To “Two Decades” More Legendary: Album Review

Written by on December 22, 2015

FTBTO Album Cover
“From the Bedroom to Oblivion: Two Decades of Obscurity”
Forbidden Planet

When a band releases its debut album 20 years since it began working on it, you know you can expect something special. Forbidden Planet’s From the Bedroom to Oblivion: Two Decades of Obscurity is far from just special.

It’s an absolute whirlwind of contrary music styles that clash magnificently and form an undisputed gem of musical genius. It’s a ride brought to you by Forbidden Planet, a musical journey that will undoubtedly hold its place in metal fans’ playlists for some time to come.

Our first stop is “Circular Logic”, a soft-spoken, sombre track with no airs about itself. The guitars seem subdued, yet there’s a salty tinge in the air as the track progresses. It’s a wonderfully subtle method of putting over what could be described as the “calm before the storm”, a tactic used by some of the greatest bands of the era. Case in point, Linkin Park’s Minutes to Midnight opening track Session.

The hitting gets harder after that.

The guitar in particular is an absolute masterpiece throughout the album, from the clean, smooth run in “A Fine Line” –

– to the brilliant alternation and control between groovy riffs and total, powerful attack that is “When 7 ate9″ as guitarists Adam Quek displays a finesse and control that holds the likeness of John Petrucci’s Dream Theatre.

The Freq’s bass is the lifeblood of the album, the foundation that keeps the music from descending into total chaos. It gives the album depth, and if you listen closely enough, there’s an occasional gem thrown out in the form of a subtle, almost flirtatious riff, evident in “Slow Grind” and the little nugget in “Stop This Ship”.

The drums. The roaring dragon of the album, Laurence Bucci’s hands must be massively muscled to hit the level of hardcore we hear in “Can I Borrow Your Bass”. He picks up where the guitars and bass burn out, and throughout maintains a monstrous presence that, for the purist, is gold.

The album is by far the best balancing act since Joseph Gordon Levitt in The Walk, as at no point in the album does one invade the musical space of the other, and the most prime example of this in the album would have to be its musical apex, “Put On The Suit”. The finesse of the band’s singular yet distinct form is by far the album’s greatest redeeming quality, which says a lot considering the prodigal abilities of the musicians involved. Perfect structure, from the subtle entrance, the fast paced rise in tempo, the monumental climax to the cheeky yet well-played rendition of the legendary Bach’s “Cello Suite No 1 Prelude in G Major” to finish, the album has set the standard for instrumental bands, and not just in Singapore.

Twenty years in the making has not disappointed. From twenty years of obscurity, here’s to twenty years more of legendary music.

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