DIMENSIONS

"Dimensions" is the 3rd full-length studio album by US technical/progressive thrash metal act Believer. It would also be their last album in 16 years as Believer disbanded in 1994 and wouldn´t release their next album "Gabriel" before 2009. The album was distributed by R.E.X. Records for the christian market (Believer write lyrics based on their christian beliefs) while Roadrunner Records distributed the album to the secular audience. "Dimensions" was re-released by Retroactive Records in December 2004 with 3 bonus tracks which were recorded live on the 31th of October 1989. The re-release is limited to 1000 copies. A few lineup changes have taken place since the release of their last album "Sanity Obscure (1990)" as guitarist Dave Baddorf and bassist Wyatt Robertson have left the band and Jim Winters has replaced them and handles both the bass and some of the guitars on "Dimensions". The core of the band, guitarist/lead vocalist Kurt Bachman and drummer Joey Daub are still present in the lineup.

The basis in the music on "Dimensions" is still aggressive technical thrash metal like Believer also played on their two previous albums but the music on "Dimensions" is far more sophisticated and varied than the case was on the predecessors. Believer venture into progressive territory more than once during the playing time and listeners who found their previous albums too simple should try this one out. There are lots of interesting time signature changes, samples, female soprano vocals and a far more integrated use of orchestral string arrangements on this one than what we´re used to from the band. The pace is generally a bit slower than the predominanly frantic pace of their earlier releases but there are still very fast paced sections on the album. The string arrangements are heard on "What is but cannot not be" but are fully integrated in the four chapter 20 minutes long suite (the songs are seperated. This is not one long track) "Trilogy of Knowledge". A powerful mix of technical thrash metal and classical string arrangements with both aggressive raspy vocals and female soprano vocal parts. This is the centerpiece, highlight, and the most progressive moment of the album. The other tracks on the album are quality material too.

The musicianship are on a high level throughout. Challenging compositional structures and tight playing make "Dimensions" an intriguing listening experience. The sound production by The Trauma Team (Kurt Bachman and Joey Daub) and Ted Hermanson is dark and powerful. An excellent sound that suits the music well. While Believer never received the attention they deserved I personally think "Dimensions" is a seminal technical/progressive thrash metal album from the 90s and mandatory listening if you´re a fan of the style. A 4 star (80%) rating is deserved.

1. Gone, a beautiful cinematic intro, a prog intro that made all the prog-heads throw it at him, since prog was dead except for DREAM THEATER; a hard rock metal sound from the 80s, thrash flirting with DEICIDE and other HOLY MOSES, a zest of VOIVOD too for a poorly polished archaic sound 2. Future Mind for the electronic tinkering, 30 seconds and then this sound almost becomes overdone, lacking in creativity; good drum pad, good eruptive riff, staccato vocals and a jet of extreme notes; it's stupid because there's a drop of prog blood behind it, let's continue 3. Dimentia for the austere guitar arpeggio on a dark phrasing, it declines starting with the screamed cry and the clique that goes with it; A bit of noise, and bam, at 4 minutes, the violin and guitar are bewitched. Here comes the prog, I believe it. 4. What Is But Cannot Not Be for the sound effects, that dark intro that makes you doubt the direction of the song; after that, it's unhealthy thrash on every level, and you feel like you're getting bogged down, there are even hints of METALLICA, MEGADETH, and EXODUS from the beginning; 5. Singularity drives the point home, with a violent sound, poorly recorded, poorly mixed, absolutely bad; the snarling guitar solo with a distant keyboard can be misleading for a few moments, and the animal outro is terrifying. Ah, but why not extend this finale that made me prick up my ears? 6. No Apology as an encore with the same ending, but a bit longer, a horror cinematic with an unhealthy whiff of heavy prog blood.

7. Trilogy of Knowledge - Intro: The Birth arrives, the unhealthy intro is highlighted, won't we be treated to this cooked black blood? Ah, the intro drags on, out-of-tune clock noises, a Z-movie sci-fi vibe, prog bliss finally appears; an abrupt breath and 8. Trilogy of Knowledge - Movement I: The Lie ... here we go for the string intro, Scott's violins were well represented on the cover to be played; a compulsive, catchy riff, titanic drums, Glenn's cello is effective, while waiting for Raphael's with LEPROUS; Julianne on soprano brings the necessary sweetness to this epic piece, a mix of extreme genres; avant-garde prog metal with big riffs, with the intoxicating violin, the blood is there before your feet. 9. Trilogy of Knowledge - Movement II: The Truth for Jim's inviting bass inviting you to frolic in the Pennsylvania meadows; a chamber accord with violin and captivating cello to deceive this triptych; a melancholic intro of almost 2 minutes which continues with the contribution of the sound of the first titles; when violence is associated with neoclassical pleasure, when madness mixes with bestial creation; the break with the soft, languid, melting violin solo, a nectar of aphrodisiac notes leading to romantic spleen; enjoyment comes at this price 10. Trilogy of Knowledge - Movement III: The Key with Julianne as an uninhibited siren coming to seek the souls of fishermen accompanied by the intoxicating violin; archaic sound sensation, oppressive climate of some KING CRIMSON, and then and then the frenetic violin-guitar melody refrain starts moving; the title tribute to baroque heavy rock where classical instrumentation comes to wreak havoc in a vulgar death-thrash-hard rock band; the result is this title sprinkled with progressive overtones which throws dismay in the good sense of the term!

5* for this revolutionary triptych!