Chuck Schuldiner Project

Friday, July 20, 2012


Purified's facebook page appears to have a bit of an identity crisis. Describing Purified as “a progressive metal band incorporating elements of thrash, groove, mathcore, deathcore and even classic rock,” the band's facebook page gives a reader only a vague sense of what the next five minutes and thirty one seconds might sound like. Convienently, the “play” button for the band's only song on facebook is located on the same page, and seriously, if you are too lazy to move your mouse a whole four inches across your desk to play the song, you would not have ended up on this page in the first place.

In this particular game of genre fusion roulette, I found the results in my favor. Off of the top of my head, I couldn't name any bands that have successfully combined more than three styles. I've heard bands produce heterogenous blends of more than three genres, but when bands attempt to combine more than three styles some of the styles start to get watered down. Altough there is some redundancy in Purified's influences list, this trend holds true with Purified as much as any other band. I can hear most of the elements the band cites in varying capacities, but the sound is predominantly groovey thrash metal. The deathcore and mathcore elements are only really manifested in the start / stop riffing sprinkled judicicously about “Tension,” and even then the likeliness is tenuous. The only element that I think is missing is ironically the element the band itself thinks to be the wost prominent, prog.

Enough pedantism about the exact style of the music. I try to be specific about the genres and styles of bands because a more detailed description of the bands sound in terms of genre, will offer a better sense of what the band sounds like than the highly subjective terms reviewers usually throw around. But, regardless of the label you stick on Nickelback or Six Feet Under or your favorite band to hate, they are still going to suck.

Purified doesn't.

For the most part, I find that the differences between drummers are often very subtle in practice. There are very few aurally pleasing beats and rhytms left to be discovered. This increasing issue with redundancy puts drummers in a position where perfect timing takes a backseat to what I can only describe as the attitude with which they play. Carson's percussion work has a “swing” to it that very nicely compliments the groove of Gonzales's leads. The bass drums have a smooth, rolling sound at times in contrast to the crisp lead guitar. McDonnell rounds out the sound with smoky, slightly wavering vocals and a strong rhythm guitar that locks step with bass from Seth Hoyle.

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