This new cut from the german one-man symphony Hillcrest opens with a balladesque-type winding idiom not unlike a classical lullaby that twists and turns its renderings in an ever growing midwestern fashion that soon becomes the centerfold designing force. Heavy metal drums and crisp snare kick in a counter path creating a false starting or restarting effect into a more djent type of fractal web that collects itself for a second and thereafter decides to turn on cruise control as it gives way to a release of tensions with a Vasudeva "Cycles" type / The Smiths forward-pushing momentum. This riff gives one what Vasudeva couldn't, elevating the high definition technique and clean phrasing towards maturity and a prodgical virtuoso standard.
"Nothingness", a composition in five four, jitters up strength as it rises back in presence and opaque contrasting melodic tones that break way into poetic narrative thoughts and and unwinding of all that same back to its original stillness. It's as though string created an entire movie for ones auraic imagination and re-assembled back as one string now roped hiding its once ever holy and sentient dance.
Nathan Gaas, Yvette Young and Tim Collis' best attributes all in two hands with a side of Dale Robinson, that apply nothing but fruitful thoughtfullness and no fluff riffage. Very clear and sonically straightforward conceptually math that is perfected and as dialed as could ever be. Though tomorrow is just a concept so I mean maybe this is it. The last song before ... well ... Nothingness. This composition moves towards pop validity away from pure djent math rock and explore more chordial slides and picking patterns wading over its flow like jesus walking on water. It is to say, effortlessly intrinsic and tapped into the masterplan, so needless to say except to exist and share such great work, tis a big single for any guitar nerd and must hear. The oddest thing about this track is its similarities to the band No Cash, a skacore ensemble.