Review
Experimental goth that gets to the point: Album: Dimension Zero Band: 'Scythe' by: Sam Vicchrilli The packaging for Dimension Zero's album 'Scythe,' though fancy, filled me with leeriness. The mailing box is the shape of a coffin, complete with a red, soft material lining the bottom. Neat to look at, but costs about $5 to go through the post office. The album cover has cool lettering, nifty shiny material, a clever CD slot and slick liner notes. All of this bespeaks a great effort as far as packaging goes, but I couldn t help worry the band was compensating for want of solid musicianship. This is the same reason you don't go for the guy with the flashy car, or the girl with the carefully sculpted chest and face they are illusions. Thankfully, my doubts were allayed from the get-go. Well, the second track anyway. The opening instrumental piece wasn't without its moments of joy (like the use of a chainsaw), but is otherwise an amateur piece of gothic tendency that the rest of the album rises above, beginning with the hook -filled sequential track, 'God Part II.' This tune would work as well on the radio, singing along to it as we repair to our homes, as it would accompanying us as we twitch and wave at the club. 'The Haves' is an OK ditty I wouldn t even mention if not for the 8-bit sounds that lead it to its heavenly conclusion. 'Static Space' effortlessly bounces between a sound reminiscent of Depeche Mode and a more aggressive electronic agenda. 'Ice Man' is an urgent number buried in fuzz, eventually racing to a hopeful crescendo by peppy piano, while 'The Era of Voyeurism' is sci-fialienation in the key of 1984. The year, not so much the book. 'Nascentes morimur' (Latin for 'from birth we die,' or something close to that), is a radical departure from anything that precedes or succeeds it, blending the band's penchant for synth beats with horns, like Big Bad Voodoo Daddy cloaked in Spider-Man's symbiote. 'Replica' impresses with its unusual orchestration and killer riffs. It also gets bonus points for referencing 'Blade Runner' and inviting com-parisons to Radiohead s song 'Fitter Happier.' 'October' is a fine choice to close the album. The organ, the bells, the acoustic guitar, the from-the-pulpit vocals all conspire to create a feeling of warmth shrouded in cold, like standing in a dying forest on an October day. Wind blowing. Leaves falling. Dimension Zero manages to convey a sense of humor without ever making the listener feel jerked around, like the music is a gag. It s not. It's sincere music-making minus the pretensions of what an 'industrial' or 'electronic' album should be. While listening, we recognize the band's influences but would never accuse it of aural thievery; each song is singular and bears the mark of its creator, not its creator s creative sources. Eschewing most patterns of songwriting, 'Scythe' is an invigorating ride throughout. --In Utah This Week - (41,000 readers)
Product Description
Civil wars where chainsaws and robots are weapons. In a destroyed multiplex, an Industrial Electronic Rock band is playing a Nintendo synth with vocals performed by Jim Morrison's psychotic step-cousin. Dimension Zero spawns their first born LP, Scythe, into a radioactive ocean as a Big Band plays during the 1940 noise massacre of women and children. Includes Industrial Electronic version of U2's God Part II from the multi-platinum album, Rattle & Hum. Features deluxe metallic silver pressed mechanical Burgopak packaging and 16 page photo/lyric booklet.