In the spirit of fairness, let's get the Oxes and Fucking Champs comparisons out of the way right off the bat so we can focus on the music for the rest of the review. Yes, it's true that Collapsar, Oxes, and Fucking Champs are all three-piece, instrumental, math rock-influenced metal bands. Yes, it is also true that none of them have a bass player. And yes, all three bands are known for their over-the-top, ass-rocking live performances. But that is where the similarities end, my friend. Oh, wait, they kind of sound alike, too.
But seriously, let's not sell Collapsar short. Their debut, self-titled album is a mammoth fusion of metal, prog-rock, jazz, and math rock. The three members of Collapsar (guitarists Stephen Sheppert and Dave Graeff and drummer Brett Judice) are capable of creating constantly shifting rhythms and nimble-fingered guitar noodling. The lack of a bassist is barely noticeable, as one guitar is almost constantly holding down the low end with heavy, crushing riffs while the other explores the higher end of the neck. So sure, there are similarities, but it's a point that's easily forgotten once the stereo is cranked.
The album opens with "Death's Other Dominion", a track that highlights the band's jazz leanings. It also features a combination-- jerky, arrhythmic beat, progged-out guitar wankery, low-end crunch, and a pinch of melodic chord phrasing-- that most of the tracks follow at the risk of seeming repetitive.
The band's name comes from another word for a black hole, and "Godzilla vs. Space Godzilla" introduces the band's sci-fi element. Several tracks feature sci-fi and fantasy themed titles ("Pray to Thor", "Sleep Robot", "Robot Wins"), and the use of various guitar effects in the swirling, echoing breakdowns throughout the disc helps to tie it all together. "King Kong Died for your Sins" adds computer blips (actually, it's still guitar, but you'll swear differently on first listen) as it transitions from some of the heaviest and most intense riffing found on the disc to the most melodic and gentle.
The appropriately titled "Opus 1" finds the band in full-on prog mode. The track clocks in at nine-and-a-half minutes, and there are frankly too many musical shifts to describe. The track acts as a virtual sampler platter for the entire disc and features some of its most aggressive drumming and impressive guitar work. The length and shifts prove to be a bit too much, however, as when the band gets too herky-jerky, it's hard to really get caught up in the moment. Not that I'm actually trying to headbang along, but, you know, you just can't headbang to some of this stuff.
