ALBUM REVIEW: The Encounter – Intercepting Pattern

The Encounter is the debut album from self-described ‘progressive metal aliens’ INTERCEPTING PATTERN. ‘Encounter’ is an apt title; by the end of this jazz fusion meets tech metal offering listeners will feel as though they have come into contact with a group of musicians whose technicality is from another planet.

Inspired by the likes of FREDRIK THORDENDAL’S SPECIAL DEFECTS and MESHUGGAH, The Encounter is an album that has more in common with improvisational jazz fusion than it does with much of the progressive metal scene. The band’s sci-fi influences are clear from the start. Extragalactic Radio opens with audio of UFO sightings and padded synths that evoke the ominous stylings of the Alien soundtrack. Stabs of dissonant riffing soon disturb the atmosphere before the band erupts into a combination of heavy progressive riffs and lengthy solos from synth player/guitarist Matte Auer and bassist Clemens Engert. Second track Signal-to-Noise sees the band flex their more ‘metal’ muscles, as vocalist Daniel Sander makes his mark with abrasive screams reminiscent of Max Cavalera.

Although The Encounter is divided into ten ‘tracks’ for release purposes, the band intended for it to be listened to in a single sitting. As a result, the album flows brilliantly; well-placed interludes create space in what could otherwise become an overwhelming listen. Interlude I follows the album’s explosive opening tracks with ominous synths and futuristic electronics. INTERCEPTING PATTERN also find ways to create space outside of the interludes. Eigenlicht features moments of eerie synth-based quiet punctuated by complex rhythms, ending on a mellow bass and drums jam. Following track Hypnagogia has little to do with metal at all, and instead continues a more ‘jammed’ feel.

Despite The Encounter‘s strong flow, it’s a shame that INTERCEPTING PATTERN don’t make more use of Sander‘s vocals. Apart from Signal-to-Noise and a single held scream in the opening track, the album’s first half is broadly instrumental. This could be a result of the band’s decision to bring Sander in only after the music had been written. However, The Encounter definitely peaks on the three track run of Rebiogenesis, Fuga Finalis and Asmodeus, all of which feature more prominent vocals. These tracks are where INTERCEPTING PATTERN find a balance between heavy progressive metal sections featuring Sander‘s vocals, and the fusion-esque solos which saturate the album.

Fuga Finalis is arguably the best of the three, opening with a crushing vocal-led section followed by stop-start polyrhythmic riffs and an impressive synth solo. Sander takes over again before a brief moment of respite, followed by more frantic riffing, and ending with a rapid keyboard solo from guest Jimmy Pitts of German power-metallers ETERNITY’S END.

Another highlight follows 30 seconds into Asmodeus, when what sounds like a malfunctioning spaceship alarm interrupts a crushing djenty section. The alarm then serves as a metronome for further technical riffing before the band drops to give drummer Lille Gruber space for a jaw-dropping drum solo. Like all the performers on the album, Gruber‘s playing is impressive throughout, but there are moments where the drum production feels lacking. At times, particularly in the more ‘straightforward’ metal sections, the drums do not hit as hard as they could, or indeed as they do in other progressive metal albums.

The strongest criticism of The Encounter is one common to much of the jazz fusion genre: while no one can deny the technicality of every member of INTERCEPTING PATTERN, there are points where this technicality comes at the expense of ‘songs.’ Many of the solos are overlong and eschew traditional ideas about note choices and flow, even by progressive metal standards. Intentional dissonance and bewildering licks can be off-putting, particularly on earlier tracks with less to balance out the soloing. Listeners expecting The Encounter to sound like MESHUGGAH, with Frederik Thordendal‘s more tempered fusion-inspired soloing, may find it difficult to grasp at first. The album has far more to do with Thordendal‘s SPECIAL DEFECTS, or even the work of his principal inspiration, Allan Holdsworth.

The Encounter ends with a two minute Epilogue which conjures feelings of an unsettling ending to a sci-fi film, and as this occasionally bewildering half hour draws to a close it is difficult not to be impressed by INTERCEPTING PATTERN‘s ability to have created a sound which draws few parallels in the world of metal today.

Rating: 7/10

The Encounter is set for release on September 4th via Rising Nemesis Records.

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