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Zentraedi biography
ZENTRAEDI was a progressive metal band out of College Station, Texas, USA, formed in 2001, playing a number of local shows. The name was inspired by old school anime, named by Jon BEAL (Vocal, Keys), who with Jason HARVEY (Bass), Mohadev (Guitar) and David BECK (Drums) comprised ZENTRAEDI. ''Seven Medley Sins'', their only ever album, was recorded and mixed on own budget between 2004-2006 and was finally released in 2014, long after the group had disbanded.

Influences from PLANET X, OZRIC TENTACLES, DREAM THEATER, but also sounds from Heavy Prog (e.g. ENCHANT) and oriental soundscapes find their way in ZENTRAEDI's only album, which will appeal to fans of progressive metal.

Biography by aapatsos

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3.77 | 17 ratings
Seven Medley Sins

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 Seven Medley Sins by ZENTRAEDI album cover Studio Album, 2014
3.77 | 17 ratings

Seven Medley Sins
Zentraedi Progressive Metal

Review by Gallifrey

4 stars Note: this is also a review of Vultress' Distance

It's actually quite uncanny how many similarities there are between this, Zentraedi's debut album, and Distance, the debut album from Vultress that was released last year. Both the genre and the influences, the country of origin and method of distribution, to even little things like the album length and number of tracks, and of course, how I feel about these two albums. When it came to write a review of this album, I simply couldn't think of a way to discuss it without bringing up Distance every few seconds, and that would probably help no one in terms of comparison, since Distance is basically as unknown as this is. So I have decided, completely unsure of whether this will work or not, to write an 'experimental review' of both albums at the same time.

But I don't want anyone to think that Zentraedi are a clone band because this was released after Distance, because Vultress are certainly just as unknown as these guys are, and I don't really think a band would go out of their way to copy and album that was pretty flawed in its own right. This review is published in two versions, with different introductions and conclusions, but the same body, because these two albums, in my opinion, have very similar great parts and very similar flaws, and talking about them together only seems logical. Of course, the fact that one of these albums is significantly better than the other may veto this fact, but I really, honestly couldn't think of another way of discussing these records. So I'll do so by running through a few central topics of similarity (and difference):

i. Production

Ok, ok, I first must get this one out of the way, since this is probably the only major topic upon which these albums differ. Distance's production was a huge obstacle for me, it sounded weak and amateurish, and during the parts when it wasn't being awesome, it really did start to frustrate me. Both albums suffer from a lack of variation within tones ? and with long albums this can definitely get a bit grating, but Distance had the frustrating problem of the vocals sounding distinctly placed out of the mix, as if they were floating over the top rather than blended in with the music. Often as well, the vocals would start to sound a bit off-key, especially when Anthony Capuano goes into his full Claudio Sánchez impression.

On Seven Medley Sins, the production is far less of an obstacle, but there still is much to be desired. My major problems really lie with the tones of the instruments, particularly the keyboards, which house some inevitable cheesy sounds during this record's duration. "Dodging the Remote" features some rather nasty ones, especially during the instrumental jam section. Fortunately, for every average keyboard tone, there is a less average one in a different section. The band makes regular use of the IQ/Arena 'stretchy' neo-prog synth that I am a big fan of, although I'm not certain it fits entirely with this music.

ii. Vocals

Although both these records centre themselves around progressive metal, with ample use of synthesiser and Dream Theater aesthetics, both bands have vocalists that pull them from that crowd and straight into the post-prog sounds of Coheed and Cambria or Circa Survive. Vultress' vocalist channels a very Claudio Sanchez inspired delivery for much of this record, although missing much of the ridiculous theatricality and pronunciation that many find unappealing about Claudio's voice. Zentraedi's vocalist reminds me a lot of Nathan DaSilva from Canadian band Slyde, but considering Slyde are pretty underground too, that's probably an unhelpful comparison. Either way, both these vocalists would feel more comfortable on alt-rock or post-hardcore records, but I feel that may be what brings them out of the generic prog metal field.

iii. Structure/Wanking

As I have mentioned, one of the many odd similarities between these albums is the fact that both records have seven tracks, and both records clock in at around 70 minutes. So, by use of brilliant mathematical deduction, it means these tracks are long. Really long. Aside from "The Siren's Song" (which Vultress even label as an interlude), we don't have a single track under six minutes, and only two under eight. Between these records, we have six songs over 10 minutes, and one that nearly hits 25 in its length, and when I see track lengths like this, I hope to hell that the band knows how to structure them.

But honestly, I have yet to find a band that can make this many epics in a record and make them all sound cohesive, and although there are tracks that are pretty decently structured here, many of them meander and piss about, and generally feel like a bunch of song ideas stacked on top of each other. Both bands have an obvious Dream Theater influence in the way they use synth and guitar parts together, but there's also the influence of DT's messy gluing together of longer tracks, to the point where a few of them just completely lose all sense of greatness part way through the track. "The Path" on Distance has a really brilliant lead vocal melody and chorus, as well as some really nice instrumentation to back it, but the solo and bridge just lose themselves part way through, and even the final chorus isn't enough to really get any of the greatness back.

There are exceptions though, and I could cite both opening tracks as being pretty decently structured. Zentraedi throw one of the best choruses on the album right at you, straight off the bat, which I feel is a rather bold move, but it was certainly what sucked me in. I feel they did wait a bit long to bring the melody back into play, since it only reprises about a minute before the track ends, with a lengthy instrumental break and some hardcore wanking in the middle. Vultress take the tack of having a long and jamming instrumental to introduce the album, and is honestly one of the few instrumental sections on either album that I thoroughly enjoy. Despite taking up nearly half the track, it doesn't feel too long at all, and I really like the riff that comes in underneath the first vocal line. Unfortunately, toward the end of the track, they bring in one of the best melodies on the entire album, but 7.5 minutes into the track, it feels way too late to bring in such a great melody, and is one of the very rare times when I wish they actually continued and developed around this melody, because it feels so under-used.

But many of the tracks, and the biggest culprits here are "Time Capsule" on Seven Medley Sins and the closing "At The Edge" on Distance, which are both very meandering and aimless tracks. "Time Capsule" really just feels like a bunch of ideas flung together, and most of them are killed by completely unnecessary time changes, like the way that the intro never settles into a groove, constantly shifting and being rather annoying with the accented beats. Sometimes time changes are great, but here it just feels disjointed and irritating. "At The Edge", being nearly 25 minutes, has its fair share of long-winded and boring sections, and especially combined with the fact that it has as many memorable melodies as one of the shorter tracks, makes it a rather arduous listen. Vultress do have moments of good structuring though, and the reprises of the "Siren's Song" melody during both of the last two tracks is really nice, especially considering it's one of the best melodies here.

I think the basis of a lot of this meandering is because both these albums are heavily concept and lyrical-based. Seven Medley Sins as a title is a terrible play on 'seven deadly sins', and I have had my fair say of anger towards long-winded concept albums about deadly sins in the past. It doesn't come directly to the front, but on both albums, there are sections that are just lengthy storytellings, as if the music has been written around the lyrics. And of course, combine that with many prog bands needs to wank aimlessly for minutes on end, and you have some pretty tiring material. It would be something that affected my opinions of these records greatly, if it weren't for the massive redeeming feature?

iv. Melodies

I've often said in my reviews, at least of the albums that I say negative things about (yet somehow like) ? "everything is irrelevant if you have good melodies"

And as much as I love to talk about music in terms of everything but the melodies, you can't forget that melody is the core of music, and if you have great melodies, there's a 90% chance that your music is going to be great, no matter how you present it (there are still those *cough* Amaranthe *cough* that somehow manage it). But the fact is, everything I have said in criticism of these two records is fixable. The production will improve with success and fans and therefore better funding, the structuring and wankiness will come with time and practice, these bands just need to get a feel of where the songs are heading, so I guess that although these factors do affect my enjoyment, there are enough memorable riffs and melodies to make me forget all of that and enjoy the music.

Unfortunately this is where these two albums start to spread out a bit, in terms of my opinions about them, because it's obvious that Vultress have a far better knack for great choruses than Zentraedi, and that certainly has a bigger effect on my views. On Seven Medley Sins, the album opens with a bang, as I have stated the chorus of "Swarm" as being truly excellent, and there are certainly some other great ones ? "Dodging The Remote" and "Dek80z" are both littered with catchy little hooks in their verses, but nothing on here compares to some of the stuck-in-your-head-all-day stuff on Distance. "The Siren Screams" has an absolutely phenomenal chorus, awesomely catchy and memorable, which is a pity since a fair bit of the rest of the track is pretty lacklustre. "The Siren's Song" also has a nice little melody, and Vultress are smart enough to reprise it a few times during the last two songs.


But I guess the point is that, regardless of their similarities, these two records are both excellent debuts in the prog metal world that push beyond the obvious drawbacks to be significantly unique within the scene. Both these bands can be given the same advice, and with some more focus, they cold both release stellar follow-ups.

Distance - 8.1 Seven Medley Sins - 7.3

Originally written for my Facebook page/blog:

Thanks to aapatsos for the artist addition.

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