Review Summary: Colours speak louder than words.
Over the course of just a year, almost every member of Intervals has ended up departing the band. Only guitarist Aaron Marshall remains of the original quartet, having enlisted the help of Protest the Hero bassist Cameron McLellan and Periphery drummer Travis Orbin. However, even before the massive schism within the band, vocalist Mike Semesky had parted ways, leaving what was left of the group to re-pursue their instrumental sound. So, the question remained: would Intervals be able to avoid losing their unique identity from
A Voice Within amongst a myriad of lesser bands?
The Shape of Colour sets out to prove that despite having been on the edge of breaking up, Intervals still have what it takes to stand tall on their own.
“I’m Awake” kicks off the album with what you’ve come to expect from a band like Intervals: fast-paced, upbeat guitar riffs, and lead guitar sections taking precedence over the rest of the compositions. Aaron Marshall’s leads seem to act as a ‘vocalist’ of their own, focusing less on displaying pure technicality and more on sort of guiding the rhythm section. “Sweet Tooth” is a great example of this, with Marshall’s shredding literally sounding as though it’s some abstract form of ‘singing’. The production here is top-notch as well, as the bass and drums are still crystal clear despite the guitar’s imperious presence.
The biggest strength of
The Shape of Colour comes in the form of its flourishing, unbridled energy. In a world of dull, average-at-best prog metal bands who pride themselves purely on ludicrously technical guitarwork,
The Shape of Colour consistently stays alluring and robust. There’s never a point where the music begins fading into monotony, and the entire album seamlessly flows from one song to the next. Intervals could have ended up turning
The Shape of Colour into half an hour of semi-interesting guitar compositions and not much else, but instead have managed to craft a vigorous, compelling album from all sides.
