For those of you that read my recent review of Kreator/Arch Enemy/Shining gig in Glasgow, it will come as no surprise that I’m reviewing this. I stated in that article that Shining reminded me of Trioscapes. Having enjoyed their previous album, I was looking forward to this one.
Production wise, it’s a bit different to normal. With no guitars or vocals, the bass and sax take center stage. This makes for an in your face experience, which fits the music really well.
Starting the album off, the title track “Digital Dream Sequence” opens with the usual crazy bass and sax melodies that were found in the previous album. The bass swaps between an overdriven crunchy sound, and a chorus filled reverberation machine. Featuring some stellar bass playing from Dan Briggs and multiple crazy sax solos and melodies from Walter Fancourt, it makes for an interesting and enjoyable listen.
“Stab Wounds” then comes in with a joint sax and melody and once again has the bass changing sounds. When a flute appears at the 0:58 mark, it could almost be mistaken for a slightly more technical jazz piece; which theoretically it is. A piano then appears for a few seconds at 2:31 before the most insane bass solo comes in at 2:50. It staggers me that Dan can play stuff like that with his fingers, I can’t even do that with a pick (not that I use one). Like the previous track, it’s a bit crazy but it makes for a fun listen.
Opening with a sax solo, “From the Earth to the Moon” changes the tone slightly. Having a slowed down vibe to start, and being more like a middle eastern inspired jazz song, it once again shows off the skills of these amazingly talented musicians. Launching into a spaced out ambient section at around 1:25, it’s almost like it’s simulating a journey through space.
“Hysteria” opens with another sax and bass duet. Before smashing into more counter-melodies and further craziness. All accompanied by drummer Matt Lynch’s superb playing. The song could almost be the soundtrack to someone suffering from hysteria. It’s really rather insane, with both spaced out slow sections and blisteringly fast sections.
Finishing the album off, the longest track “The Jungle” then plays. Opening with a jungle style percussive section followed by a high-end bass melody. This is then accompanied by a lower pitched bass part with the Sax eventually coming with a joint melody with the bass. There’s just so much going on in the track that if I listed everything, this review would be over 300 pages long. I’m serious, there’s just so much going on in it. It provides a suitable ending to the suitably mad but enjoyable album.
Now some people will get on their high horse and say “But this isn’t a metal album!”. And you’re right. But, if you set aside that fact, it’s an awe-inspiring album. I recommend the album, to anyone who wants to hear something a bit different. Like the last one I reviewed, it won’t be for everyone, but there will be those who will enjoy it.