Home > Uncategorized > Vektor – Terminal Redux (2016)

Vektor – Terminal Redux (2016)

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Alright, I’ve been sitting on this one for a while. I wrote a quick teaser for this one on DMU when the first single (“Ultimate Artificer”) came out, but had long since finished my tenure by the full album’s release in May 2016. Since then, I’ve had a lot of time to ponder the music of Terminal Redux. To get it out of the way after last week’s officially noncommittal “review“: I highly recommend this album to anyone who’s even remotely interested in metal music, and it is definitely a worthy successor to Vektor’s previous works.

Those who have listened to Black Future or Outer Isolation will find much of the same on here – songs composed of numerous fast, technically intricate riffs under ear piercing shrieks and backed up by similarly accomplished percussion and leads. Terminal Redux is a refinement, not a reinvention of past Vektor. The sound and songwriting are just that hint better, which makes sense that the band had an entire five years to refine their craft since the last album. The formulas on display here, though are probably closer to the first album, showcasing a general preference for its style of extended songwriting over the more compact tracks on the second. There’s also more in the way of aesthetic experimentation, as a few tracks on the edges feature sung vocals from both main vocalist David DiSanto and two guest ladies (Naeemah Z. Maddox and RoseMary Fiki) who drop in to help the band respectively charge and recharge the void.

If there’s one thing I could say against Terminal Redux, it’s that it’s edge-loaded, and I feel like by doing so, I’m unnecessarily straining in the name of some unachievable level of journalistic balance. The album feels like it’s strongest at the beginning and the end, and that’s a direct result of them placing the tracks with varied vocals at such points on the album. The more conventional tracks are dumped into the middle, where it doesn’t matter that Vektor’s presumably putting as much effort into them as the hit singles (hypothetical VH1 style tell-all Behind The Music type documentary’s information aside).  This is a 73 minute long album, so even some of the most ardent and enthusiastic listeners are inevitably going to burn out after a while. I suppose I shouldn’t really hold this against Vektor, since it’s a common marketing strategy to put all the standout tracks and hit singles at the beginning, as well as a few at the end in an attempt to hide the use of these tactics from the listener.

Ultimately, the fact I can’t come up with a negative other than “Some tracks are better than others” is most likely going to be what convinces you to support Terminal Redux, and Vektor as a whole.

Highlights: “Charging the Void”, “Cygnus Terminal”, “Recharging the Void”

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