St. Louis Music Press

The Static Intercept – Sudden head-bobbing intro seduces the listener to stay for it’s powerful melody, leading up to a bridge that  highlights a piano layer with an “Incubus” style of music. Intense. Dynamic.

The Vengeance — Speaks of how things have a way of coming around in life; as the life force of “The Vengeance” makes it’s presence known, things will be different this time around. This one has melodic vocals, steady and upbeat drums, and driving guitar with hooks galore. Chugging fills on the verses. This one is progressive, and the bass keeps a steady low end to bridge the guitar and drums together. Ends powerfully and goes into a “Roswell” news flash.

Giving A Reason — This track stands out, especially when you hear the first chorus. Good use of melody and harmony. The drums and vocals have a balance that set the tone for this song. The bridge has guitar that builds and a piano layer is heard before they make the way back around. The chorus has a reprise that really makes this song stick. Another newsflash ends this song, this time with a military announcement for civilians.

Sacrifice The Broken — Rhythmic and full of guitars, Jason seems to be singing his heart out on this one, that contains really cool drum fills throughout. The bridge has some guitar harmonics on it and crescendos right into the pre-chorus and chorus again. It ends with the guitar in distortion with some delay effect timed right into the next track.

Reasons For Traffic – Drums fill it’s intro, followed by a sweet syncopation between drums and guitar, then in comes vocals with bass. This one just sweeps from one part to the next fluently. The bass shines on the bridge with some fills, the background vocals are memorable, and there is a break down at the end where Jason screams,”Absolutely, nothing”, and the chorus hits again…then there is a brief ending part for dynamic purposes. Then you hear a vocal track with a filter on it, speaking of the Mission Supernova. The last words you hear are,”Nothing can change what happened.”

Beyond The Gate — There is a urgency to the music, the lyrics and the vocals. “Every time I see you die and in my head, I infiltrate you. Keep running… Keep running…” I totally picture myself running away from something, all the meanwhile, knowing I am approaching something new.

Deceiver — I enjoy the different timing of the verses and the dynamic ideas they present. Lots of hooks in this one, too. This, along with some of the other tracks, has a “Deftones” type of feel at times. After the song, the listener hears a sped up, then slowed down sound repeated a few times, along with a swell of guitar that leads into the next track.

Last Night In Your Dreams — The slowest track of the album so far, it even sounds “dreamy” in the good sense. The guitar really sets the tone on this one. The drums and rhythm guitar play together a lot on this song, more so on the verses; the lead guitar really gets to explore different textures. The vocals keep a solid melody all the way though and do not penetrate the tonal value that the music creates.  It ends with more similar sound effects, as it begins along with a type of industrial alarm that fades out quickly.

Mission: Supernova – This one is sort of an oxymoron. It makes the listener feel at home, all the while the lyrics state,”This is the final countdown, the end begins and we will never show that we are never coming home.” Ironic. I love it. Soaring harmonies, too.  I hear a “Chevelle” type of influence on this song, for sure. This track seems to be talking about a final countdown towards the end of life as the storyteller knows it, straight into the sun, knowing all the while they would never make it home.

Until We Know Otherwise — This song starts with a drum fill, followed by a wall of guitars heading toward a stand still, then breaks into this funky break beat and progresses into a powerful chorus with some compelling background and harmony vocals. Toward the end of the song, there are some creative ideas at play to make the way back around to the final chorus.

Left For Dead – The heaviest track off the disk, it will leave you wanting more. “Like a drug to keep you standing, tell yourself it’s all inside your head; like a drug you can’t stop having, you won’t stop until it’s left you for dead.”

The Landing — A bubbly, floating, sound is heard and then is overcome by an acoustic guitar. There are electric elements to the song, but they are for additional layers. You will also notice the stringed accompaniments in this one. A welcomed change of expectations, a miracle. Another chance at life.

The Distance From — The last track seems to have two parts, a poignant high point that marks a new beginning for humanity, and the second which is like a bridge between this album and what is to come in the future…? The album ends with some more stringed accompaniments and ends the story, fittingly so.

All songs were written and performed by Fer De Lance. “2217” also features  string performances by Emma Tiemman, Liz Myers and Dominique Hamilton. It was recorded at Suburban Pro Studios in St. Louis, Missouri. It was mixed and produced by Matthew Sawicki and Fer De Lance for Treehouse Treehouse. Assisting technicians were Joe Grant and Dylan Ross. The album artwork was provided by Plastic.

Be sure to check out a previous interview with Fer De Lance, with this  LINK.

http://www.ferdelancestl.com

http://plasticblueboxstudios.blogspot.com

http://www.suburbanprostudios.com