Djent darlings Periphery attempt to perform their own vivisection on the experimental outing, “Clear“. Expanding upon an idea floated to them by Deftones guitarist Stephen Carpenter; each member of the band was given a track to helm with the rest of the outfit encouraged to adhere to their vision.
While it provides an inventive glimpse into each members personality, it doesn’t always translate into a revelatory experience. For instance, given his time in the electro-infused Endur; vocalist Spencer Sotelo‘s “The Parade Of Ashes” unsurprisingly derives its strength from the industrial tension Nine Inch Nails helped make famous—albeit with a far glossier sheen.
Drummer Matt Halpern‘s “Feed The Ground” boasts a gripping post hardcore-styled bass line and an eerie melodic chorus that gets stopped dead in its tracks by vintage Slipknot breakdowns. Arguably the driving force of the ensemble, guitarist Misha Mansoor‘s “Zero” mines Meshuggah‘s mechanized riffs for a scruffy display of instrumental prowess. One that comes laced with the type of prog guitar heroics you’d find Steve Vai or Dream Theater trafficking in.
Bassist Adam “Nolly” Getgood‘s “Extraneous” also opts out of vocals and is a percussive romp of bombastic drums, chunky bass playing and gritty aggression that wrestles for control with triumphant interludes. Occasionally a fascinating look into each players stakes in the Periphery machine, “Clear” will surely please the bands fans. For despite its bold intention, little of it sounds like a departure from the Periphery canon.
There are some defined edges and fragmented tangents as each member indulges in their respective passions. But the versatile nature of the group and their adept technical ability often finds them assimilating the eccentricities instead of falling in line behind those championing each track.
