Uniqueness, versatility, fatty riffs – these are all things that people want to obtain when listening to new music. These are also things musicians strive to achieve; a musician’s main goal should always be to better themselves and push beyond the boundaries that currently lie ahead of them. If a musician thinks they have peaked, they stop learning. If they think they are the greatest, they will stick to a rigid formula and ultimately flop. Expanding your horizons to different materials laid out help to hone your craft. There is an adverse amount of creativity packed into Myth of I’s self-titled release, from gnarly tapping-sections to rigorous chugging that gawks in awe at its own weight.
One of the best parts about instrumental bands is that they know exactly what listeners are looking for. Often, people listen to music and hyperfixate on the vocals. “Oh, he’s got nasty screams,” or “damn, she’s screaming while bashing a violin over someone’s head,” but people tend to miss out on the great instrumentals that are following the vocalist. Each instrument plays their role, and what creates such divine music is the synchronicity between everyone. Chemistry creates music that lasts a lifetime, and that’s why Myth of I’s self-titled release is such a fantastic journey. The instruments fill the void of the vocals, they ensure that people can hear the singing through the roaring screams of the guitars. It all fits together, and every song brings something new to the table. There’s an extremely intense tapping part in “Needlepoint,” which really creates a diluted sense of atmosphere. It feels like the music is falling, like vertigo is to take place and whisk us away. “The Maze” has an extreme thall feel, encroaching on Vildjharta territory and really rounding out the fullness of the band’s sound; the harmonies in “Kodama” really feel like the songs the birds sing to the morning sky, elegant and gentle yet intensive and passionate. Yet with their passion and softness comes the aggression of “Felix Culpa,” having some of the heaviest hitting blast beats that make your headphones shake.
Don’t let the deep meaning of the instrumentation think that this is a frilly-band. Myth of I pack a great punch with every track, incorporating every aspect of Metal music that makes us love it. Every song is a little bit different, but it holds true to the Myth of I spirit. Songs like “The Maze” have so many layers that it feels like it comes in movements, as if the song has changed to something else. The rendition of the atmosphere is iconic, as it consistently bobs and weaves between progressive metalcore aspects and the heavier, thall-er aspects. It’s a perfect recipe for anyone looking for the best of both worlds; there’s acoustic interludes, nasty tapping solos, and a great, punchy tone in the guitars and bass matched by a whomping thump of bass drums and chunky snare to follow.
Overall, Myth of I’s self-titled release is absolutely astounding. Instrumental music hits differently than anything else. When bands release instrumental albums, it’s great because as a musician I’m interested in hearing everything going on the background as well as the foreground. If you only hear one aspect of music, you’re not living through the story that the artist is trying to paint. There’s well-crafted material that Myth of I put on display, and through the power of deeply rooted chemistry, they’ve created greatness.
I also believe that they have a cat’s meow hidden in one of their tracks, and I hope that you, too, find it.
FFO: Omega Virus, For Giants, Jason Richardson