Label: Independent Artist

Forming in the rural Victorian town of Wangaratta in 2007, it has taken three years and a move to Melbourne for Declamation to finally release their debut album.  Featherweight is nine tracks and forty minutes worth of metal tinged progressive rock that effortlessly channels obvious influences like Tool and Porcupine Tree, whilst still retaining a sense of originality.  With their tight instrumentation, intricate rhythms and strong melodies, Declamation are likely to win themselves quite a few new fans with this brand new independent release.

From the onset, it is clear that Declamation are a musician’s band.  Utilising complex time signatures and dynamics, the group creates sprawling sound scapes that twist and evolve over their spaced out running times.  The interplaying twin guitar attack of Charles and Duggan switch fluently between wistfully floating and oppressively crunching, whilst Leitch’s powerfully melodic bass playing is ever present just below the surface of every track.  All of this is supplemented by drummer Max Power’s inventive beats, which simultaneously drive and accentuate each song without dominating proceedings.  For those music listeners with a penchant for elaborate and unconventional song structures, Declamation are sure to please.

Featherweight’s finest tracks are definitely those that best make use of the group’s dynamics and range.  In particular, the more subtle guitar tones and restrained drumming of “Drown” could possibly be the highlight of the album, perfectly making use of every instrument without sounding at all cluttered.  In other places, the group’s expansive sound is complemented nicely through the sparing addition of some of Declamation’s heavier influences.  “Acquiesence” manages to tastefully inject small flourishes of fiery metal into proceedings without overdoing it, whilst the melodiously bass-driven “The Ward” navigates a sea of peaks and troughs before exploding into a brief yet face-melting guitar solo.

The contemplative and spacious ambience which for the most part characterises Featherweight unfortunately however comes crashing down when the group attempts to take the full on metal route.  In particular, the album’s two heaviest tracks in the form of “The Vacuum of Shit” and “Spiral” see the group attempting to distil a little too much faux anger into the mix, ultimately spoiling its otherwise meditative charm.  While they have managed to avoid sounding anything like any number of abysmal Devin Townsend projects, the heavier Megadeth-esque tones really do not suit Declamation in long stretches because it prevents them from fully utilising their otherwise strong dynamics.  Indeed, it is only really on the instrumental “Coffin Nails” that the thrash pays dividends, and only then because it plays a nice counterpoint to the track’s softer moments.

Overall, Featherweight is a strong debut from this young Melbourne based act.  Declamation’s strongest asset is definitely their instrumental prowess, and the moments when they are able to truly harness this force can be mesmerising to behold.  Only when the band introduces too much metal into the mix do they drop the ball, but thankfully these moments are few and far between on Featherweight.  Whilst not so important in the overall scheme of things, it is also important to note that the production values displayed are quite high for an independent group, and the aesthetically pleasing album artwork gives the whole package a very professional look.  With the group currently playing gigs reasonably frequently all over the state, now is as good of a time as ever to get out, see a Declamation gig and pick up a copy of Featherweight.

By Matthew Woodward