Originally Posted by Pet_Sounds

It's been a long time since I visited the Scrap Heap, and even longer since I began this project, but what better way to revive both than a review of an album by one of MB's most valuable members? Naturally, I speak of Plankton, friendly guitar wizard and the forum's unofficial dad. He's released three albums, which you can listen to and download here. I'll be reviewing my favourite, Krill, released in 2013.

I must confess to feeling some apprehension before I listened to Krill. I don't listen to much instrumental music other than classical and jazz, and Trollheart's admirable review compared it to Iron Maiden several times. I'm not really a fan of metal, with some exceptions, and they're not one of them. Still, perhaps instrumental heavy metal might appeal to me. Only one way to find out…

The album kicks off with "Flustraxion" (try pronouncing that), and my fears are relieved. This is great! There's some interplay between what I believe are two guitars. As someone whose guitar knowledge consists solely of the chords to "Edelweiss", I'm impressed.

"Waiting Impatiently" is next. It's not quite as heavy, and there's a nice solo that reminds me a bit of Pink Floyd's "Comfortably Numb". And then… holy cow. Plankton simply explodes.

All the music so far has been contributed by Plankton alone, but he's joined a guest on "Shoveled"--Dr. Martin Luther King. When I asked him (Plank, not MLK) about including this excerpt of a speech, I was informed that he wanted a dramatic feel. It certainly provides that, and appeals to my experimental tastes.

"Lights of an Unknown City" is next. It's my favourite track, building from a proggy intro to a powerful middle, then ending with some beautiful acoustic guitar, which gives me chills. I have limited experience with progressive metal, but that's how I'd probably describe this track.

Plankton's only living collaborator on Krill (his friend Keith, from Canada) enters the scene on the appropriately-titled "Canadian Mist". It's slower, with some lovely keys, played by the aforementioned Keith.

I consider "Son of Soothsayer" Plankton's signature song. It's the first one I heard (he played it in plug, I believe), it's the track I've seen him talk about the most, and it's also the epitome of his sound. Catchy, swaggering, and a real headbanger.

"Here We Go Again" is breathtaking. Although I wouldn't call it chaotic--everything has a definite direction--"wild" is definitely a word that comes to mind. It's probably the best example of Plank's skill.

"Xphereblotish" (whatever that means) continues the incredible guitar work. I'm picking up a bluesy vibe from this one--almost like a caged animal that can't quite break out, but you damn well that you're toast if he does.

Even with my ignorance of metal, I can hear Black Sabbath in "Screaming at an Empty Canvas". It reminds me a bit of "Paranoid"--a crushing representation of artistic frustation. This is also the first time the bass has really caught my attention.

The title track is next, in two parts. Some jangly acoustic begins it--reminds me a bit of The Byrds or even Boston. Then the drums and lead guitar come in. Despite its heaviness, it seems almost melancholy. It fades into Part 2, which follows the same general pattern, but more slowly. It creates an interesting effect of changing gears.

The last track, "Fields of Youth (For Hanna" is the calm following the storm, Plankton's tribute to his daughter. Despite the many fantastic solos on other songs, the guitar work here impresses more than anything else on the album. It's the perfect way to end a journey. The picture that came into my head as Krill came to a close was of Jonah waking up on land after being spit out by the great fish.

Plankton informs me that there is no intentional concept or storyline behind the album, but its songs mesh together so perfectly that as you listen, it's impossible not to feel that you're on a journey. Where it leads you is your decision.