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"As The Roots Undo" is one of the best albums I've heard in a while for a number of reasons. While it satisfies my need for out-and-out ferocity, Circle Takes The Square fears no musical risk and incorporates unexpected musical pieces that most bands would probably butcher in employing. And this, the band's ballsy attempt to create inspiring and innovative music, is the true beauty of "As The Roots Undo."
This album displays intelligence, in that Circle Takes The Square is obviously knowledgeable in a multitude of musical styles and the band members have the brain power to carefully mix these obviously different styles into a cohesive blend of brutal highs and delicate lows. It showcases unmatched creativity, taking traditional screamo to level previously unheard of with songs over eight and nine minutes long. This album has character and so much feeling that, at times, it's a bit overwhelming. But, of course, better than lacking much feeling at all.
Circle Takes The Square covers a lot of ground during the eight songs of "As The Roots Undo." While their music is rooted in the aggression and chaos of traditional screamo ala Orchid and Kaospilot, there is an undeniable extension to the sound in the form of instrumental parts, soft melodies and tense introductions. The music is as chaotic as one can imagine, with frequent shifts in tempos and plenty of guitar noodling, but the band does well in slowing things down and allowing for some breathing room. In "Same Shade As Concrete," Circle Takes The Square cuts the blastbeats, and enters a chant of "Wade in the water, wade in the water, child." One might think this is out of place, but, while I have no idea how, it works. Really well.
"Interview At The Ruins" is primarily fueled by a plodding, tom-tom driven rhythm, some piano strokes and, oddly enough, what sounds like someone sifting through a pile of seashells (or, for you youngsters, legos). It's minimalistic in comparison to the surrounding tracks, but combined with the layered chants of "A murmer from the ruins echoes softly as the roots undo, and the branch becomes," this is a hair-raising tune. The following song, "Non-Objective Portrait Of Karma," picks up where "Interview At The Ruins" leaves off, with a four-minute, instrumental introduction that, while drawn out, creates anxious excitement for the explosion of energy that it builds up to.
"As The Roots Undo" culminates with the two lengthiest songs of the album. "Kill The Switch" clocks in at over nine minutes, and is a notable composition. The subtle electronics and hopeful, bright sound at around three minutes is unexpected, and the song finishes with a climactic set of cymbal crashes, guitar noise and double bass kicking. "A Creater To Cough In" uses a delicate guitar melody over the first four minutes, then erupts with intensity. There are some truly catchy guitar parts around the 5:15 mark, and the song proceeds to finish with a distorted version of the opening guitar melody. I really appreciate a band creating a memorable closing song.
What makes Circle Takes The Square's music even more impressive, is the fact that this thick and layered sound comes from a three-piece. All three members contribute vocals, primarily a raspy-voiced, male screamer and youthful female vocalist. The two trade off throughout the entire album, creating an interesting dialog of sorts. Most importantly, both of them communicate a lot of emotion and pain with what they scream -- you get the feeling that they are exerting so much effort because they mean what they say. The screams of "All I ever asked was for a clean break" in "In The Nervous Light Of Sunday" sound so genuinely painful...
Robotic Empire Records is blessed to have Circle Takes The Square on their roster, but credit must also be given to the label, as "As The Roots Undo" is safely secured in some of the most thoughtfully designed and tastefully decorated packaging I've seen. The production quality is great, too.
I keep having thoughts of "As The Roots Undo" being something like an unpredictable hurricane barreling toward solid ground, deceiving land-dwellars with the eye of the storm and continuing the destruction when they're off guard. But at this point, I say screw the similies -- "As The Roots Undo" is incredible.
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