Mental Fracture’s Disaccord is For Real

By Deuce

Mental Fracture, which recently dropped its Disaccord LP a week and some change ago, isn’t playing around. These are the type of dudes who take promo photos wearing ties. And vests. Some of these gentlemen even appear to be wearing slacks, in these pix.

The foursome put a chessboard on the artwork for this release with a felled king (although that could be a queen; it’s been a while for this reviewer). There’s also a rising sun in the back, though technically it could be going down, as well. Translation: heavy duty symbolism on the cover for this project.

And, as you very well may have guessed at this point, judging by the aforementioned indicators and the title of the LP, there’s some meaningful instrumentation and thought that accompanies the nine cuts on the album. Four of their songs approach the 10-minute marker. Another two exceed the five minute one. Plus they’ve got cuts like “Echo of a Heartbeat”, a purely instrumental affair that barely lasts a minute, leaving you wishing it were longer.

The tune has a haunting melody that’s led by some type of keyboard work, though it’s closely attended by what appears to be an acoustic guitar. It also has a smattering of some sort of handheld, ethnic sounding percussion, and is one of those joints that seemingly bleeds deeper the longer it’s listened to, making the characteristics of any setting, somehow, more profound.

Another trait of this album that certainly distinguishes it from the many others out there is the almost infinite number of progressions that these tracks encompass. There are several such movements in “Summer Dies”, which alternates between a slow, plodding bass heavy affair that would do Too Short bassist Shorty B proud, to an uptempo, rollicking one in which electric guitars rage. But there’s also quirky interludes and spirited singing—all within the same song.

The instrument that stands out the most on this collection is easily the keys. Sometimes it takes the form of what’s surely a spooky acoustic piano, the likes of which floats indelible high notes on “Summer”. As previously observed, it leads the show on the album’s intro. It’s also featured prominently on “Hello”, a beautiful ballad of sorts, with that desirable pairing of the piano and the acoustic guitar while the lead singer—who’s got a definite penchant for breaking out his falsetto—makes it happen on the vocals.

Such work is typical of this LP, making it well worth experiencing.

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