Review Summary: If you haven't heard the name yet, be prepared to hear it a lot more.
Guitar virtuoso status in metal isn't what it used to be. Not in a bad way; it's merely changing - evolving to fit the needs of a new generation. The new wave of great guitarists is set on establishing themselves in their own way, rather than simply following in the footsteps of greats such as Joe Satriani, Steve Vai, and Eric Johnson. No, the new virtuosos are dedicated to a newer sound. Incorporating musicians extremely talented in all fields, including newly evolving sounds coming out of the "djent" metal underground, these musicians choose to build a temple around the guitar, rather than a monument to it. And when they lay the bricks of that temple, the name Angel Vivaldi will be read alongside others such as Tosin Abasi, Chris Letchford, and Ben Sharp.
And it will be with good reason. Vivaldi has obviously put together a carefully composed EP that drips of talent and that brand of subtlety found only among the greatest of the "neo-virtuosos." On this release, Vivaldi, along with his full-time band, breathes a new life into the musical interpretation of the seasons conceived by his namesake, baroque composer Antonio Vivaldi, who originally conceived and composed "The Four Seasons" series of violin concertos.
"A Venutian Spring" hits the listener with a breezy synth intro, and powers into a driven, but wispy lead. "A Mercurian Summer" captures that passion of a warm summer day and the feeling of a zooming, non-stop season with powerful and propelling dubstep-inspired rhythms and techno-based synths glorified by the almost vocal guitar part played out by Angel. "An Erisian Autumn" gives the feeling of that fast-paced rhythm heard in the summer season winding down through the much slower pacing of the rhythm guitar, but not without a fight emphasized by a weeping lead guitar that transitions into the low, djent tones heard only on a seven string guitar, coaxed on by the bombastic drumming of Bill Fore. Finally, completing the cycle with "A Martian Winter," everything slows down and tunes down - at least temporarily - signaling the temporary slumber of life before the tempo picks up as per the usual.
The greatest success of "Universal Language" is that it plays like a neo-virtuoso album should - with some added flair (e.g. the synth intro to "A Venutian Spring" and the dubstep parts in "A Mercurian Summer"). It is not merely written; rather, it is composed for musical effect. And it delivers. The main issues holding this release back are few, but fairly important. Unfortunately, there are a few moments in tracks such as "A Venutian Spring" where the drumming becomes overly technical and its positioning in the mix (at the top, just below the lead guitar) can be detracting from the experience. Simultaneously, the album's basswork by member Jake Skylyr is sometimes too simple and all too often drowned out by it's extremely low position in the mix or by the B-string abuse of Angel Vivaldi and rhythm guitarist Jason Tarantino. Finally, while a great release,
Universal Language still only clocks in at 16.8 minutes.
Are these huge problems? No, not at all, but if they can be corrected and if Vivaldi can extend his runtime to full-length while maintaining the sheer passion heard on this album for the next release, he'll have his plaque cemented on the walls of that neo-virtuoso hall of fame. With a little more time, he may even give Tosin Abasi a run for his money at the top.
