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Mirror
 The
front-man, Kalle Wahlner is a self-described egomaniac, but I wouldn’t
say it’s without merit. Don’t take this on blind faith alone. As a
guitarist who has starred in RPWL’s five studio releases and has since
then been a part of their live world circuit - with corresponding albums
to boot for those spectacular tours as well - he’s no uppity hot-dogger,
smarty pants, or know-it-all in the very least. Likewise, if he says
he’s autocratic, he’s being too harsh on himself. He doesn’t need me or
anybody else nitpicking his hard work as he’s far from pompous. If
anything, he’s his own greatest critic.
Anyhow, in his first solo project ever, he puts together an album that’s
worthy of awards. It’s well-crafted, and it has much composure. Even the
artwork is wickedly stylish. What is it? The image on the plastic jacket
shows a person trying to push their way through a vinyl orange peel. The
figure has forced the film’s elasticity to the brink of its limits, as
he is on the verge of breaking through the waxy barrier.
By
the way, this new line of Reynolds’s Wrap stirs the raspy John Mitchell,
the versatile John Jowitt, and the regal Tommy Eberhardt into its
patented mixture. So you know Wallner is in good company.
In any case, aside from self-effacing supposition, let’s see whether or
not these tracks truly have the sharpness needed to rip the seams and
breach the periphery:
Obsession – My initial impression is that this parallels a band that I
have grown to love. That would be Audioslave. Mostly, it reflects the
guitars of Thomas Baptist Morello. Foo Fighters taints the palette too.
As I’m quite on-board with those influences, I’m infatuated with this
song. So much so that I’ve gone too far on the number of times I’ve
played it. I can’t help it; I’ve enjoyed this ditty to an incessant
level. I feel disgusted with myself for losing control and you will too
- once you find yourself hopelessly head-over-heels and obsessed with
this track.
Moon and Sun – This is Yes’ “Dreamtime” interspersed with Chris
Cornell’s “Euphoria Morning”. Progressive Metalists should need no more
reason that in order to keep this celestial rock spinning.
Break You – If you took a beater from ZZ Top’s chop shop and tuned it to
cruise on MTV’s Pimp My Ride, you’d wind up with this convertible
hybrid. It’s rugged and asperous at its onset. Eventually, it rolls into
something that’s much easier on the ears. The extensions to its bumpers
and fenders include Echolyn. Plus, it has the notorious hemi. When taken
out on the town, we turbo boost over to Porcupine Tree’s “Arriving
Somewhere But Not Here”. Technically, this is slicker than Knight Rider,
and it’s so valuable that’s its owner would never put it up for sale on
eBay.
Black Despair – This would be RPWL’s “Crazy Lane” if it were sung by
someone who speaks classic parseltongue: Peter Gabriel, Shaun Guerin, or
Simone Rossetti are eligible and noble heirs. It’s not that exactly
that, but those abstract associations are just about the only allusions
that come to mind that could hold any coherent meaning.
Open Sore - Without a doubt, this borrows from Soundgarden’s “Rusty
Cage”. For that reason, it may require a tetanus shot to safely endure.
What makes it unique is that it takes a Tom Jones instrumental smack dab
to its midsection. Only this time, the delivery system of this discrete
serum is dispensed by way of a more discreet injection.
Hollowed – This song is short and sweet like cake batter or whipped
cream; making us lust for this depressingly unhealthy filler. It’s also
an industrial amalgamation of Pink Floyd’s “Welcome to the Machine” with
Billy Joel’s “Allentown”. Because this pagan’s ritual is melodically
macabre, it’s ideal for Allhallows Eve. When it’s out-of-season, this
loathsome sacrament is a proper setup to the subsequent track. With the
principal lien on loan, I’d be concerned for accumulating interest,
which is why it’s a relief that our liability to this decadent rite is
trite and pithy.
Mirror – This is an awesome song that’s certainly earned the obscure
headline. It’s like Metallica’s “St. Anger” coupled with the age-old
ghosts of Pallas. Compositions like this demonstrate what can be done
when Jowitt and Wallner pool their resources into the crock-pot. The
bass is bossy while the guitar is resolute. Simply put, this duo is the
quintessential definition of an espousal powerhouse.
Don’t Ask Me Why – Using simple addition, this is the sum of Jadis,
Arena, and Kino. Wallner is solid whether his instrument is acoustic or
plugged-in. Lucky us; we get both in this case. Ironically, Mitchell - a
guitarist extraordinaire in his own right - is strictly supplying
nothing but his voice for this misanthropic and standoffish piece.
Moorland – The album features all types of amphibians: from bullfrogs to
penny toads. This just happens to be the stunted instrumental tadpole.
In it, his style embodies the ectothermic Guthrie Govan. I didn’t think
he had it in him.
Forbidden To Remain – Added to the palette, we get a lighter shade of
IQ’s Dark Matter. This features a great lead-in, followed by a wily
flyover and an awe-inspiring bridge. Suffice to say, the aesthetics of
the outro are pretty voguish. These civvies have it all; even more so
than a rich and affluent radio-friendly tune.
Artist Manque (Bonus Track) – After all is said and done, there is more.
At the end, there is this remix from Violet District; the band that
Wallner owes his lifesavings to for making him a card-carrying musician.
This isn’t speculation as he’s made this claim in his memoirs and has
assigned this liaison to his professional career. With the soles
repaired and the buckskin shined, this refurbished shoe has no problem
being passed off as new.
Wallner has reached that niche area between the mainstream and the
progressive. Like Cornell, he never compromises his cool for what’s
elegant. Don’t believe the hype. He’s neither arrogant nor pretentious
about his skill either. The music he creates is intelligent, engrossing,
and will appeal to fans from all walks of life.
With this side-project, he’s successfully broached the subject-matter at
hand. On his next release, he should provide a picture that shows him on
the other bank of that fluorescent screen. That would be most fitting as
this album proves his abilities are seemingly unhindered.
9/10
Reviewer:
Josh Turner
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Mirror
(2007) |
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