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Tr3s arrives to satisfy the hunger of the band's fans.
By Marcio Alexandre
Coming off the explosive release of Que Seja Feita a Vossa Vontade (2014), Project46 finally released their new album after three years. The official launch took place on December 3rd at a show with special guests in São Paulo.
Tr3s arrives to satisfy the hunger of fans of the band that has grown exponentially since its first release in 2011, passing through major festivals such as Monsters Of Rock and Rock in Rio, but did the album live up to expectations?
“Terra de Ninguém” opens the album, and it already brings that characteristic euphoric energy of the band. Featuring the studio album debut of Baffo Neto, bassist from Capadócia, and drummer Betto Cardoso, from the band Eyes of Gaya, the two show why they were chosen, and it's worth mentioning how Baffo's look enhances the band; I went to one of their shows a few months ago and the bassist's dreadlocks really add to the stage presence. Returning to the music, it begins with an aggressive and versatile vocal, and the rhythm break in the middle of the track shows that the guys have evolved a lot since their beginnings, but a "rapped" vocal that appears in this bridge causes a little strangeness, but soon gives way to an onslaught of heavy guitars ready to break necks.
Without time to breathe, “Corre” calls for a mosh pit, and Caio MacBeserra belting out the lyrics at the top of his lungs is a magnet to crack your throat screaming along, and in the end the guitars become slow and heavy once again, a double bass drum frenzy, and again, without giving you a chance to think, “Pânico”, a track that already had a video, comes like a double-footed kick to the face, bringing a heavy work, syncopation, breakdowns and aggression, a great credit to the new drummer, and the ending is that invitation to trash the whole room listening to the music at maximum volume! A great trio to open the album. But from here on, things seem to change shape a bit, going in the direction of Metalcore, things get a little more “soft”.
“Rédeas” has a more melodic feel, vaguely reminiscent of Soilwork, mainly due to its clean vocal chorus, which might seem a bit strange to those unfamiliar with it at first, as it's something the band has abandoned for a while, but which returns now. The musicians continue their excellent work, with a blistering drum stretch at the end of the song and lyrics that speak about taking control of one's own life.
The next track, "Realidade Urbana" (Urban Reality), seems like something lost from the previous album: extreme vocals, bass that crackles in your ear, guitars with heavy foundations and blast beats with drum syncopation, all coming together with a restrained but killer solo. It shows how the band has only evolved each year and has reason to be considered a great promise, particularly superior to a certain other band. And, incidentally, the person who temporarily took over the drums is the former drummer of Project46, who emerged years ago with media attention focused on them, but in reality, they were just a finished product and far below all the hype!
The lyrics, once again address social issues and recall something from their first album, "Marginal" features a clean vocal chorus, but this time it doesn't quite work; it sounds rather strange and doesn't fit well with the rest of the song. It could have done without that part, but what makes it worthwhile is the instrumental section, which continues to impress with its guitar riffs.
Coming in as a crescendo and evoking from afar a Sepultura from the Roots , with a very heavy bassline, “Pode Pá” features a very interesting lyric about how complicated the world can be sometimes and how to fight against it. Once again, the song's bridge makes a huge reference to Soilwork, and a very melodic chorus, different even from the approach we are used to from something of theirs.
Now going straight to the more rootsy Metalcore vein, bringing All That Remains to mind, “Anônimo” features fast drums and doubled guitars in harmonies typical of the style, fast, broken bass drums and clean vocals that could very well be from Phil Labonte himself. An interesting track, but one that didn't appeal to me much, even considering the diversity and exploration of the high-quality musicians that they are, it's not exactly what I expect from them.
“Um Passo à Frente” begins with a very beautiful fingerpicking pattern, another novelty for the band, which soon gives way to another track in the same style as the previous one, and that fury that appears in the first three songs seems to have been set aside in the final three. It remains somewhat apathetic to my ears and there's not much to say about it.
Closing the album, the title track shows that perhaps the band will indeed veer towards this direction in the future, and sound more like some of their national counterparts, which I don't exactly like and I hope they return to what they were doing on the previous album.
So, answering the question from the beginning of this text, does the album live up to expectations? Partly yes, because it shows evolution and musicians who don't settle and can explore various paths, but, probably contrary to most listeners, I didn't like the approach taken here, and throughout the album, things seem to lose their way until they fall into something more "Americanized," which we see a lot of these days. It lost a bit of what the band really was in their other two releases. It's not bad, far from it, but it didn't live up to the wait and offered a less convincing proposition. But may they continue for a long time and reprogram themselves for a future release.
Marcio Alexandre
*This text was written by a Wikimate and does not necessarily represent the opinions of the site's authors.
