Andrew Danso

Pigeon Toe are a five-piece prog-rock outfit, hailing from Germany. They’ve recently signed a deal with Lifeforce Records, giving their debut, The First Perception, worldwide distribution and a happy backer to help with promotion. The five members aren’t exactly new to the block either. They’ve all been involved with a couple of projects that have gained a fair amount of attention – Fear My Thoughts, Backslide, and Triptykon to name but a few.

“I’m sorry we didn’t come up with something more innovative,” says Martin Fischer, guitarist and vocalist of Pigeon Toe, when asked about their bizarre band name. “We used it as a working title when we started the band, and when it came to playing the first show, we didn’t have an alternative name”.

The name Pigeon Toe has been a stumbling block for critics to clamber over. One critic awarded Pigeon Toe “extra points because of their weird name”, while another critic was much more aggressive in tackling the band name before reviewing the debut, “Let’s get the issue of the bands name out of the way. It is awful. It just is. Everybody I’ve spoken to agrees with this, so let’s just leave it there.” Fischer devilishly smiles, “Well… our name might be helpful because people don’t know what to expect.”

Despite mixed feelings over the bands name Fischer insists that the press response to The First Perception has been positive. “It’s a good thing most critics are giving it [The First Perception] a second or third listen”. Detail is very much part of Pigeon Toe’s work. Their subtlety makes for an underwhelming experience first time around, but a colourful adventure on second playback.

The First Perception is a stripped down production. The guitars don’t have the sharp distortion found in metal. The drums are warm sounding and loosely compressed, and the vocal is sung rather than belched. There’s a space all around the stereo field, much like Devin Townsend’s Ki, or King Crimson’s live album Level Five. Their debut can sound blank in one section, but explosive in another.

During a previous interview Fischer mentioned that their debut was both conceptual and open to interpretation. How can an album be both? “I spent some time thinking about a story and characters and all that, but it never seemed necessary to make that work for everybody else, in or outside the band. Still, people should create their own picture when listening to the album.” Critics are divided in what The First Perception is meant to represent – if anything. Some have said, “Alice lost in Wonderland”, others “a potential wizardry”. You get the impression the band aren’t so sure themselves. “Well, all of us had all kinds of ideas in our heads”.
 
Living far apart in the digital age means very little to these prog rockers. The members of Pigeon Toe live miles away from one another, yet they’ve pursued a sound that’s most effective when they’re together in the same room, “Actually, the possibilities of digital recording are really impressive, and yeah, I’ve spent a lot of time in front of the computer”. The use of recording software is fast becoming a recurring theme in the mainstream. U2 are known to jam for hours on end, only for the resident engineer to cut and paste the ‘better’ bits together using software; technical giants Meshuggah are known to electronically program sections of their music before reaching the demo stage; the revered Radiohead are known to work around electronic sequencing first, before the other instruments are even considered at the writing stage.

Yet, listening to The First Perception, it doesn’t sound like it’s been made with a computer in mind, “I’ll take that as a compliment!” says Fischer, unsure if a compliment was actually meant. “Of course, there was a point when I realised that this [digital recording] doesn’t replace the feeling in a band, inside the rehearsal room.” “Still, we’d use it [recording software] to save some ideas and work on them at some other time… but when it comes to song writing or rehearsing we have this one place where we’ll all meet. Also, I think it’s really important for us to react spontaneously and inspire each other”.
 
Song writing and spontaneity can’t live without the other, and were progressive rock is concerned, spontaneity has been the genres corner-stone for decades. “It might get a little complicated when we’re writing, but it can be pretty refreshing having all kinds of unplanned combinations happening at once”.

The First Perception by Pigeon Toe is available worldwide via Lifeforce Records online store, iTunes & Amazon

 http://www.lifeforcerecords.com/main/artists/pigeon-toe/

Technicolor’s press release is riddled with the sorts of hyperbole best described as inextricably pretentious. Language like “Art-core” (not hardcore), “opposing acoustic concepts”, and “scientific law”, already say much about a band with a lot to say, but in the completely wrong way. This not at the very least, proves a massive disservice to Dioramics music (if I’m allowed to mention ‘Dioramics music’ without breaking sweat, aligning them with the stars and some sort of theory about the abacus) misleading you every word.

This is Lifeforce Records first 2010 offering. And, whilst the underwhelment doesn’t take long to kick in, it says much for the attitude of the label. That being, a willingness to publish ambitious projects that wriggle far from the conventional. We can only applaud Lifeforce and Dioramic for their efforts, if even the finishing line hasn’t been quite reached. Technicolor’s content shifts between the hardcore and progressive genres. Their guitar riffing is more of the ‘chug’ nature than chord progressions (mind you, both are present). The vocal floats between clean and higher pitched yelps that are reminiscent of Freak Kitchens, Christer Örtefors. You’ll also find a very strong and talented drum performance present, with the bass throbbing taking the back seat. Samples are often thrown in, adding further substance and depth to the tracks, and invariably Dioramic do experiment with various instruments across the board, which help only to mix things up.

With so many ideas flowing around, Technicolor ultimately fails to come the boil on any of its laurels (its progressive nature, its hardcore nature, and its art). What strikes, as most disappointing is the records broken structure, with each track feeling 50% complete, whilst the other half begins or ends in a complete slouch. The complete material lends a hand at demonstrating the potential for this act, but also reinforces that Dioramic’s ideas have no where near been fully realized. It’s artistic ideas overflow genius, but it’s piecing together into one coherent package, is clumsy and ineffective. This is great art, poor execution.

A 2010 reboot by Lifeforce, that comes across average at best.

6/10 Metal-Mayhem.co.uk

Whilst the security of merchandising and record sales is often enough for any musician to show their hand in the industry, it too comes at a creative price tag, one that “One Without” simply can’t afford. “Thoughts Of A Secluded Mind” is a pop rock/metal effort. Placing it within the metal genre is only a given because of the heavier ‘chug’ guitars present. You’ll also find clean vocals, drums, and synth at the heart of the experience.

The music itself is firm, well written and well executed. Everything has been done in binary fashion (chorus, verse), that echoes themes from the later works of In Flames, Megadeth, and Evanescence. With it being radio, nightclub, youth club and hard rock café friendly, popularity to be gained and sustained is a mere certainty.

Such assurance is creatively expensive. “Thoughts Of A Secluded Mind” is very plain, and very, very stale. There’s nothing on the record that claims a ‘unique selling point’, it’s just an emulation of the acts previously stated. The album lapses into repetitive territory with each track guaranteed to contain a power chorus (or five), a key change and a melodramatic guitar solo.

“Thoughts Of A Secluded Mind”, is an accomplished record, setting out to do what it means to do; yet falls very short because of this. On one of your better days, this effort can sound as vibrant as an early Megadeth record. On a different day, as tedious as Madonna.

6/10 Metal-Mayhem.co.uk

Comprised of everything Scandinavian, "Wearing A Martyr’s Crown" is made up of melodic guitars, belching vocals, double kicks, and its fair share of acoustic guitar passages. For the fan, the record may saturate for years to come, but for the neutral, Wearing A Martyr’s Crown sounds dangerously close to early Arch Enemy, Inflames and Children Of Bodom – actually it initially appears to be an arranged "Black Earth". In 1996, and still to this day many herald Black Earth as a Scandinavian masterpiece, and with partial reiterations in 2009 still happening, this point is further cemented. This also highlights the genres biggest problems. Much like London’s drum and bass scene, Scandinavian metal has never had the ability to progress from the late nineties, without becoming something entirely different. Herein lays Nightrage’s biggest problem. They sound specifically the same as their precursors.

However, there is credit were its due. As you would expect, song writing is solid with enough twists that’ll certainly retain attention spans. The performances are among some of the most mesmeric heard in years. Production values are kept suitably high, that help showcase their compositions clearly. It’s just such a pity that Wearing A Martyr’s Crown is just another addition to the obese genre, and almost a non-respective one at best. To add, you wouldn’t have been surprised to see Nightrage add the masterstroke to push the genre forward; which makes Wearing A Martyr’s Crown that more disappointing. Maybe we’ve been listening to cover bands for the past 13 years?

Archaic-Magazine

“A New Constellation,” is a mish mash of many themes. The belching vocal, padded synth and progressive guitar are just at the heart of the experience. At times, there is a fusion psychedelics that formulate into a metal entry. Other times, Nahema will catch you off guard with a saxophone line breaking into a rock chorus. The genius of “A New Constellation,” is how such elements appear to blend with ease and elegance. The problems? The record has potential to be masterful, but it just isn’t.

With such depth musically, it’s easy to point out highlights on each track as so much riffing is present. “A New Constellation,” tends to stay very safe progressively, as it showcases a very conventional watered-down approach to prog song writing. And whilst this does point to a detracting ambition, Nahema’s more ‘simplified with different instrumentation’ philosophy appears very solid and albeit, very fresh. There are very memorable moments on the record and equally, there many worth forgetting. “A New Constellation,” is a much more than average release that will raise a few eyebrows, only to be brushed aside by others.

Archaic-Magazine.com

"Planetary Duality" arrives, and the promotional sticker reads “For fans of Cynic, Meshuggah and Necrophagist” (not in that particular order). It’s unfair; if only too brief a glance at what’s really within the record. Sure, there’s a flirt with the vocal vocoder (like Cynic), the sweaty dexterous guitar riffing (like Necrophagist) and odd time signatures (like Meshuggah). However, we would be doing you a great disservice if we mentioned that, that’s about it. You’ll find when scratching the surface, the Faceless are pulling strings in such an organic way, that "Planetary Duality" feels unique even when all of it has been heard before. The album sets a benchmark for their German (if otherwise) counterparts, with a technical mastery that’ll easily make the competition blush.

"Planetary Duality" is a brisk affair with the entire record wrapping up in just over 30 minutes. That’s not to detract or defunct in anyway – it’s difficult to imagine such detail in technicality exceeding the 35 minute barrier. Straight off the bat, you’ll soon discover that the Faceless aren’t simply a technical distro using guitar hero histrionics to boast their blindingly talented musicianship (as you probably did discover listening to their previous, “Akeldama”); they also merit extremely detailed song writing that even the progressive diehard would applaud. And yet, there are about a thousand acts one could reference that are in this regurgitation. It’s how well all of these sophomore’s have been put together which make the Faceless very different, and albeit, very unique.

Archaic-Magazine.com