Review Summary: An inspired work from start to finish, The Joy of Motion is one of the true masterpieces of our generation.
The world was gifted a glimpse into the infinite potential of Tosin Abasi in 2009 with the self-titled debut that shattered the long-running definition of a guitar virtuoso styling pioneered by the likes of Steve Vai, Joe Satriani, and Greg Howe. The self-titled accomplished what few debut albums can – pure originality layered in modern characteristics and modal voicing that few bands ever attain. This is, however, where the ultimate downfall of the self-titled is: for all its originality and memorability, it is equally laden with the bombastic showing of the said technical prowess. At times the hypnotic nature of the album, filled with the oscillating chords and progressions, could sit in the background and would snap into life with the distracting shredding by Abasi. For all its faults however, it will go down in history as one of the most original pieces of modern music to date.
Despite a rather mechanical and forgettable follow up, Weightless, AAL returns to the scene with The Joy of Motion as definitive leaders in the instrumental progressive metal genre as trend setters for generations to come.
The most readily noticeable difference is how naturally the record breathes in comparison to its predecessors. The organic textures, layers, and production envelop timeless ideas that truly get to flourish without becoming either cluttered or buried within the production. AAL avoids every pitfall of ‘popular’ modern metal music – almost completely absent are mindless shred sequences, and chug-laden guitar work, both of which completely derail the momentum of songs in general.
What you end up having is a hauntingly complex, beautiful, and inspired piece of work that is clearly conceived of true genius and hard work. Reyes and Abasi are on top of their game in terms of blending both of their styles in an effective manner, evident by the Latin-tinged styling reminiscent of Metsis’ debut EP Basal Ganglia, which Reyes masterminded. These Latin influences permeate the record (see Para Mexer), surfacing in both the atmospheric production and the chord progressions. It is apparent that Reyes is becoming much more involved in the writing process, which results in a wider range of sounds and moods elicited by the record. Each song thrives within itself as a functional ecosystem, with clearly defined boundaries, moods, and motifs. In the age of ‘samey’ songwriting, it is rather refreshing to listen to a record so diverse in its dynamics and ideas.
Another important factor differentiating TJOM from its predecessors is that the drums are much more comfortable within their role. No longer are they striving to match the frenetic tendencies of the guitar, but serve as the ever important backbone to the rhythmic components, augmenting the wide breadth of moods through well placed fills and ghost notes. Interestingly, the addition of bass (previously absent) is a remarkable idea for the compositions in general. It further amplifies the shifting moods and aforementioned motifs without compromising the intrinsically curious nature of the music.
With Abasi stepping back from the front of the group as the main influence, there is significantly more room for joyous exploration of the sonic spectrum. Clear influences from Reyes, Abasi, and Garstka, shape each composition into unique moments, ready to be relived with each listen. Endless details adorn the carefully laid out hallways, begging to be discovered with each spin. The record absolutely demands full attention in order to capture all of its glory. A fantastically well-developed ride from start to finish, The Joy of Motion does absolutely everything right.
