Review Summary: Vela, Together We Await Renovation.
Of all the times they've been disrespected - as well as the number of days each bandmate had to go the extra mile just to count - there's truly no doubting the unfathomable potential buried deep within one progressive metal band, known to many a people by the moniker
The Human Abstract. They assembled down in the valley of Los Angeles during the year 2004, and came together only to throw three studio albums and an extended play into the ring; unfortunately for the band, THA's discography would never bother to showcase an increase of material ever again. As of late, all these fates who had once been calm in the chaos have ceased activity for one, two or perhaps more reasons than Vela could ever begin to comprehend. Nobody in our world is sure as to whom or what interrupted this entourage's faith.
Now two years passed well into the band's career after their initial formation. At the time, The Human Abstract were a five-piece group of skilled gentlemen with a thing for arpeggiated chords and complex riffage, amongst other techniques. They had a burning desire to prove their worth to the so-called intellectual listeners with their debut full-length album, entitled
Nocturne, on August 22, 2006 under the Hopeless Records label. With the album containing 12 tracks in total, the bandmates put themselves in harm's way in order to have the consumer's undivided attention via intricate vocal work from then-frontman Nathan Ells alongside utilizing A.J. Minette's prowess as both a speedy guitarist and a well-versed classical nut. This particular album has - to the surprise of nobody who's heard of the band's contemporaries - highlighted strengths duking it out with fewer roadblocks which are quite glaring, to say the least.
Each track off of
Nocturne gives first-time detractors and run-of-the-mill hearers an adequate demonstration of what the Los Angeles, California-based band is capable of. A majority of the songs shroud themselves with an uneasy amalgamation of guitar-driven harmony and precise technicality from Minette and Dean Herrera, in order to balance out the distinct, yet overexaggerative delivery spewing from Nathan's mouth. The bandmates contribute well enough on a number of the songs presented from this album, with the occasional bungles that are to be expected. One of the more notorious aspects to come from this CD is the songwriting, as it isn't exactly versatile nor perfect. A.J. Minette, Dean Herrera, and percussionist Brett Powell blaze through tracks like no tomorrow, but don't expand upon the sections as much as they should. Sure, the skills shown are executed decently - and at times almost god-like - but you're not going to get much else from these guys aside from the likes of oversaturated arpeggios and acoustics.
Even if the compositions aren't necessarily what one would consider to be top-notch, a few of the debut offering's songs are rather noteworthy. An opener in "The Harbinger" includes an infectious chorus that is further augmented by Nathan's great voice here, whilst "Sotto Voce" and "Desiderata" are pleasant instrumentals written by A.J. Minette himself. Powell's drumming on "Mea Culpa" is commendable, even if the guy has to find some sort of excuse to stay within the celestial background. If Nathan's odd presence gives the guitarist tag team moments of superiority, then they'd virtually go no further than "Crossing the Rubicon" and "Vela, Together We Await the Storm." As I have said before, Ells possesses a distinguishable set of vocals which alternate between emotional growling and falsetto-esque cleans which can sometimes tread recklessly. He happens to be more inconsistent than anyone else on
Nocturne: Nathan unleashes and simulatenously maintains clarity on numbers like "Movement From Discord" and the aforementioned "Harbinger," but becomes unnecessarily hackneyed once "Polaris" hits you like a ton of bricks.
The Human Abstract's very first record in the form of
Nocturne might have an issue with absorbing missteps like the underwhelmed songwriting and samey production values, though it is still more than a passable effort from these neo-classical progressive-laden metal folks. Make no mistake that a second or third time will usually do the trick, and hopefully the five-piece organization will learn from their incredibly minor failures scattered across this debut.
