From Exile
Crushing Reality
5.7
From Exile hail from the same state as Kylesa and Mastodon – the name of which is also a country – but sound nothing alike. Instead, the music on tap ranges from melodic death to metalcore with slight tinges of thrash, though FE sprinkled Crushing Reality with plenty of atypical flavorings in hopes of producing a relatively unique concoction. Unfortunately, the nonstandard elements make for an awkward listen, at times, since they don’t necessarily fit in with the rest of the material.
After 40-second opener “Onset,” “Cataclysm” sets a melodeath tone. The ill-placed, twelve-minute “Soliloquy of Death” isn’t too dissimilar from its predecessor until the 1:45 minute mark, however, when classical guitar leads and acoustic guitar rhythms momentarily steal the show – it’s simply a weird insertion that makes little sense and entirely disregards the notion of fluidity. Due to the copious melodies and leads, which eventually succumb to a fadeout, “Soliloquy of Death” seems fit to bring Crushing Reality to a close, rather than the twelve-minute, anticlimactic “Finale.” Brief, instrumental interlude “Descension” marks the return of classical guitar, while fellow vocal-free piece “Phantom” sounds a tad like uncomplicated Canvas Solaris. The metalcore assault of the title track is quite jarring, though the strings’ entrance at 2:50 is unforeseen and thus a WTF? moment.
Still, the guitar work is by far From Exile’s best attribute. Regular songs such as “Cataclysm,” “Product of Sin,” and “Gunpoint” – though not outstanding – are more satisfying because there are no bizarre inclusions and the segues aren’t as rough as sandpaper, unlike many found in other tunes. By the time the excessive “Finale” arrives, CR has already worn out its welcome. The band as a whole definitely has positives that work in their favor, but seeing as how choppy and disorganized Crushing Reality is, it’s difficult to overlook the flaws.
