Tiles Whispers Dreams

Car Bomb

New York mathcore and progressive metal outfit Car Bomb is one of those bands that doesn't feel real. You put it on and the first thing you'll probably notice is that they are not bound by the concepts of tempo or time signatures. While some bands -- Meshuggah being the closest direct comparison for example -- approach nutty rhythms in a more calculated, dare I say robotic way, Car Bomb appear to use feeling and intuition to guide them instead. The band famously records and plays live without the use of a metronome; taking their cues solely from drummer Elliot Hoffman, an unearthly gatekeeper of feel. It's rather uncanny how loose the music feels given the continuous sensation of both rushing and dragging, and yet the band plays together with unparalleled tightness. Another thing you'll pick up on is Greg Kubacki's original guitar tone. With a combination of pitch effects and ring modulation, Kubacki achieves a tone that can either sound like it's being fed through a power grid, a rapidly firing laser weapon, or the rev of a supercomputer on startup. These two defining elements put Car Bomb in a league of their own; a truly original sound that only they can deliver.

When I listen to Car Bomb, I'm mesmerized, awestruck, and thoroughly entertained by their musicianship. However, ever since I caught on to them with 2016's Meta, I noticed that I can only listen to the band for so long before it all just becomes a wash. As original as they are, their songwriting can come across as being a tad formless and one-note. With their new three-track EP, Tiles Whispers Dreams, I was hoping that a smaller dose would work in their favour. The first track, Blindsides, immediately gets me hyped as I'm re-immersed into the band's futuristic world. The initial passage showcases a number of their distinct features: the rushing chugs, the ramping pitch, and a laser squelch before the phrase turns around. I also love the melodic passages in this song. The earlier example has Kubacki playing a slick arpeggio twice; satisfyingly dropping the pitch on the second go around. The later example is perhaps the most coherent passage on the EP. Kubacki plays an oddly beautiful lead melody, Michael Dafferner temporarily sidelines his harsh guttural vocals in favour of a stoically delivered clean, and Hoffman plays a relatively straightforward beat with the occasional brain busting drum fill. It's a great track with its fair share of memorable moments.

Unfortunately though, the shorter project didn't manage to keep that excitement going. Paroxysm and Tiles Whisper Dreams are still decent tracks thanks to moments like the tapped guitar freakout on the former or the gradually tape-sped breakdown on the latter. But a standout moment here and there isn't enough to keep me thoroughly engaged even when the song doesn't breach three minutes. I enjoy it enough to keep it in my library, and if a song happens to come on, I likely won't skip it. Although, I can't see myself going out of my way to put it on. Regardless, the band is still outstandingly gifted, and show a deep commitment to their singular sound. The band has also been operating independently for many years at this point, and therefore, anything they release is worthy of celebration.