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The Vanishing Point Maybe - The Point We’ve All Been Missing
After an extensive intro sequence, the first song explodes. The distortion’s late arrival heightens the potency. Vocals ride on top of an escalating riff.
It seems that two guitars are playing on the song, called “Hide and Seek.” One of them, perhaps “Seek,” has a fuzzy sound like the bass in Lightning Bolt and the other, possibly “Hide” is clear and light.
“Requiem For a Dream” takes the opposite approach as it races from the start. The vocals enhance the instrumentation; creating an effect that each is propelling the other along. The band establishes their talent for exploring the possibilities of a song. Instead of driving a street, they take the underground tunnels.
“A Subconscious Sky” takes a more punk rock route, featuring sharp guitar above jagged guitar. “It’s just that I’ve never seen someone stare so long at the sky,” is sung repeatedly in a surging vocal style. The song rests briefly, but bolts awake again with punk rock fury. It became easy for me to conclude there is indeed a bass guitar, and it briefly sounded like a foreign drum. A rainstorm closes out the song, creating some eeriness, indeed.
“A Classic Park Scenario” could be considered a companion to the previous track with its furious guitar picking and driving force. The band is very deliberate about the amount of vocals. They make wise choices that allow the music to create an atmosphere before the voice enters. A synthesized sound bite finishes the song, leading to the angry beginning of “Less Than Finished.”
The drummer came up with an unusual marching-type snare part that may or may not signify the fierce battle shriek that pierces the song after a minute. The vocals expand in range greatly and murderously. The song is yet another example of the band’s talent for turning tempo on its ass.
“A Phantom Effect” features frenzies between momentary silences. The guitar changes octaves, sustaining the song’s character. More synthesized sound snakes its way in. The song would be better with less cymbal clatter, but that may be caused by the fact that it’s not a big budget recording.
“( question mark )” has a lyrical theme of wondering where everything went, including the rest of the song, as it ends abruptly.
“Aurora Unknown” is not very successful as far as staying in tune vocally, but the guitar work is worthy of an underwater video game. The song reflects the unconventional snare tactics of “Less Than Finished.”
Insect-like electronic sound leads into “End Transmissions.” The band is obviously multi-dimensional, judging from their curiosity with volume, sound and time signatures. They make music that seems to reflect their true identities, as opposed to imitating famous bands. It’s clear they are trying to challenge themselves by rejecting the simple “verse-chorus-verse-repeat” method. Even though I just said they are not merely imitators, “End Transmissions” does contain a sequence reminiscent of Omaha’s Criteria.
The most subdued and melodic song on the album, “The Point We’ve All Been Missing,” likely influenced the band’s name. It contains the line, “Shapes can deceive / is it the vanishing alone?” A speaking voice asks, “Is it there?” getting the brain’s gears -a-churning.
Track 11 seems to be a hidden track, as it is not listed in the track order. There’s some wicked tambourine in the ambient instrumental tune. It’s a finishing touch that reinforces proof of the band’s capability to express mood without vocals. Overall, the vocals exhibit promising experimentation with the scream/speak/sing approach, but there is considerable room for refinement
The Vanishing Point Maybe will consistently blow your mind with time, once they tighten up and record in a fancy studio. Having not seen them live, I can only think of ways they can improve in the recorded medium. However, I’m convinced they would put on a tempestuous show.
-Joe Younglove