The Kylesa press copy of "To Walk a Middle Course" is a crude item. It's a burned CD, your standard Sony CD-R with crudely scripted Sharpie letters denoting the name of the band and album.
Pop in the album, close your eyes and you're in any local venue listening to any local metal band. The 10-song album showcases metal guitars and percussion with the growling and screaming hardcore fans adore.
Tracks one through three are only distinguishable from each other by the pause between songs. However, the following three show promise. Each begins with a distinct introduction. "Motion and Presence" has slower, more melodic guitar, "Welcome Mat to an Abandoned Life" starts with primitive driving percussion, and "Eyes Closed from Birth" comes in a faster tempo reminiscent of garage punk.
The hopes of those excited by interesting instrumentals are dashed within the first 60 seconds of each. It's amazing how a screaming voice can make every song sound like the last.
In "Bottom Line," the raucous shouter sings, "I am screaming." Why is it that so many bands of this genre feel it necessary to exclaim this in their lyrics? As if it's not apparent.
The album ends on an interesting note. The final three tracks inconspicuously attach themselves to the end.
"Phantoms" was the first sign of a detailed and comprehensive song. Spacey guitar with a dash of drum lead a song with lyrics that paint a picture of unrest. The song seems trance-like, without resolution. Kudos for its word painting.
The final song, "Crashing Slow," signifies itself as such with long and wandering instrumentals. It caps off the space song suite, giving the listener a chance to hear the creative instrumentation that, until this point, has only been a tease.
Nothing on the album separates it from other semi-competent garage metal bands. The songs are tightly pulled together, but lack any real distinction.
Photo: Courtesy of Laron Fomby
