Point Line Plane

Point Line Plane

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AllMusic Review by

Point Line Plane's self-titled debut reveals the band to be one of the most eclectic at grafting together noise, art-punk, and dance music. For every extended, insistent grind like "Open Yr Mindlight," there's an exercise in pitch-control hijinks and frenzied screaming like "Death Dance 2000" or an interlude like "Bat Chain Pusher," which combines backward noises, heavy drums, and synths that sound like they were stolen from a '70s science fiction movie. While some of the more experimental tracks do add diversity to the disc, others, such as the keyboard wankery of "Improvisation I," just detract from its full-fledged songs. That's not to say that the relatively straightfoward tracks aren't weird; they are. Point Line Plane has a fixation with horror and sci-fi imagery that infests the entire album, most obviously on "Crystal Skeleton," "8-Bit Graveyard," and the wittily-named "Amp Has Killed Amp." This fetish usually doesn't come across as gimmicky, particularly on the album's highlights, which are propelled by the group's genuinely aggressive rhythm section and Joshua Blanchard's crazed screech of a voice. "8-Bit Graveyard" combines horror-show organs while lamenting, "Corpses come, and corpses go." Squealing synths meet satisfyingly crunchy drums on "Code: Decode" and "Priest With a Badge" comes close to being a pop song, albeit a lurching, insane one. On these songs -- and the hypnotic finale "Deep C" -- Point Line Plane reaches impressive heights that make up for some of the band's more unfocused material, and suggests that it will be truly formidable on its next album.

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