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Where's The Nine - Desensitized to Insanity CD (album) cover


Where's The Nine


Jazz Rock/Fusion

3.70 | 12 ratings

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Prog Reviewer
3 stars You know, with so many new bands coming, they could be mediocre ones or bands that did not start on the right note. Add to that this album's cover and I started listening (their album is free) thinking that it is just another band. Luckily in this case, the debut is quite solid and shows potential of a very good band. This is an instrumental album with emphasis on instrument interactions and tempo changes. The guitar and the keyboards are sometimes improvisational in nature, and sometimes riff-oriented or carefully written. The rhythm section is excellent, thanks to the drummer. However, the album doesn't work on all levels, but considering it is a debut, is expected. For example, the production can sometimes feel cold or clinical, which is not really the kind of production you should have in a jam-heavy jazzy album. This band needs a live-atmosphere. I also can imagine how much a good singer could bring to the mix, as long as the instrumentals keep taking a large role in the music, tho it is not necessary as the band is good enough instrumentally to keep the interest of the listener.

A Rather Odd Tribute starts the album dazzlingly with fast runs. After its intro, it gives you a mid tempo main theme on the electric guitar until they decide to jam in a very jazzy manner (reminding of a less virtuosic, yet more accessible Mahavishnu Orchestra). Not everything works: an unexciting distorted guitar riff hurts the song.

Mood Swings is one of my favorites here, with a rhythmic distorted guitar riff that combines well with the synthesizer runs. It also features more somber moments in which the drummer, who is given plenty of room, creates a nice atmosphere. The song title would give you an idea of this song sounds like, but luckily coherence is achieved.

half of Eighteen is another longer tune and is as good as the opener. The soft, yet busy, drum groove in the beginning is especially worthy of mention. Instruments slowly join in and the song starts having changes during the middle of the tune, where the synthesizer takes the spotlight. Unfortunately, some passages and keyboard tones are not to my tastes.

Threw the Looking Glass has the keyboardist player's best moments (using electric piano) and every now and then an inspired hard rock riff pops up.

2 Days left is where I start having problems with this album. While it has some good passages (the guitar riff halfway through the song), there is a very irritating drum-oriented riff that is used several times. I also do not like some of the keyboard tones here: one bein the one in the middle part of Half of Eighteen and another is a very dated and quirky synthesizer tone.

Lethargic Waltz alternates heavy moments with somber ones, both being keyboard-oriented. After a while, you'll get some inspired jams. The first one is a more laid back synthesizer solo with excellent lively bass. The second one is heavy and has hammond organs. The last one features a guitar solo and some intricate instrumental passages.

She's Furious is obviously more energetic and riff-driven, with excellent drumming throughout the song. However, It is not fast-paced all the way through. In fact, this is the most diverse track in the album and is full of twists.

The Camera Ear is proggy, dynamic, and rhythmically complex. But in the intro, it brings the synthesizer tone that i complained about in two previous tracks. I also find it anti-climatic for the album.

So, in the end, some tracks work better than others. This band has serious chops, and I know they have the talent to release a superior album to this. I suggest that they have a more organic/livelier sound production, tell the keyboard player to be a bit more careful with synthesizer tone choices, and make sure the drummer keeps taking as large of a role as in this album.

Zitro | 3/5 |


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