Reviews of Obsolete Continuum


Metal Mag review of Obsolete Continuum by Marcel Fabio

AraPacis : « Obsolete Continuum » CD June 2017 Note Musik Records.


Arapacis : "Obsolete Continuum" CD June 2017 Note Musik Records.
Arapacis : "Obsolete Continuum" CD June 2017 Note Musik Records.

AraPacis : « Obsolete Continuum » CD June 2017 Note Musik Records. Hard Rock/Doom/Dark/Heavy Metal band. Jerry and his wife Shelle are back with another yet interesting and original album.

For those who are not familiar with this couple , they are musicians who create and always have guests to widen the view and sound of their songs. The good thing is any of their albums sound the same. Deep Dark lyrics and so true it will speak to many, enchanted vocals to lead you to madness with a smile. The first track getting you straight into a frosty dream loosing your grip to reality, floating in a cloudy strange feeling with a slight touch of Black Sabbath, Bludy Gyres…

Guest musicians Philippe Mius d’Entremont on Cello, Mathieu Roy on Drums, Mel Leclerc on Saxophone, the hit single beeing ‘Translucidity » one of the last track featuring Vinnie Appice  and Steph Honde with an awesome solo and great vibe.

When listening several times you really have the impression to read a book, some ‘growling/broken’ voice like a second thought talking making think of Gollum. If you wanna dive into this universe with melodies in the voice and guitar solos melted with an edge of soul eater then get this album 98/100.
PostPosted: Wed Jun 28, 2017 1:03 pm 

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ARAPACIS are a hard rock/prog/doom/classic rock band formed round the husband and wife duo of Jerry Fielden and Shelle Macpherson, hailing from Longueuil, Montreal, Canada.

ARAPACIS, album line up.


1. SYNDROME: - A great opening track that has an Asian flavour within the addictive sound. Shelle's vocals have a haunting feel and capture the imagination as she paints the picture of the song, like a singing Mata Hari enticing you into the track. The track changes tempo and goes into a subtle section with wonderful guitar lines from Jerry, a very relaxing section full of brightness and gentle waves. The number reverts back to its original flavour and hypnotic beat whilst Shell catches hold of you again with her unique vocals. The number changes and builds into an excellent groovy and soaring guitar section for the finish.


2. DECEPTIONIST: - A hard rocking start with a driving, beating tempo and raw guitar riffs. Shelle's vocals have a unique tone and tang to them, as she uses different layers to deliver the song along side the hard rocking riffs. There is a great prog vibe within the track that is very interesting. Jerry provides some classy guitar shredding in this number which is highly enjoyable.
This is a hard driving track with a dark thread running through thitting all the right spots. OH YEAH.


3. THE GREY PROCESSION: - There is a haunting sad vibe to the opening section with the sound that draws you into some dense misty atmosphere as Shelle enters with whispered vocals. The track sizzles into a sombre, doom laden affair, slow, heavy and nasty. Shelle's vocals have a menacing aura and come over quite foreboding, at times her vocals are full of nastiness when she uses her harsher semi growling voice, she is certainly on top of her game on this track. The whole number is dank, dark and infectious that smothers you and takes you breathe away as well as sending a old shiver up your spine. Top notch guitar shredding from Jerry around the midway mark dismembers your brain with ease. A gloomy track indeed, not to be playes in the dark.


4. KICKING AROUND THE BLUES: - Super groovy bluesy beat puts you in a great mood straight away, as the funky rhythm takes over your mind, soul and body. Shelle spits and snarls like a wildcat as she delivers the song in fine style. The number is highly addictive and captivating as contains some super delicat guitar work. You can almost imagine this being played in a hazy smoke filled bar with the lighting turned down low. It's gutsy and gritty and soars in the latter stages with some excellent guitar shredding from Jerry, that cuts right through you. A classy number.


5. THE BRUTE: - Deep rumbling bass and dark guitar licks as the track kicks of with menacing aplomb, the cymbals crashing along side a stonking drum beat. Shelle is at her nasty evil best here with her snarling and grumbling vocals that go straight for the jugular. She is like a dark demonic princess, digging her talons into your flesh and claiming your soul for her sacrificial rites, her different use of her vocal tones are a darkened delight. This number is a dark and gloomy affair from the very bowels of hell, a track full of black shadows. A deadly musical virus that sweeps through your system. BRILLIANT.


6. OBSOLETE CONTINUUM: - The title track begins slowly with a hard drum beat and guitar notes. The whole number has an element of intrigue and at times defies description with its make up, doomy and progressive elements are all in the mix. Shelle, once again, is on top form with her deadly vocals full of nasty intent. Great sax solos in the second half of the number as it takes a more mellow stance with a slight jazzy tint. The track then sizzles with excellent hard rocking guitar work from Jerry, giving the track another element to enjoy. This number has been classily arranged and at times brain damaging.


7. TRANSLUCIDITY: - We are off with a slow, demanding hard rock tempo with Shelle producing some unearthly screams that are pretty scary. The track settles down with an addictive rhythm with some lovely keys/synths in the mix, adding another colour to the number. Shelle holds you firmly in her grasp, sucking away your very life's essence with her vocals that at times are bordering on nightmarish. A foreboding desolate track that suffocates you. A great transference to a more hard rocking sound with classy guitar shredding and a stonking drum beat as we go into a lengthy instrumental section with Jerry coming to the fore with some classy solos. The track reverts back to the subdued grimy beat and you sink further into the dark recesses of the track once again.


8. WATCHER: - We finish with a super instrumental jam that has become the trademark of the band over the last few albums and they do not disappoint here with this one.
Spacy synth sounds and an uptempo black beat open the proceedings, a haunting scary spectacle that rocks with spectral menace, elements of prog working well in the mix. Soaring guitar shredding from Jerry keeps you hooked on this number that makes use of light and shade perfectly. Plenty of different layers on this strange number that at times leans more to the progressive side of things,
whilst maintaining that dark, doom laden vibe. A great jam to confuse your brain.


A classy album by a class act, Jerry and Shelle with guest musicians have produced another exhilarating and highly enjoyable 6th album. They have gone for a much darker and doom laden approach here, compared to previous albums, and boy oh boy does it work, hell yeah, every track is a dark gem and heavy as fuck. I have always loved this band and listened to their progress over the years. Since Shelle came onboard on album 4 they have just got better and better, Shelle in particular has really grown into a fine front woman with a unique tone to her vocals that suit the band perfectly,
and off course we have the grand master himself, Jerry a multi talented and very experienced musician at the helm, This is going to be very high in my albums of the year . Knowing Jerry it will not be too long before they are back in the studio for album 7. OH YEAH. VERY HIGHLY RECOMMENDED....10/10+



Monday, 25 September 2017

CD Critics: Arapacis - Obsolete Continuum (2017)

Critique CD

Obsolete Continuum (2017)
System Deceive (2016)

Le Groupe :
Shelle Macpherson- Lead Vocals
Jerry Fielden - Lead Guitar, Bass, Synthesizers, Back Vocals, Mandolin;

Dans cette critique CD, je vais faire les choses différemment, car l’an passé j’avais fait la critique de l’album System Deceive (2016), mais parce que mes installations avaient passé au feu, je n’ai jamais pu mettre en ligne cette critique. Alors comme la marque de commerce de Québec-Métal est d’être là pour les groupes du Québec et que ma promesse ou mes dires envers eux passent avant tout, je vais faire deux critiques ici. Une critique condensée pour Système Deceive (2016) et une pour le nouvel album qu’est Obsolete Continuum (2017).

C’est devenu une certaine marque de commerce pour Arapacis et son charismatique leader, Jerry Fielden, de faire appel à des musiciens de sessions ou à certains musiciens d’expérience dans le monde entier, et System Deceive ne fait pas exception. Le style opéré sur cet album a une tendance vraiment orientée vers un son, mais aussi un style des années 70 avec une certaine modernité. La plupart des instruments sont ici joués ou programmés par Jerry Fielden. La voix de ShelleMacpherson est douce, on n’a qu’à écouter la pièce Street of Anger pour pouvoir apprécier sa voix. Du coté des invités, sur System Deceive, il n’en manque pas. Certes, il y a David McGregor (de Eclipse Prophecy), voix clean sur Labyrinth, ainsi que Isanielle Enright, back vocals et growls. Mais au-delà d’eux, il y a de gros noms de la scène hard rock ou heavy métal, comme John Gallagher (de Raven), qui joue la basse sur toutes les chansons sauf Lady Lonely Blues et TheUnknown, comme Rachael Beaver (de Human Tribe, le band de Roger Fisher de Heart), qui joue du violoncelle sur The Unknown, ou comme Steph Honde (de Di’Anno et Hollywood Monsters), qui est lead guitare sur Streets of Anger, pour ne nommer que ceux-là – il y en a encore plus sur cet album. Qui a dit que Jerry Fielden ne sait pas s’entourer des meilleurs. Dans son ensemble, System Deceive est un album plus mélodieux comparé à ses prédécesseurs, mais il est tout aussi efficace en matière de « mood » et de mélodie. Alors si vous aimez ce style de la belle époque musicale, cet album est conçu pour vous. Une production claire et épurée, avec de belles ambiances parsemées ici et là. Je me souviens qu’à l’époque, j’avais mis une note de 7.5/10 et un an plus tard, je maintiens cette note. Maintenant, passons au nouvel album, qui sort aujourd’hui : Obsolete Continuum (2017).

Les chansons :
01 – Syndrome
02 – Deceptionist
03 – The Grey Procession
04 – Kicking Around Blues
05 – The Brute
06 – Obsolete Continuum
07 – Translucidity
08 – Watcher

Comme on peut le constater dans la discographie du groupe, Depuis 2006, Arapacis a sorti sur le marché cinq albums : So Many Leapers (2006), Consequences of Dreams (2009), Netherworld (2011), A Disturbing Awakening (2014) et System Deceive (2016), sans oublier leur e.p., Déjà-Vu (2013). Chacun de ces albums avait sa propre touche particulière, ce qui démontre la capacité de Jerry Fielden à composer et à varier ses influences. Aujourd’hui, Arapacis nous arrive avec son sixième album studio qu’est Obsolete Continuum. Encore un fois, On a droit à une belle brochette d’invités de marque, que vous retrouverez plus bas, dans mon analyse complète de l’album.

Le tout débute par la pièce Syndrome. On dénote en partant une certaine touche progressive dans la musique. La voix de Shelle, comme sur l’album System Deceive, demeure douce et envoutante. La guitare est extrêmement mélodieuse avec en fond de toile une mandoline qui donne une belle saveur à l’ensemble. Une chanson fort bien faite pour débuter l’album. Deceptionist débute nettement plus heavy et nettement plus rapide. Sur cette chanson, c’est Mathieu Roy qui joue de la batterie, et avec qui Arapacis n’en n’est pas à sa première collaboration. Un bon solo de guitare, avec une rythmique fort dynamique – j’ai l’impression qu’elle a un certain côté festif. Vous remarquerez qu’à l’occasion, on peut y entendre une certaine voix sombre en fond de trame, ce qui donne un plus à l’ensemble vocale. The Grey Procession, avec le violoncelle joué par Philippe Mius d’Entremont, offre un rendu sombre et envoutant. Une pièce lente, mais non dépourvu d’ambiance. Une narration vraiment bien faite durant la chanson, avec une voix qui noircit l’ambiance de belle façon. Encore une fois, la guitare nous offre un beau solo, certes plus lent, mais fort bien fait. Kicking Around Blues, comme son titre l’indique, est nettement orientée vers une chanson plus bluesy, ce à quoi Arapacisne nous a pas habitués. La touche rock demeure présente. Je retourne vite dans mes souvenirs de jeunesse car j’ai l’impression d’y entendre du Janis Joplin, mais version 2000. La combinaison entre le rythme de la batterie et le jeu de guitare est vraiment savoureux. The Brute offre un son plus lourd, tout en y gardant une certaine touche progressive dans son ensemble. J’y ressens une certaine touche encore une fois blues mais en plus sombre. Encore une chanson surprenante mais bien exécutée. Obsolete Continuum, qui est la pièce titre de l’album, offre une toute autre direction, plus space dans son ambiance. Comme je le disais en préambule, je ne suis pas au bout de mes peines. À un certain moment, on peut quasiment y ressentir une ambiance de bal avec le saxophone de Mel Leclerc, qui est vite suivi d’un solo de guitare nettement plus rock. Translucidity me surprend encore plus, avec une autre ambiance rock orientée nettement vers les années 70. Jerry sait s’entourer de talent et, ici, c’est Vinny Appice (de Black Sabbath, Dio, Last in Line) qui joue de la batterie. Une belle ambiance se dégage du clavier. Steph Honde (de Di’Anno et Hollywood Monsters) se partage le solo avec Jerry Fielden. C’est vraiment une très bonne chanson. Watcher offre aussi une tout autre dynamique, vraiment plus heavy que les autres chansons de l’album, mais sans jamais perdre sa touche progressive pratiquée depuis le début de l’album. J’oserais même dire qu’elle est plus technique que les autres chansons. Une vraie belle façon de terminer un album.

Vraiment, Jerry Fielden saura toujours me surprendre avec ses compositions. Il n’a pas peur d’oser et de repousser les frontières du hard rock et du heavy métal combinés. Arapacis n’a aucun album qui se ressemble et je crois que c’est ce qui fait la force du groupe. Obsolete Continuum est un album complexe à cerner, mais à la fois si intéressant à écouter. Une touche heavy ici et là, un bon côté progressif, et on y ajoute du blues ainsi qu’une certaine ambiance non traditionnelle. On y invite des musiciens de marque et ça donne Obsolete Continuum. Je ressens que depuis System Deceive, Shelle Macpherson a eu une très belle évolution vocale. Si vous êtes amateur de vieux rock et de musique progressive tout en y gardant un certain coté heavy métal, cet album est nettement conçu pour vous.

Ma note : 8.5/10

Shelle Macpherson (chant) - Alain Labonte (Québec-Métal) - Jerry Fielden

Quebec-Metal Facebook:
Critique CD par Alain Labonte
Correction de texte: Claire.S



Obsolete Continuum

Review by Larry Toering, Music Street Journal Nov. 2017
AraPacis are from Canada, led by the husband and wife duo of Jerry Fielden and the amazing Shelle Macpherson on vocals. You could call this female-fronted metal, but it’s more along the lines of prog than not, especially on this (their sixth album to date). Macpherson's voice is massively unique and Fielden's guitar playing is second to none on this chapter of sorts in their musical journey. They tend to feature guests and have had Don Airey of Deep Purple in the past. This time Vinny Appice makes a special appearance on one of the tracks.

This review is available in book format (hardcover and paperback) in Music Street Journal: 2017  Volume 6 at
Track by Track Review
The first thing I notice as they kick off is how much different this sounds than their last CD. The sound is warm and cozy, and this track just flows like a slinky. The vocals are over the top with high notes, but the track also flows melodically with Jerry Fielden displaying his monster guitar chops all over the place.
This track is instantly more proggy, with a few metal moments thrown in. They get into a lot about the title itself, and you can guess the rest. The feature of this track is the vocals which come completely alive. 
The Grey Procession
Things weigh in a lot more prog than not where this comes in. The intro is dramatic with some fantastic percussion to spice it up. It’s dark and heavy but also light and fully in the right parts with a whispering vocal that builds up into one of the best tracks on the album. 
Kicking Around Blues
The blues is just a refrain here, as the groove is “bluesy” on this awesome track. Think "progressive blues," and you’re getting somewhere. Macpherson's gritty vocal performance is all brash and beauty in one stand out spot. 
The Brute
This is another great song. It’s where the album gets close to defining what it’s all about.
Obsolete Continuum
The title track is where the concept comes alive and gets to prove what it’s all about, and it delivers with maximum results. This comes with loads of time signature changes and a surprise horn solo. It’s a beautiful piece of music that fuses into a guitar solo that takes the track out.
This number features a guest performance from Vinny Appice on drums. It almost makes the band sound like Black Sabbath with Macpherson's vocals and some strings added. It just works as if he’s in the band, but it’s not like the drums aren’t already heavy. It’s just that when Appice plays you know it’s him without sounding like he’s taking over. Once again, the vocals here are excellent, too. Everyone churns out their best on this epic track. 
The set closes with one of the darkest tracks, and it makes the whole statement stick. Even if you don’t know what they’re singing about you can’t help but follow along. More odd time signature changes on this are what take it over the edge for an awesome closer to a complex and dynamic recording.


Jennytate's Blog
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Arapacis – ‘Obsolete Continuum’
Introducing ‘Obsolete Continuum’, current album from Arapacis. Produced, recorded, mixed and mastered at Arapacis Studios, by Jerry Fielden, in 2016-2017. Featuring Vinny Appice (Black Sabbath and DIO), on Drums, on ‘Translucidity’.

Syndrome – Measured drum intro, with instant proggy atmosphere. Mid-paced vocals kick in, with a slight gothic edge, softened round the edges, by a melting sound, like a physical sensation, cushioning the track, like a dream pillow. Beautifully melodious riffs surround it, taking it further into dreamy territory. Incredible scream, hitting the heights, towards the end, before the drums bring it all together and wrap it up in a final roll. Clearly prog, in nature, an inexplicable sense of being cosseted in a warm blanket remains.

Deceptionist – Banging, fresh drum intro, taking it up into a higher mood. Quality vocal harmonies, well supported by the cohesive accompaniments, but still strong enough to stand on their own. A definite catchy thread to that chorus, it’s one of those whose magic lies in its simplicity. This track’s main standout factor is that it’s intricate, without being overcomplicated. A difficult skill to nail, but it’s clearly audible in here, as is the generally accomplished air.

The Grey Procession – Opening with an intriguing ambient sound, resembling being in a wind tunnel, surrounded by swirling autumn leaves. Whispered vocals initially, gaining more volume, as the drumming intensifies. Some complex fretwork in there and a gradual tribal-esque drumbeat rhythm. Joined by sinister toned vocals, with equally sinister lyrics. Continuing in that vein, in an almost hypnotically ritualistic chant, it ends on that same meditative mood.

Kicking Around Blues – Much faster, more upbeat drum and riff intro, with a very early blues style and feel to it. Very pleasing to the ear. While those vocals could be seen as challenging, in places, they’re generally in fitting with the bluesy angle of the song and they’re undeniably skilled and entertaining. Much more riff involvement in here, of a very bluesy nature, happily, including some Hendrix-type riffs and the whole thing creates an air of old school blues and jazz clubs, with ‘Old Slow Hand’ Eric Clapton doing his thing. Easily the standout track so far and it’s over too soon.

The Brute – Bass introing, deep down low-slung ‘Wild Thing’ type licks and a stronger light percussion emphasis, from the cymbals. Those vocals have suddenly become very creepy and Gollum-esque! An odd, though intriguing combo of masculine, evil goblin sounds, with gentle, yet powerful high-pitched feminine melody. It’d certainly draw you in and keep you on the edge of your seat. A sudden end, but hey ho. Strong impressions were made. Say no more.

Obsolete Continuum – A darker mix of low bass notes and strategic cymbal hits introing; the feminine vocals return, showing their wares, with a black treacle-like edge to them. Merging, in places, with masculine vocals, which seem to retreat into the background, as the others come forward. A pleasant bit of sax work at the 3/4 point. Unusual alliance in rock, so good to hear it included. Some nice riff work at the end, consolidating everything, with perfected skill and precision.

Translucidity – Feat. Vinny Appice (Black Sabbath and DIO) on Drums – Strong drum intro and a creepily gothic vocal making its presence known. Moving into a more melodic sound, with an early rock and blues edge to it, but never quite losing that gothic sense. Riffs more prominent now, growing faster and then fading, into the background, intermittently, before returning, stronger and bolder. Comfortable, easy rhythm, becoming the backbone of the show. Ending on a strangely surreal fey-like vocal, it’s an effective way to close.

Watcher – Computer noises intro, very briefly, before opening the way for a classic darkened rhythm, growing lighter, enhanced by the fresh, open cymbal sounds. An undercurrent of early Sab’s ‘Children Of The Grave’ permeates. There’s a fitting sinister edge to the sounds – in keeping with the title, reinforced by the chasing style and sense of the following rhythm. Very visual, especially as the bass notes grow more prominent, at the end, just prior to the returning computer console closing sounds.

Overall – An intriguing concoction of sounds, blending prog, gothic, blues, jazz, early rock and the roots of metal. Freer in style than many concept albums and more effective to zone out to than most. Eclectic and unpredictable, utilising a broad spectrum of instrumental techniques and combinations, it’ll work best for the open-minded enquirer, as much as for the ingrained prog and concept enthusiast. Abstract is probably it’s most fitting and relevant description.

8/10 ********

For fans of prog, psychedelic, experimental, blues, jazz, concept rock, gothic rock and everything in between. Mike Oldfield’s ‘Tubular Bells’ fans’ll enjoy this too.


Darkland Promotions review


All reviews are written by Italian Metal Queen

Hard Rock / Progressive / Doom Metal from Montreal, Canada
Band Members:
Jerry Fielden -- Lead Guitar, Back Vocals, Synths, Mandolin
Shelle Macpherson -- Lead Vocals

AraPacis (Ara-Patches) is a female-fronted metal band hailing from Montreal, Canada. Formed in 2003 by guitarist Jerry Fielden, and fronted by Scots singer Shelle Macpherson, their main goal is to re-create some of the original aspects of 1970's Hard Rock and Progressive Rock and fuse it together with 21st Century Prog Metal, Doom Metal & Metalcore to make an interesting metal hybrid. AraPacis have shared the stage with acts such as Blaze Bayley, Uli Jon Roth, Anvil, Raven, the Agonist, Doro, etc. Their debut album '‘So Many Leapers’' was released in April of 2006 and their second album '‘Consequences Of Dreams’' was released on October 5, 2009. The band released their 3rd album, "Netherworld" in digital version on Dec. 19, 2011 and CD version in February 2012. An EP of older songs in updated versions, Déjà-vu, was released in March 2013. AraPacis released their 4th Album "A Disturbing Awakening" in December 2014 and released their 5th Album "System Deceive" in April 2016. AraPacis have finished working on their 6th album and are now working on a second EP of older songs in a doom mode. They have had noted guests on their albums such as Guy LeBlanc (RIP) of Camel and Nathan Mahl, Steph Honde of Di'Anno and Hollywood Monsters, Don Airey of Deep Purple, Rainbow, Jethro Tull, etc., Vinny Appice of Black Sabbath, Dio, etc. and John Gallagher of Raven, amongst others.
When Hard Rock meets Doom Metal you have AraPacis and their album Obsolete Continuum. The edgy riffs and epic guitar solos you come to know and love with rock music married to the heavy and somber tones you expect from metal. But in a way that can only be done by this epic musical duo from Montreal, Canada.

Syndrome sets the mood for the album perfectly. The haunting vocal style that goes almost operatic in some places. A dark menacing growl vocal that is lurking in the background, as if a beast is watching an angel that is struggling with some inner demon and trying to make sense of it all. Then enter in the enchanting guitar solo that helps you break the chains that seemed to get a little tight. Syndrome really plays with the inner darkness and light of the human mind and soul, in a rather simplistic way, and when you think you have finally found peace, they turn up the intensity yet again.

They display their musical diversity quite perfectly in Kicking Around Blues. It has a nice mellow vibe that gets you in this groove to kick back and enjoy the moment. I really appreciate when artists go outside of their typical genres and incorporate what I consider genres that are becoming lost in the music world, like Blues. Then to add their own personal touch of punchy guitar riffs and every now and again a little snarl of metal, makes it the perfect way to introduce the younger generations to this style that the industry has forgotten. The lyrics are catchy and will be stuck in your head for days to come, where you could be making dinner and all of a sudden realize you are singing this song while you cook. Which is a good thing because that means the song is memorable and has danced its way into your soul.

The Brute, dare I say is almost a playful Doom Metal song. But it is not straight Doom Metal, they add in their edgy rocker touch. But it’s playful in the sense of the vocal range on the song as well as the drumbeat, if I dare to express the image I get while listening to this song, is a sinister playground where adults come to play childhood games, set in a Stephen King kind of way. The song plays with your ears as well with the change ups and break downs, almost a hypnotic cadence of a somber guitar with the solo playing in forefront. It redefines a chaotic style done with a clear point of view.

But fear not music lovers, once you love this album, and I know you will, there is hope on the horizon for yet another musical fix. If I understand it correctly, AraPacis is working on yet another album to corrupt the masses which I am certain it will do just that. And while you wait for the new music release, be sure to check out their other albums and add them to your musical library to enjoy for years to come.



Yanick Klimbo Tremblay 16 janvier 2018


Obsolete Continuum

Formation productive, Arapacis propose une nouveauté à tous les deux ans. Cet album est paru en 2016, ce qui veut dire que d’ici quelques semaines ou même mois, Arapacis devrait lancer sa nouvelle offrande.

Si A Disturbing Awakening trempait son hard rock dans une trempette plutôt progressive, on peut rapidement se rendre compte que la formation se dirige vers d’autres rivages avec Obsolete Continuum.

Des horizons laissant paraitre des teintes plus doom et psychédéliques se font entendre tout au long de cette production, mais surtout sur Translucidity. La voix de Shelle demeure un atout important dans la sonorité du groupe et son approche très introspective peut nous faire penser à des groupes comme Blood Ceremony ou même, Jex Thoth. Et sur cette pièce, nous retrouvons Vinny Appice aux percussions!

Une fois de plus, Arapacis se plait dans cette sonorité plutôt antique du rock. Le souffle chaud du blues se présente sur Kicking Around the Blues quoique pour le reste, le groupe demeure fidèle aux racines du hard rock.

À écouter ben chaud sur le vin, car tu ne retrouveras que du velours sur Obsolete Continuum.

Pour entendre Translucidity, vous devez cliquer ICI!



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