Giant Claw turns the tempo up all the way. If hyperactivity could possibly be
transformed into music it might sound like ‘Mutant Glamour’. Everything is so
compressed. The level of intricate detail shoved into such small spaces is
incredible. As an added bonus the songs possess an over-the-top faux-dramatic
flavor to them. Self-awareness like this makes it even more enjoyable. Add this
onto an already well-developed sense of pacing and timing and you have a fantastically
fun album.
Right from the beginning of ‘Brain on Cream’
this could be an entire EP for an average band if they reduced the speed just a
little bit. So many melodies are thrown around like an absolute madman. ‘Empire
of Summer’ has rather intelligent, smart progressions which are nearly lost in
the shuffle. There is a saxophone solo for absolutely no reason. ‘LA Christ’ is
one of the most grandiose pieces on the whole album. Multiple movements keep it
interesting along with some moments of pure abandon. The tempo here is slowed
down in comparison to the rest of the album yet it continues to drive forward on
some unknown reservoir of energy. What makes it the best piece on the album is
how expansive it is in terms of scope: it explores every possible outcome of
the groove, right down to the ending which feels like a triumphant march of
sorts. ‘Trapped in the Mirror’ ends it with the longest piece which most
directly refers progressive rock’s capacity for heaviness. Indeed halfway
through the piece it settles into a nice stomp of a rhythm complete with
utterly ridiculous melodic flourishes.
This is progressive rock as played
by computers.
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