If you’ve heard Textures’ debut Polars or their stellar sophomore effort Drawing Circles, then you more or less know what to expect from their third release. Or do you? Silhouettes may very well be a coming of age for this talented outfit. If you’ve read the buzz about this album then you know Textures don’t really mind flaunting their influences. This album is a veritable Meshuggah and Devin Townsend love child. But don’t let that bother you, Silhouettes can hold its own against anyone.

First off, let’s cut the Meshuggah wannabe/clone/poser bullshit. Staccato, disjointed, poly-rhythmic metal part of their language. Do you blame them for being influenced by one of the most groundbreaking bands in metal? So forget the language and listen to what they’re saying. After hearing opener “Old Days Born Anew” for the first time, it became clear that I was about to be blown away by more than just technical prowess. There’s a moment when their constricted and calculated brand of metal opened up to this spacious, grandiose style (led by Eric Kalsbeek’s superb clean vocals). Fortunately, they recreate this duality all over the album and it never sounds two dimensional, forced or formulaic.

I think the highlight of this album for me is the songwriting. They manage to flow effortlessly through a song and always keep it interesting. They also take their time, which I really respect. Take second track “The Sun’s Architect” for instance. Menacing and seething riffs pummel you until somehow you’re listening to Kalsbeek sing like Michael Buble and you have no idea how you got there. But it’s awesome. And then before you know it, you’re back to being hammered in the chest with chunks of guitar and kick drum.

“Awake” is probably one of my favorite tracks off this album. The opening couple of minutes is absolutely astounding to me. Yes, it does sound a lot like Devin Townsend, but I’d consider that a compliment more than anything. And it’s not long before you’re being pummeled with more meaty, syncopated riffs. “Storm Warning” is another highlight, once again proving their mastery of songwriting. The last couple minutes are just bathed in drama, the kind you can’t ignore. “Messengers” is a moody trek through less brutal territory, led mostly by Kalsbeek’s emotional singing. The last track “To Erase A Lifetime” ends the album with true fireworks. They seemed to be saving some of the best stuff for last.

All in all, it’s hard to be dissapointed by this beast. The album definitely has highs and lows (“One Eye For A Thousand” did little that really interested me, despite some cool southern riffing) but the highs are stellar. So give this album a shot. There’s a lot of really good stuff going on.

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