has a lot of contributors, from Daniel Gildenlow Marty Fri While Spastic Ink is certainly comprised of some competent musicians, the album Ink Compatible is mostly technical fluff.
After an hour of listening to nothing but odd chromatic guitar runs and unusual atonal synth atmospheres, things can get pretty tiring.
Even guests like Marty Friedman and Well, Spastic Ink is from other dimension of progmetal music. Ron Jarzombek seems to be a very excentric guy and proyect his personality through his music. The first time I listened Ink Compatible I asked to myself "what the hell is this?
A great album spoiled by some really annoying vocals. I am listening to Ink Complete right now; being an excellent album one may ask himself or rather, Ron Jarzombek, the real drive in the Spastic Ink project why the hell are there vocals included.
I'm not a fan of Watchtower for the same r This albuw is definitely a grower. After reading a few reviews and looking at the lineup which includes Bobby Jarzombek, one of my favorite drummers ever I bought the CD and I was disappointed!
An hour of insanely complex music with thrashy vocals and weird time signatures. But that didn' In fact it would be just to label this a solo-project, as Jarzombek, along with possessing a really cool surname, writes and orchestrates all the music.
Ink Compatible is the follow-up to debut Ink Complete , released in The differences between the two are overt and obvious. The debut proves to be a rather simplistic and lacklustre affair, with a tiny production and plain arrangements. This album sounds huge; given the grand production job, it has depth and reverberates long into the abyss. It sounds like a professional recording, whereas the previous release sounded bare-bones and stripped-down.
With his homemade guitar in the classical position, Jarzombek imprints the proof of his wizardry and instrumental efficacy, and demonstrates that he is not only one of the best players in the metal arena, but that he is also one of the most creative and inventive players. No, they demand attention, and capture it in a trap of prodigious and original compositions.
Bit like a mousetrap, only with more scales. The soundscape here makes use of odd-meters and a rapid oscillation of time signatures. Things are insanely technical, and with relentless intensity it is shot forward with nary a moment for reflection.
There are also audio interpolations of what can only be described as a Dickensian nightmare involving the purchase of a computer - a sweet, young English accent requesting a number of technophile ideals, but the whole scene slicked with a disconcertingly subtle air of uneasiness. The penultimate track includes a wonderfully uncomfortable spoken section; suitably enigmatic words breathed by a creepy female voice.
All this with a rather dark tint; airs of alluring devices, but ones not to be trusted. But at the same time overtones of humour infest the proceedings. Most of the songs are propelled along by the drumming of Bobby Jarzombek, brother and former-Watchtower band-mate of Ron. His exquisite percussion work lays a foundation for the overlapping layers of guitar, and are of such complexity that one could quite happily listen to the whole album, only giving due attention the drums, and still be enthralled.
0コメント