Believer

Item: Dimensions
Author: Doug Van Pelt

Dimensions

(1993)

Reviewed by Doug Van Pelt

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Label R.E.X. MusicHeaven's Metal #44November/December 1993

progressive metal speed metal thrash metal

Okay, the longest wait for a Christian thrash album is finally over - Dimensions is here. This seven-song album shows a progression from the Sanity Obscure sound. Of course, the addition of a violinist to the band spells a musical change, but those of us who have eaten up Believer's tight and progressive thrash have plenty here to feast on. One would think that the departure of a rhythm guitarist from this kind of lineup would weaken the sound - not so. Even the epic "Trilogy of Knowledge," which takes up all of side B and is the continuation of the "Dies Irae" direction we heard about, is as heavy as Believer has been. Broken up into three movements ("The Lie," "The Truth," and "The Key"), the violin sound is heavy and ominous. The measure during "The Truth" is a killer mixture of the string section blending in well with Joey Daub's heavy drumming. Kansas would be proud.

Using lots of sound effects and samples, this album is a treat to listen to. Starting off with people entering a series of doors, we hear a voice question, "What is this?" we hear the reply, "The disturbed ward," followed by the sound of drilling, screams, jungle animals, pleas for help, and a horse. This gives us an idea of the kind of chaotic brutality this Pennsylvania quartet has come up with this time. The band punches all the right rock and roll buttons, with a heavy beat laid down, filled with occasional double bass flurries to the head. The song attacks and, before you know it, it's "Gone."

Kurt Bachman's voice is strong and up to snuff, with guttural shouts for the power lyrics. Most of the tunes take on the apologetic nature of "No Apology," where the band unequivocally states where they come from. "Future Mind" and "Singularity," two of the most ragin' tunes, have all the technical prowess and speedy aggression that Believer is known for, and it's shreddin' at full tilt a la "Sanity Obscure." The groove in "Future Mind" is lethal, with ultra clean sonics with just the right amount of nasty distortion and tight execution. Vocally, Kurt sounds even fuller than "Stop the Madness," with an angry and deliberately slow delivery. The jazzy interlude sounds spacey and psychedelic. We're also treated to some cool percussive variations from Joey Daub. "Singularity" goes 16th note crazy, with snare bashing to jack hammer a sidewalk.

The album's centerpiece, "The Trilogy of Knowledge," takes on an even more operatic feel than "Dies Irae" with several dips and swells between movements, where singer Julianne Laird (sister of violinist Scott Laird) comes in to offer a sort of narration for the story. This one is definitely more out there than "Dies Irae," and will require more of an effort for the listener due to its length and radical style changes. The album's most brilliant moment with the classical bent is probably the slower, ethereal "What is Cannot Not Be," where Laird's violin melds with Kurt's most melodic guitar leads ever. Makes me want to shout "Viola!" but that's another instrument.

Overall, this is another top-notch piece of tightly-played thrash metal with a super clean production that shows a well thought out creative mind. Believer proves that you don't need hair to play great music. It ends with a very appropriate, "We love you, take care, bye-bye."