Fireworks

Dimension - 'Revolution' Hot

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Written by Central Electronic Brain     March 23, 2015    
 
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Ambitious in its concept with song-writing that is grounded in the roots of Prog Metal.

The thought of a double-disc set from the Denver-based power trio who make up Dimension may well appear a daunting proposition. It's the third album from the three-piece whose basic guitar/bass/drums line-up is supplemented by a lot of keyboards for an album which is ambitious in its concept with song-writing that is grounded in the roots of Prog Metal.

The classical piano opening of 'The Source' is accompanied by a leaden riff and leads into the first of those distinctive squealing guitar interjections which start to become familiar through the record. Before long, vocalist David Quicho is showing his mettle with some Bruce Dickinson-like Operatic vocal-siren leanings and there's some impressive interplay between the three instruments with all the time-shifting trickery you'd expect from Prog Metallers. The first single 'Pale Horse' ensues that the album conveys enough impact within its opening to grab the attention before a Classical interlude with the waltz (not surprisingly) which introduces 'The Waltz Of Death' before fading into a maelstrom of three instruments that supply a battery of sound.

Fireworks - The Ultimate Magazine For Melodic Rock Music

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However, there's a shift in gear with 'New Day' which takes Dimension more towards power ballad territory with, what it has to be said, is quite a catchy and melodic piece – perhaps the most accessible track on the album, yet it's the second disc which leans towards the more Progressive side of the band. This is where you'll find the centrepiece of the album in the close to twenty minutes of 'War Dream' – all sequenced sounds in its opening of confusion in the aftermath of war. It's a large-scale and elaborate piece moving through different sections with a keyboard-led battle midway through before a period of calm leads towards an unexpectedly subtle ending to the track and indeed the album.

Tagged onto the end of each disc are 'Eleanor Rigby' and 'Immigrant Song' which need no introduction, yet the only question is why? Particularly in the case of the latter which follows the epic '...Dream', set up to be the big production piece on the record. There's enough promise in their own song-writing to not have to resort to filling out an album which is just too long for a single disc. Some may argue that with a little careful editing, the material may have been able to be down to a more immediate single disc.

That aside, there's much more to Dimension than you'd expect from a three-piece and they can sit comfortably with their peers – the likes of Dream Theater and Symphony X – presenting more than just simple Metal and fully justifying the "Progressive" tag.

Mike Ainscoe

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