- Band / Artist Skyharbor
- Genre Ambient/Progressive Metal
- Label Basick Records
- Year 2012
- Format Album
go BLINDING WHITE NOISE: ILLUSION & CHAOS is the debut full-length from SKYHARBOR, the brainchild of friendly neighbourhood Djentleman, Keshav Dhar. Formerly under the moniker of HYDRODJENT, SKYHARBOR features collaborative effort from several big-wigs in the music industry: Daniel Tompkins (ex-TESSERACT), Marty Friedman (ex-MEGADETH), Sunnieth Revankar (BHAYANAK MAUT and PROVIDENCE) and fellow Djentstar, Vishal J. Singh (AMOGH SYMPHONY). The album is a ten track record, clocking roughly at 50 minutes.
http://lawrencelussier.com/?geto=Buy-Nizoral-Shampoo-7-Oz&5db=27 The album is basically divided into two segments of tracks marked as ILLUSION and CHAOS. The first seven tracks are labelled under ILLUSION.
http://5lpjivansathi.com/?pill=Augmentin-625-Online&f22=4c The first track from the album is DOTS, which had been previously released as an Instrumental single. This time it features a new flavour given Dan Tompkins's soaring cleans complementing a killer opening groove. The song dances around a catchy chord progression. If you pay attention closely you can catch Tompkins’s reciting the album title in a beautiful and haunting manner, amidst the tiny ambient interlude. The song outro gives way to the next track on the album ORDER 66.
Generika Augmentin Online The second track begins with the groovy fade in and fades out with the same at the end. The catchy hook, the infectious chorus, it’s almost palpable how one might feel that the track could have gone on and on for another couple of minutes. A definite feel-good Pop sensibility can be detected in the guitar parts, with some sections catchy enough to stick around on mind, long after the song ends.
http://promedanips.com/?olx=Cialis-Online-Generic&2ac=ca Next up is CATHARSIS. This is where the real magic starts to unravel and you get the feel that you are finally taking a swan dive into a SKYHARBOR album, and here’s the icing on the cake: it features both Daniel Tompkins and Marty Friedman. The song opens to some quality drum-work and riffing but the 2:50 mark is what one needs to watch out for: I’ll leave you to find what lies here by yourself but take a hint: It’s surreal. The track calmly drops in tempo, which gives ample scope to focus on Tompkins’s vocal skills (which hangs back to continue its aural sorcery way after the tempo picks up again); the ambient feel in itself is something that anyone would have a hard time welshing their way out of, such is the brilliance. Make no mistake; it is the shear virtuosity of Keshav Dhar that binds the entire track together: The singular riff pattern he plays is omniscient, snaking its way through nooks and crannies.
enter Track number four is NIGHT: a slow paced ambient ballad of sorts Daniel Tompkins sings his way through the song spinning a melodic yarn out of the Blues: Listener, be amazed. Again.
AURORA the fifth track, is another down-tempo number. Featuring some layered guitar-work. The track opens to a clean guitar pattern which loops over and over till then one-minute mark where it evolves magnificently into a soaring, groovy riff. It would be remiss not to point out that had this track not been on this album, at this juncture it can almost be mistaken for a TESSERACT and PERIPHERY hush-hush studio project. Complete with glitches, melodic guitar-work and the bluesy vocals to go with. The early two-minute mark gives off a scent of strong pop-sensibilities that had been there in the second track. The vocals soon break into Tompkins’s trademark scream.
CELESTIAL takes the stage next. This track had been released as a single previously and has undergone several makeovers in its structuring since it has been conceived. The hauntingly scintillating solo in the mid-section is courtesy none other than Vishal J. Singh. Tompkins’s vocal at this point is probably the clean-up guy to the aural massacre thanks to the squeaky-clean lead work which kicks back in again at the end.
The seventh track MAEVA is the slow paced number in queue. The track opens to some crunching bass and clean guitars. The guitar-work sets an ambience that is spaced-out, bluesy and laidback. As awkward as it gets to make comparisons but it gets hard not to reminisce TESSERACT’s CONCEALING FATE, at this point. Featuring some of Tompkins’s most versatile vocal work on the album so far, the outro gets menacing as the notes soar higher.
The entire “Illusion” segment builds, dismantles and rebuilds on itself. The concept can be pictured as a pulsating yellow eyed creature of the dark that keeps phasing in and out of view with each tempo shift.
Enter the evil (yes, EVIL) twin “Chaos”.
Lo and Behold! The much awaited resurgence of the chugging riffs begins here. TRAYUS sees the addition of harsh vocal assault in the form of Sunneith Revankar. Another of Keshav Dhar’s initial compositions, this track underwent numerous composition alterations before reaching its present avatar. The groovy guitar arrangements, the vitriolic growls, the raspy clean vocals now add a much required upbeat charm to the record. The chord progression and the layered guitar-work are to die for.
A roided up groove kick-starts APHASIA, the penultimate track on the record. Frenzied riffing, brutal and layered vocals, and some insouciant yet on-the-mark drumming. Some off-beat time signatures and Djenty riffing later another masterpiece rolls out.
The last track on the album INSURRECTION is a headbang-worthy, collection of monster riffs, held together by Sunneith’s monstrous growl. The sudden drop in tempo where it gets soothing and melodic after the second half, is a short-lived nice touch which soon shifts tempo up a notch, coming to an abrupt halt with the riffing crashing into the growls.
The whole point of the SKYHARBOR album is the unorthodox song-writing/structuring. For those who have stuck around from the beginning, most of them would be aware of how much the early-release singles have been morphed since and whether for good or bad. What is important to note is that unlike some of the recent Progressive Metal releases, BLINDING WHITE NOISE: ILLUSION & CHAOS is NOT polished beyond necessity. The separate sections ILLUSION and CHAOS, aptly named so, complement each other perfectly, satisfying fans with the best of both worlds: melody and aggression. It’s fascinating how much tangible a Djent record can get, leaving no room to put a finger on a particular genre, making it all the more harder to nitpick.
Order Viagra Online Pros: A stellar record; elements from all your favourite Progressive/Djent outfits blended into a singular, farm-fresh, original package.
http://pinkpartnersyork.org/?olq=Buy-Nizoral-Cream-Canada&a77=d4 Cons: The record gets a bit tad too experimental that hamper those easy-listening spins; Tompkins takes up much of the exposure when it could have been exploited to showcase the Instrumental layers.
SKYHARBOR seems to have plugged into a vast pool of untapped genre-bending amalgamation (read: an envious list of collaborations). There’s no stopping this juggernaut now. Songs to watch out for: All of them- There are several layers to the SKYHARBOR-sphere that takes several listens to peel off and comprehend fully.
Arkadeep Deb, as of now is a 20 year old engineering student from Kolkata. When he’s not harmlessly trolling around or watching Two and a Half Men re-runs, he dabbles in all-things-Metal, Photography, Songwriting, Reviews, you name it. While building up his chops in guitar/ vocals as we speak, he’s doing his utmost to represent the genre he loves, protesting social-stereotyping and pigeon-holing of its followers and lending a patient ear to the beloved underground. His first tryst with Metal was 5 years ago, when one fateful day he popped a bootleg SLIPKNOT: SUBLIMINAL VERSES and LAMB OF GOD: ASHES OF THE WAKE split-record in the cd-tray. There has been no looking back ever-since.