Vektor - Terminal Redux
Arizona quartet shake up the thrash template with epic sci-fi concept
Upon hearing the concept for Terminal Redux you could be forgiven for thinking it was the work of a prog band. It follows the story of a lone astronaut discovering a life-rejuvenating molecule, gaining power and bringing balance to a war-torn empire, but in a more broad sense it reminds of the likes of Dream Theater’s The Astonishing or Rush’s 2112, by being set in a vast empire which is currently in turmoil. However, despite Vektor’s ambitious concepts and sci-fi-esque themes, they are no prog band.
Instead, Vektor deliver thrash metal, complete with visceral growls and riff upon riff of ferocious guitar-work. Their tracks are lengthy compositions, often running past the eight-minute mark. Where you may associate thrash with fast-paced bursts of adrenaline, Vektor infuse their sound with atmospheric and often technically complex sections. Moments like the insane intro of ‘LCD (Liquid Crystal Disease)’ will have you in awe at the sheer mastery of the group’s technical prowess and sensational songwriting. If at times it’s hard to associate their hard-hitting sound with the galactic-scale theme the album is based on, it’s seldom hard not to be impressed by their musicianship.
Whilst you could call the combination of an outlandish concept with extended thrash tracks an ambitious musical experiment, the exquisite execution makes Terminal Redux worthy of much more than the title of “experiment”. Vektor seamlessly introduce everything from prog influences to slight black metal flirtations throughout the album’s 73 minutes, and in doing so prove that they are masters of songwriting.
Whilst the album’s first half seems obsessed in assaulting both the eardrums and mind of the listener with its endless barrage of brutal riffage, the album’s second half begins to open up into a more dynamic offering. ‘Collapse’, for example, with its much less speedy first half, sees vocalist David DiSanto adopt an atmospheric, shoegaze singing style which eventually morphs into the guttural cries that comprise most of the album. Elsewhere, closer ‘Recharging the Void’ sees a more extreme example of variation, as it features a dramatic change in pace. Vocalist/guitarist David DiSanto swaps his harsh shouts for soft and melody-friendly singing during a peaceful section in the middle of the song. This ambient section can be jarring, but its eerily gripping atmosphere seems destined to be the backdrop for a long, tranquil shot of a planet slowly drifting through space.
These changes in style suggest that Vektor know exactly how to craft not only a song, but an album. In adapting their style in supremely effective ways, they ensure that Terminal Redux holds not just interest, but a sense of intrigue and wonder throughout. It is an album that provides more gloriously ruthless intensity than the average thrash release, but also manages to be just as captivating as any classic prog concept album. More than a respectable attempt at creating something new, Terminal Redux is a remarkable testament to the fact that following no creative direction but your own can lead to brilliance.
10/10
