Between Symmetries new album “Movetur” officially drops on October 23rd.
Between Symmetries is a new band to me. Meaning that I have not played any shows with them, or seen them live, or verbally/sexually harassed them. I have had casual Facebook chats with Adam, mostly about our love for semi-hollow bodied guitars (We both have some sweet cherry red Gibson/Epiphone guitars that increase your sexiness by tenfold when you don one. Try it out sometime, you will eventually get used to strangers bowing down at your feet). With that being said. I don’t know shit about these guys. Minus the fact the are very photogenic in front of palm fronds. And they look like they play a mean tennis game.
So I went into listening to ” Movetur” without having any idea what to expect, and to say I was surprised doesn’t even start to explain the first listening. I mean, I didn’t even know what genre they were. But I was really hoping that their sound didn’t involve anything that takes 15 words to spell out. Like “Post hardcore Batmancore dance party emo breakdown skull postpuppy fartcore jazz fusion industrial” I hate that kind of shit. There are only two types of music to me: Good, and Bad.
So I just pressed play, and went about my business (I might have been burying a hooker that day, or volunteering at the Salvation Army Soup Kitchen. Don’t judge me, I’m complicated), and I was pleasantly impressed after each and every song. Afterwards I went back and listened to their previous album “Atlas”. Which is totally different in my opinion. While I like “Atlas”, it’s easy to hear how much they have grown as a band since then. Which is weird, since “Atlas” was released this year as well. Real talk: I was blown away.
Which brings me to a little off topic, and serious point: There are some really great bands in Savannah right now. Maybe more than ever before, and I have been here 13 years. If you are not out there, going to see shows, you are missing out on a very important time period in the history of the Savannah music scene. There is so much diversity, and pro-quality local bands out there, it’s almost daunting. Being in a band myself, it motivates me to be on my “A Game”….which is how a positive music scene gets started. We all inspire one another to be better, and learn from one another. All of the bands I have interviewed or reviewed on this website has been my honest opinion. I have been blown away a whole lot the past couple of years. I feel lucky to be a part of this slice of scene-ness, while currently playing in Broken Glow (shameless plug. Buy our stuff plz thanx).
That being said, “Movetur” has inspired the shit out of me. Between Symmetries draws from a pretty deep well of influences, that at times are VERY apparent. But that’s not to say that they are copping any other bands style. They have managed to pick inspiration from the source material and make it their own. I hear so many different styles in their music. I hear some Sparta, Helmet, At the Drive In, Sonic Youth, Bloc Party, The Cure and in heavier moments maybe Thrice, Failure, or Thursday. The entirety of “Movetur” sounds familiar, but then again, it sounds fresh at the same time. Let’s put it like this : They have a great palette of colors that are immediately recognizable, but once the colors hit the canvas, it becomes a painting you’ve never seen before.
Let’s get down to the music: The music is extremely well thought out. The riffs are memorable, and the production is top notch. The band recorded the album at Audio Boogie Studios in Brunswick, GA. With Levi Hamilton at the helm, engineering/producing.
The entirety of the album has a huge textured feel. A big wall of sound. There’s a lot going on, but it never gets sloppy, even in their more psychedelic moments. Their use of effects almost puts them in shoegaze territory, but then you get pulled right back in to the simple groove. Honestly, it’s hard to describe because of the immense amount of shit going on. Really. I’m getting frustrated. I swear, I’m good with words. But I just got done freebasing some Clearasil and eating a bag of Fritos with my cats in the bathtub, so maybe I shouldn’t write in this current mental state. Ill go snort some Pop Tart filling to balance things out.
The guitars weave in and out of pristine clean, and all out fuzz breakdowns. Adam and Daniel play so well in tandem that sometimes what you hear sounds like one guitar track. I cant comment on how well they pull this off live, but if it’s even half as good as on the album…..that’s impressive. There are plenty of almost metallic guitar breakdowns, that are heavy as hell, but stay just outside the realm of being in-your-face abrasive. Tasteful, is a good word. The standout track for this borderline is “Poseiden”. The track walks a fine line between being metal, and hardcore. But like I said, it’s done very classy. To be honest, some of the most impressive moments is when things are understated, and psychedelic. And just to get music-nerdy, the chord voicings are sometimes dissonant and other times beautiful. (Editors Note: As a guitar player, I love hearing a chord and saying to myself “What the hell was that?”. I will have to watch their hands live and steal all of their cool ideas. Then I will get all the money. And Power. And a Pony)
Adam’s vocals are obviously influenced by post-punk. But he can move from subtle, to all out wailing. The only criticism I can give is there are a lot of missed opportunities for some great harmonies. But for the most part, its a single vocal track throughout, minus “A Eulogy” that has a choir of awesome overdubs. I will also say that you can tell that Adam is experimenting with his voice a good bit. And most of the things he tries works well. There is a definite change in his approach to ” Movetur” than their previous effort “Atlas”. There’s more confidence here.
The lyrics are all well written, and never stray into saccharine-sophomoric-land. There’s some real emotion behind every word, and some songs are ambiguous enough to make them mean anything you want. Deftones do this all the time. You make the song as personal as you want it to be.
Anthony Zeppetella and Jack Nave hold down the rhythm section, playing right in the pocket through all of the changes. And there are a lot of changes. I wouldn’t call Between Symmetries “progressive”, but they have some of those tendencies. Not everything is verse-chorus-verse. Jack has that growling, nasty-as-shit bass sound that can usually only be attained by cranking an Ampeg up all the way. Anthony is diverse as a drummer, keeping things at first listen kind of simple. But after a few times through the album, you start to hear some really great snare rolls, and little nuances that stick out (Pun Intended).
Which brings me to the next point…
The production is top notch throughout the album. All of the tracks “bleed” into one another, sound like one big song when listened to in order. This is almost a lost art these days, as most people put out singles in lieu of a fully realized concept of an album. The first track is a spoken word intro, setting the tone of the album. The standout track, and personal favorite of mine is ” Nero”. It switches from minor, brooding heaviness to a great hook of a chorus. Then you get slammed with a breakdown that eventually ends the track and moves seamlessly to my next favorite track “A Eulogy”. Eulogy begins with a beautiful and moody lead guitar melody, and vocals that will have you humming for days.
In closing: The songs are better crafted than they were on “Atlas”, and between the production and the song-writing, “Movetur” just plain sounds more…..grown up? Their sound hasnt changed per se, but it has been honed. It seems they are really coming into their own as a band. I really can’t wait to hear what they come up with next.
You can order “Movetur” on bandcamp October 23rd: http://betweensymmetries.bandcamp.com/album/movetur