It has just come in this morning, another Hungarian rock/metal web magazine has written a very positive review about our album I, Metal. Here’s the link to it:
https://www.rockbook.hu/hirek/meglepoen-sokszinu-es-otletes-anyag-lett-terran-spacers-debutalo-albuma-az-i-metal (You can use your browser’s translate function for English, but as automatic translator scripts couldn’t cope with the complexity and richness of sentences and expressions, we have included our own translation here below.)
Massive thanks to the editors, we highly appreciate it.
A SURPRISINGLY DIVERSE AND INGENIOUS MATERIAL: “I, METAL”, THE DEBUT ALBUM OF TERRAN SPACERS
It’s pretty rare that I write about this kind of music. But I have to add something to it at once. Unfortunately, it’s pretty rare that I write about this kind of music. Even now the disc has arrived from the distant misty Albion (is there a more commonplace name for the region?). (In Hungary they refer to the whole of the British Isle as “the distant misty Albion” – translator Dave) But this time it has some strong Hungarian aspects to it in the line of its creators. I couldn’t even say that the Hungarian music scene lacks this genre, as it is no other than progressive metal.
Looking at the digipak cover’s artwork I had mixed feelings. It was sometime in the late 90’s when I often met this sort of imagery on covers of computer games, when with some sort of 3D modelling software run on a more muscular Pentium machine you were already able to render similar images with multiple lighting sources etc within a few hours. I still couldn’t find out whether I like it as an album cover or not. On one hand it brought back pleasant memories, on the other hand it brought me the question, whether or not this method requiring high level of technical knowledge and songwriting (/-building) skills will be handled with the necessary seriousness.
It turned out pretty quickly that the answer is yes.
A pleasant, soothing intro. Chill. Of course everybody knows that these intros only serve to dampen the sense of danger in the listener, so that afterwards the heavy riffs can hit harder. I didn’t get surprised how breezily it went on. I rather got surprised at how good musical themes came in and at how effortlessly they got built together. There’s no strainful pushing.
I’m sure there are a bunch of band names that could be mentioned as influences, and Rush came into my mind the most, mainly because of Dave’s intonation. The music is a bit heavier tho than the Canadian masters’, and even to this heaviness often comes a bit more addition before they become airily light with Judit’s voice. Already at the end of the second Sheeple it became obvious that if in two songs there are so many good themes, it can only mean good for the rest. Rich synth pads, waving guitar riffs which can be followed by pleasant nodding. And what’s really important is they are ingenious. Both the riffs and the vocal melodies. Progressivity doesn’t mean that they break up the rhythms unnecessarily. Of course they often start going into it, but just a bit so that it feels good.
I don’t say that Dave is singing the stars off the sky, but he uses his voice cleverly. Versatility and richness in themes persists, but I must confess at the fifth track I had to check the display where we are. Not because songs would be the same, but because they all have so many different elements.
Although the material is free from showing off types of shredding, they handle their instruments with confidence and you can’t notice that they wanted to adjust every second to perfection. Naturally, it didn’t become a test album to demonstrate the justfulness of high end systems’ price tags, but they managed to achieve a live, humanlike sound.
Spacer Song takes the hands off the wheel a bit. It’s a lighthearted song with feeling, followed by the instrumental Dolphins’ Message pt 1, which grabs the controls back. When the song started, I thought, this is exactly how 15 mins long progressive pieces usually start. I even assumed that they had put these two together so that the contrast between them could hit harder.
Birth of the Planet is pleasant and contemplative, although I expected something more grandiose with this title. Karma Day has the heaviest keyboard lines, but when occasionally it backs off a bit, it continues the previous song’s etherial murkiness. You can even feel some hints of Tool here and there.
At the end of the record they could even fit in some Galactic Cowboys-like blow to seriouslness in the form of a bonus track.
All in all it’s a surprisingly diverse and ingenius material that I, Metal became. Whoever likes progressive metal and is open to a talented band who don’t take themselves too seriously, hunt down this album.
Tracklist of the album:
01. Au Revoir, Parasite 04:46
02. Sheeple 04:12
03. Facing Defects 04:43
04. I, Metal 03:57
05. Groundling 04:10
06. Spaceport 01:16
07. Spacer Song 03:32
08. Dolphins’ Message pt 1 04:16
09. Birth Of A Planet 05:23
10. Karma Day 05:22
11. Moons Get Loose 04:35
12. Moons On The Loose