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CD REVIEW: For The Mathematics - For The Mathematics
By Brian Rutherford - 05/25/2005 - 05:56 PM EDT

Artist: Band: For The Mathematics
Album: For The Mathematics
CD Review: Few CD cases sit in my “To Review” box that differ from the rest. Though I must admit, every now and then though I’m caught with my pants down looking for poorly produced Hip Hop, or cookie cutter Emo. That’s what I said to a family friend who was helping me unwrap the stack of CD’s when we came across Ottawa, Ontario’s For The Mathematics. We were looking over the self-titled packaging (a horizontal bright lights view of any random city life) when this friend asked what I thought this disc would be like just by looking at it. It never ceases to amaze me when I peg a cover completely incorrect.

At thrashing speeds of hard rock energy balled together creating, this recording resembles that of a industrial strength ball of rubber band’s. The result here is a string progression that bounces up and down between the recording studio floor and ceiling. Lately it’s just been my experience that such a mix of hard-rock tempo becomes a mess that has no entertainment value. Immediately from track one I’m in automatic MUST SEE LIVE mode. You boys ever make it through the great state of Texas, do inform thee.

Raw and passionate, though much of this album confronts an Emo instrumentation writing skill, it bounces so much further beyond the genre. For instance, track four “Delay The Fiasco” starts with a low but constant bass line. A few reps later, we go straight into a high pitched feathering of a subtle electric guitar. Once the drums take the piece into full flow, vocal content and rhythm becomes the headstone. In his most impressive Neo Rap Metal style the frontman Robb Barnes lyrics of word association attack outwardly. “In from behind all the shrapnel of the broken forms and shapes. I wander the hallowed halls of an ancient master plan.” Quickly the vocals transfer into a high-toned melody change. “Where’s Our Constitution?” Follows these standards, where a little over 3 minutes into the song it changes gears quicker than a fiend on the loose. Slowing down to a complete stop, this track begins all over again with hard one chord force feeding with a smooth accompanying keyboard backdrop. These lyrics, guitars, keyboards, drums and bass all combine on different timing in a war of individual instrumentation and excelled rhythm. Though the outro’s pace blinks all too familiar, its still just as energetic as it fades out like something from Pantera’s “Vulgar Display Of Power”.

Track five “Bent Of The Topography“ begins with an echoed distorted six-string atmosphere, then quickly the pace once again moves to a full stream 80 mph feel. They saved the best for last though as track seven “The New Science”, comes blistering and never stops for any of the five minutes, thirty-nine seconds. Nothing more than simplicity at warp speeds, all the instrumentation forms an amazing bubble to protect the distorted chorus. “I---- Refuse To Stay, WE’VE BEEN HAD, WE’VE BEEN HAD, Just ONCE TOO OFTEN!” The song just rings out all the way, once again following a creepy little keyboard backbone. Just how many strings and drumsticks did these boys go through anyway?

With artists such as FTM, it’s just always been difficult for me to keep from losing my grip on the energy, always dozing off from the repetitive nature. At no point during this seven track composure did I become bored of the genre monster they have here. Suicidal Tendencies, Reveille, Armsbendback, Project 86, Blindside and Alexisonfire all come to mind as bands who these guys could share the live stage with. As long as these guys keep up the arithmetic, we should all be on the look out.

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