VAUXDVIHL

The Australian progressive metal band VAUXDVIHL only released one full album "To Dimension Logic" in 1994 and offered a midway point between the 80s Queensryche metal sound and a grungier alternative metal sound that was dominating the 90s. After the release of the album guitarist Frederic Leduc and bassist / keyboardist Edward Katz immediately left the band to pursue greener pastures leaving founder guitarist and vocalist Fab Gallen with the dilemma of whether to continue the his band that had been plagued by so many difficulties. Despite all trials and tribulations he opted to continue on and release two more EPs. SIBERIAN CHURCH RECORDINGS was the second of these short releases but contains two tracks from the "96 Demo" that debuted the new sound that jettisoned most of the 80s influences in favor of more dark and sinister sounding industrial bleakness.

SIBERIAN CHURCH RECORDINGS is a short but surprisingly startling set of only four tracks that only clock in at 14 minutes and 22 seconds but manages to include a diversity of cold, dank and emotionally draining tracks. "Plots, (To or F) Are Necessary Thing?" starts off with the tintinnabulation of church bell and then eerie ambience ensues for a while and then becomes some grungy type of metal. Despite jettisoning the Queensryche and Fates Warning influences such as the high register vocals and progressive metal type guitar riffs, there are still plenty of progressive time signature changes although it is now on a down-tuned and more dreary soundscape. "ISIS / PEKT" becomes even stranger as it has a frigid industrial ambience with a bass and drums and tinny guitar sustain before power chords erupt behind the electronically processed vocals. It becomes more energetic and sounds a lot like some of Enslaved's more progressive newer albums actually. "Movement" is a slower piano based track that has a dreadful atmospheric haze that is punctuated by heavy drumming and dirty guitar and bass. It's also quite progressive and brings darker progressive metal bands of the 21st century to mind. "Summoning" is a short little dark ambient track that creates some hellish sound effects and tortured monster type utterances.

SIBERIAN CHURCH RECORDINGS is a short but effective slice of darkened progressive metal with industrial bleakness and makes me wish they would have released a full album of this type of material. Even though it's completely different than their previous releases it's quite an interesting listen and better than the previous "Vog" EP. No need to hunt this down on its own. This one can be found along with "Vog" as bonus tracks on the 2014 expanded release of "To Dimension Logic" in a nice double album package with freaky photos and lyrics in the included booklet.

The Australian progressive metal band VAUXDVIHL only released one full album "To Dimension Logic" in 1994 and offered a midway point between the 80s Queensryche metal sound and a grungier alternative metal sound that was dominating the 90s. After the release of the album guitarist Frederic Leduc and bassist / keyboardist Edward Katz immediately left the band to pursue greener pastures leaving founder guitarist and vocalist Fab Gallen with the dilemma of whether to continue the his band that had been plagued by so many difficulties. Despite all trials and tribulations he opted to continue on and release two more EPs. VOG was the first of these two final releases that came out four years after their debut following their "96 Demo" which was a promo to showcase their new musical sound. The band was down to a duo with Gallen handling the guitar and vocals while Chris Deloy continued on drums and picked up keyboard duties as well.

In contrast to their debut, VOG has a much darker and sinister feel to it as it is dominated by eerie and frigid atmospheres and electronic percussive beats accompanied by heavily distorted guitar and bass sounds that sound like a much more metal version of Skinny Puppy actually, however the compositions are much more progressive as they not only meander through the full industrial metal assault with raging angry shouted vocals but also have softer ethereal passages with clean vocals that echo and reverb to infinity. The production on VOG is particularly pleasant as sounds sort of slide off into infinity while others pick up and overlap. Tracks like "Assassination" include piano and heavy symphonic backgrounds that overpower the metal aspects that get pushed to the background. There is also a touch of Gothic mysticism in the feel of the album although there are never any Dracula inspired vocals found in bands like Type O Negative for example.

VOG is a mixed bag actually. While it is always admirable for a band to expand its horizons and try something new, this new sound seems a little scattered at this point and i wish that they metal aspects had more prominence than they do. While some of the heavier parts are quite satisfying, some of the softer parts resonate along for too long and don't develop any sort of satisfying crescendo. The electronic percussion can be a bit too much as heard on "The Funeral Party" and at points like this with weird electronically processed vocals it begins to sound more like something that would have been heard on "The Matrix" soundtrack with big beat hardcore breaks that remind me more of bands like The Prodigy than any type of metal act. While i find all the tracks to be interesting, there is a clear lack of cohesion between them as they all sound disparate and crying out for some sort of continuity. A decent release but not as interesting as the followup "Siberian Church Recordings." Both VOG and the following EP can be found as bonus tracks on the 2014 re- release edition of "To Dimension Logic."

After releasing their debut album "To Dimension Logic" in 1994, VAUXDVIHL founder Fab Gallen was left to pick up the pieces after two members went on to pursue other musical endeavors and without their influences Gallen was free to pursue his own experimental path which led him out of the world of 80s Queenryche type of metal and into a darker form of progressive alternative industrial metal. He released 96 DEMO in 1996 and was a prequel to two EPs that would showcase this new more sinister sounding style. DEMO 96 contains only three tracks and was released independently on cassette assumably for promo purposes. Two of the tracks ("Pilots" and "Isis-Pekt") would find a home on the 2001 release "Siberian Church Recordings" which left only the track "Alienation" never to find a home on any official release.

The track "Alienation" is the opener and is a heavily brutal industrial metal track with heavily distorted guitar and bass with depressive vocals and bleak ambient background. While it tends to sound a lot like a more metal version of Skinny Puppy at first it changes into a type of progressive metal sound that reminds me of Enslaved's later albums with clean vocals. The other two tracks follow suit with the same type of intense build of an industrial wall of sound with extra emphasis on murky distortion feedback that resonates with higher pitched key sounds sustaining in the background. Overall this is a really decent sound that VAUXDVIHL moved on to and proved that their 80s vs 90s sound on "To Dimension Logic" wasn't just a gimmick but that they could master both decades with ease.

The 90s was a strange period for metal bands especially in the earlier part of the decade when 80s bands were jettisoning their respective styles in droves in the hopes of fitting into the new "alternative" universe that caught them off guard when grunge stole the show. While many 80s bands would just call it a day, many popular names like Metallica, Extreme and Queensryche would totally drop the sounds that made them popular and jump onto the alternative metal bandwagon but never really fit in with their 90s contemporaries. VAUXDVIHL was a unique act from this time period in that it actually pulled off the perfect tightrope act of balancing 80s progressive metal with the darker more Gothic alternative side of the 90s. The band was founded in 1992 by guitarist and songwriter Fab Gallen in Melbourne, Australia who formed his band at the perfect time to cross-pollinate the possibilities of progressive metal with alternative and developed the fusion style he lays out on the band's debut release TO DIMENSION LOGIC.

This album shows off the obvious progressive leaning metal bands of the late 80s with Queensryche and Fates Warning instantly coming to mind with the high register vocal style of Gallen and the jittery off-kilter time signature jumps and the overall complexity of the compositions. There are also moments that bring Dream Theater's "Images And Words" as an obvious reference point as well, however for all these obvious hero worshipping elements, the music on TO DIMENSION LOGIC is infinitely darker and has a murky grey cloud lingering over it much bringing darker worlds much like the album cover suggests. While there are plenty of proggy metal riffs complete with virtuosic solos and complex leaps of chord juggling, VAUXDVIHL add a thick layer of atmospheric mood altering ambience to their sound. This is especially true on the slower acoustic passages and the segments with whispered female vocals.

In addition to the progressive metal compositions and brooding atmospheres, there are snippets of psychedelia where the music lapses into heady meditative arenas where acoustic passages and swirling sounds seem to randomly deviate from the regularly scheduled program but always find the perfect resolution to keep the music from getting too "out there." TO THE DIMENSION is a woefully off the radar progressive metal release from the 90s that seems to have gotten buried under the sheer power of the heavyweights of the era. VAUXDVIHL had all the chops and Gallen's songwriting skills are quite sophisticated for a debut album. Despite a strong debut album, trouble would soon be afoot and three members of the band would depart. Gallen would regroup and release a couple more EPs in the coming years but would steer towards the gothic and industrial rock arenas. TO DIMENSION LOGIC however remains the pearl in their oyster and is highly recommended for fans of Fates Warning, 80s Queensryche or Psychotic Waltz who like a little more dirty grit added to the mix.

Vauxdvihl is one of those prog metal bands that for some reasons never made it in prog circles, strange for sure , because their music is awesome, intriguing , complex and full of great ideas. Clearly influenced by bands such Crimson Glory, Fates Warning, Queensryche - Vauxdvihl manage to create something very strong and valueble in prog metal history and it's about their album released in 1994 named To dimension logic. An album hard to get, but if you do don't hesitate to have it because is damn good and inventive.So this australian band release so far a single album, full of great guitar chops, clever drum arrangements and an impressive voice of Stacy Handchild made this album to be a real treasure in prog metal world. All the pieces are great, not one in front, not a single one weak, an album made with outstanding musicianship, and that is clear on every piece, well my fav piece remains the title track To Dimension Logic - absolute great, and the voice of Handchild is brilliant and dark in places. So, a great and strong album , and for sure needs a better view, is a forgotten treasure in prog metal world. I will give easely 4 stars, well not a masterpiece in my view but close enough. Recommended for sure.

Yes, this is the same Vauxdvihl that released the minor classic To Dimension Logic in 1994. This is one of the two post-TDL EPs they released, with this one coming from a recording session in an abandoned Russian Orthodox church in Siberia, and finally seeing the light of day in 2001. I had absurdly high expectations for this release, stemming from a diehard love of TDL combined with the fact that it took me close to a year of searching to actually track down this album, and it did not disappoint. The first track, 'Plots, (True or False) are a Necessary Thing?', starts in slow, ambient fashion, with a ponderously tolling church bell before exploding into an industrial-tinged progressive metal onslaught. The song is superbly structured, with many changes and moments of tension building to cathartic release. Returning drummer Chris Delov's percussive skills are on display here, and he demonstrates his relentlessly acrobatic and unique style in spades. The other remaining original member, Fabrizio Gallinov (who composed the majority of the material found here), has taken up vocal duties, and he proves to be more than capable, especially in the abstract bridge, where he slowly builds in intensity towards a sustained, tortured cry capable of evoking chills in even the most cynical listener. The track closes with a static-laden vocal passage, sublimely closing the piece.

A simple drum beat opens up 'Isis/Pekt', the next song. Keyboards help to establish a strange, doom-laden sound, before the song kicks into full swing with some impressive bass work courtesy of Blacky. The atmosphere on this track is unparalled, with the myriad instruments interlocking flawlessly towards the common goal of fully immersing the listener. The many tempo changes in this song work wonderfully.

Things calm down a touch with the third track, 'Movement'. Eschewing guitars entirely in favor of soothing synthesizers, it opens with a beautiful piano melody before processed vocals enter in the first verse. Fabrizio really shows his abilities as a vocalist on this track, proving that he can convey emotion with the same skill as, say, Geoff Tate, or Ray Alder. Complemented with Chris' surprisingly tasteful double bass skills, this is a track simply dripping with feeling. 'Summoning' closes the EP in ominous fashion, being comprised of two and a half minutes of eerie, almost organic ambience.

Honestly, this is one of the most unique pieces of music I've heard. It surpassed even my lofty expectations, and I'm glad I took the time to search it out. I'll subtract a point because of the length (a mere 14 minutes), but the music here is near flawless.

Let me be honest here: Vauxdvihl are one of those bands you will likely never hear of in your entire life. I had no idea they existed until a little over a year ago, when I happened to stumble upon them and their music on this very site. It was intriguing enough for me to track down a copy of To Dimension Logic on eBay after some searching, and I am being completely truthful when I say that no other musical purchase I've made in the past year has moved me to the degree that this album has.

From the first track, with its ambient, enrapturing keyboards and mysterious foreign spoken-word narrative, it is quickly evident that this is not your typical progressive metal album. Proper vocals soon kick in, accompanied by precise rhythmic guitar strokes and a ponderous electronic percussion line, evoking memories of Fates Warning albums (almost reminiscent of A Pleasant Shade of Gray, but that album would not be released until three years after this one). As the short intro begins to fade away, we are immediately kicked in the teeth by a furious percussive onslaught and powerful guitar lines. This blends into soft, clean melodies with some tastefull bass harmonics before shifting gears back into an all-out progressive metal assault. The vocals, courtesy of Stacy Handchild, are very capable and rather unique - not your typical histrionic screech, but a well-rounded and melodic warble that is at once expressive and attention-grabbing. The contrasts between aggressive bursts and off-kilter soft moments are played off each other beautifully until the song begins to grow to a climax that fools you into expecting full cathartic release, but instead provides you with a strange sort of slow release that is much more challenging initially, but no less rewarding, in much the same manner as one might expect from a classic Queensryche album. The other main element this track reveals is the incredible drumkit prowess of Chris Delov, as he drives the song with his creative acrobatics on the skins.

The third track is but a short, keyboard-driven interlude; however, this does not hamper its ability to showcase Fabrizio Gallen's excellent lyrical skills. The existential musings present within the short monologue fit with the album's lyrical themes of careful introspection and solace within oneself. A brief but captivating guitar solo leads us into the next song (my personal favorite), Separate Ends. The Fates Warning influence is perhaps more apparent in this intro than anywhere else on the records, but this is hardly a downfall; the short acoustic moment that is quickly accompanied by the slow reappearance of the rest of the band is one of the album's high points. The carefully paced narrative is broken shortly by Handchild's piercing cry, proving he has range enough to rival any progressive metal vocalist. From here, the song slowly twists its way towards the expected climax; only this time we are given not that, but a gorgeous a capella break as the chorus line is used to greater effect than any could have expected. Another fantastic closing that leaves the listener wanting more, something this band seems to have quite a talent for.

I won't further bore the reader with tedious track-by-track descriptions for the second half of the album, but suffice to say it is every bit as compelling and inimitable as the section already detailed. Their other EPs are nearly impossible to find, and I'm told they are vastly different from the style of music found here, but that does not change the fact that To Dimension Logic is a one-of-a-kind masterpiece that belongs in every true progressive metal fan's collection. It will likely require a bit of searching, but the end result is rewarding in both the short run and the long; this record is one of those rare few with enough hooks to grab your attention on the first listen and the requisite depth to keep you intrigued on the fiftieth. Unquestionably a five star album.

This album deserves so much respect. I have never heard anything like it, and I'm certain it can never be reproduced. The album flows from one song to the next so effortlessly, often building to enormous heights and then quickly falling back. Though the musicianship is bar-none, this album is most meaningful to me on an emotional level. Something about the philosophical lyrics and the feel of the music blend so perfectly. The listener is quickly placed outside of himself and brought to a deeper state of mind. Don't be surprised if, after listening to this album, you feel inclined to examine the deep meaning of life. It's quite an engaging album.

This album deserves 5 stars for: emotionalism intelligence coherence musicianship originality vocal quality

It's a masterpiece in every sense of the word.

ok the things are simple, to dimension logic is one of the greatest power/prog metal albums ever and it can only be compared to rage for order or one small voice (heirapparent). the influences from ryche (the greatest metal band, it has influenced EVERYONE in the prog/power scene) can be easily seen but vauxdvihl do NOT copy them. their style is quite unique and gellen's voice is perfect. their lyrics are great and the only weak point of this album is its production which is good but not the appropriate one for this genre. the album is quite difficult to be found in our days but it worths the effort...it is never too late to discover a band that NEVER got the recogniition it trully deserved. 6/5

This release is brillant; superb musicianship, harmony vocals & melodies, in a sense of balance between complex progressive metal and catchy hard rock. It is a sad loss that this excellent band faded into obscurity. Nothing has been heard from them since 10 years or so. Although I rank their unique album with 4 stars, they do deserve 5 ones but I will add the fifth star upon release of the next album!