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History Invades
The Structure Of A Precise Fashion
Lujo Records

Pure genius right from the get-go, History Invades breaks ground into new territory while maintaining an edge and holding hooks throughout the entire record to create an all-encompassing masterpiece. The beautiful evolution of music can produce hits and misses and occasionally it will produce bands that are so far ahead of their time that they knock the wind out of you when you hear them. History Invades pushes conceptual art-noise sound similar to DC's The Blackeyes while giving it a greater marketability by infusing it with excellent lines that are immediately locked into the listeners' conscience. Heightened all the more by quick-witted internal changes that make each song a vast complex of texture and feel, every track moves and breathes with an inherent life all its own, creating an album with ten completely different beasts.

Production amorously envelopes the melee that are the songs and leads them to a common service that is the album. Every instrument and voice receives due attention and respect as transitions adequately highlight subtle inflections and more overt payouts. Dual voices balance each other out nicely providing simple but compelling harmony and killer juxtaposition as one maintains a smooth line while the other screeches rhythmically in the background. Guitars bring mostly single note lines, which tend to weave around each other and occasionally kick into barre chords for overdrive emphasis; but it is the painstaking effort that went into choosing just the right sound effect for each second of each song that puts it over the top. So much variation in sound takes the guitars beyond a rote instrument, especially in using wah and distortion like in the end of "Call Me Mint Jelly 'Cause I'm On The Lamb". Bass is organic and vital to the overall feel of the record, not a secondary instrument like most bands, this bass takes the reins and owns his existence creating equally compelling material as in the instrumental "[-](Beginning)", and continues a concerted presence across the entire record. Keyboards/Programming, used smartly and sparsely, add an additional layer without becoming suffocating, at times giving the album a feel of Autochre, such as in the other instrumental "Here Comes The Smart Patrol". Drums, which are the least emphasized instrument on the record, have the greatest challenge of making this amalgamation coherent, and they do so with flying colors, linking all sections without showboating yet giving additions just as interesting as the rest of the band.

This band just comes off as highly intelligent and cultured, nailing that certain edge that makes it fascinating yet giving enough hooks to make it accessible for the masses. Add to this the mind-blowing quality of each song to change and morph; you have a record that becomes an instant classic as it maps the future of music.


Track listing:
1) We Ran Out Of Bridges So We Burned Down Our Houses
2) Nightcap
3) Call Me Mint Jelly 'Cause I'm On The Lamb
4) [-](Beginning)
5) It's All Over (Ending)
6) Here Comes The Smart Patrol
7) I Am The CEO Of McDonnell-Douglas
8) My Name Is Afraid
9) Ninety Nine Things They Told Me Not To Do
10) Everybody Has Something To Except For Me And My Wildfire

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