Fourth Dimension (4D) – “Millennial Kingdom Vol. 2” (2018) review
Fourth Dimension (4D) – Millennial Kingdom Vol. 2 (Dankradio, 2017)
Fourth Dimension (4D) has put out a new collection of jazzy progressive rock featuring the artist’s hard edge drumming and rampant soloing. Jody Giachello, the man behind Fourth Dimension (4D), has performed with acts like HAIM and toured internationally. There’s no doubt he’s a force of nature on drums. The new LP is certainly a bit lofty in its artwork and title, Millennial Kingdom Vol. 2, but proves to be an engaging listen for anyone wondering what might happen if Herbie Hancock had ever collaborated with John Bonham.
The first track, “Super Nova,” is an earful of Zappa-esque guitar distortion. The keys interact nicely with a fuzzed out bass and Giachello dancing on the cymbals. The artist’s weapon of choice nods its head as the song closes out with an impressive percussive onslaught. “Centrifuge,” hits us with almost identical instrumentation save a captivating melody that grounds the song in the tangible. The piano riff carries us in its arms as we sprint through a battleground of feedback- and reverb-heavy psychedelia.
“Oblivion,” pulls us closer with synchronized and bass fueled synths that grind against one another. The track lurches in its haze and notes ring out in catharsis—the momentum is Floydian. Whatever talent this ‘Kingdom’ contains rises to the foreground with haunting vibrancy. The rudimentary yet driving tonal motifs evoke Miles Davis’s 1971 tour de force “Yesternow.” Unfortunately, Fourth Dimension (4D) can’t quite match the trumpeter’s compositional genius.
But while Giachello lacks variety, his command of the drums is a feat to be witnessed. On top of being wowed by the size of his drum kit, his performance of “Har Megiddo (Armageddon)” shines an important light on where the artist’s priorities lie. Drummers have historically been undervalued and forgotten, and yet add an indispensable gravity to any genre. Perhaps Fourth Dimension (4D) is a project destined for role reversal—an opportunity to spotlight the percussive backbone of all music.
– Gabe Kahan
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