Review by Matt Miller
United with thoughtful lyrics, the style created by Firewerk’s sophomore release authoritatively takes back heavy metal from contrived nu-metalists and industrial from electronic purists. The result is Circuits and Curses, something equally foreign and familiar, catchy and contemplative. Appropriately titled “Getting Lifted,” the introductory track to Circuits and Curses hijacks listener consciousness with little preamble…
Lyrically, the song establishes the early relationship between glaring inequities and desires, the “curses,” and the more inconspicuous motive of the album and music as the method of delivery, the “circuits.” With lines like under-rated getting lifted, overstated getting lifted, all the gifted getting lifted Cross details various social inequities and desires by exploring the different definitions of “lift” (to steal, to elevate, to end, etc.).
“Getting Lifted” combines these definitions with the relatively straightforward, guitar dominant musical structure of the track to introduce listeners to Circuits and Curses. The song seizes the listener’s consciousness with a simple, heavy metal riff overlaid with a trace of electronic and synth, priming the listener for the more prominent electronic and synth melodies in subsequent tracks.
“Chase Scene” utilizes such melodies to create the feeling of a high-speed chase rather than use samples. A powerful guitar and drum rhythm embellishes the mood, often separating from the electronic sounds. This rhythm occasionally operates independently, offsetting the frantic electronic melody and driving the song forward with exaggerated speed.
Although the following track boasts a severe contrast in pace to its forerunner, the introductory tune in “Without a Sound” successfully connects the two songs. A soft, electronic melody and drumbeat succeeds the abrupt close of “Chase Scene,” representing silence without actually being silent, which would likely have upset the flow of the album. I envision someone sifting through the wreckage before shedding his identity and moving on, which occurs a few seconds into “Without a Sound” through a rigid guitar riff and vocals.
“Without a Sound” also begins the buildup toward two of++++++++++++ the most remarkable songs on Circuits and Curses. The moderate pace brings listeners down into one of the more peaceful melodies. The only track on the album that foregoes the use of guitars, “Wayward Girl” captivates listeners with poignant synth, intricate drumbeats, and abstract lyrics, while also leading into the most innovative and energetic song on the album, “Illusions.”
The remaining tracks maintain the musical and lyrical quality established earlier in the album with a generally more traditional industrial/metal sound. Circuits and Curses firmly establishes a distinct Firewerk sound that was less developed in 2002’s Amplified Fragments. The interplay between power and tranquility may very well make Circuits and Curses responsible for a speeding ticket and a peaceful slumber in a single evening.