Stolas
Self-Titled
(Equal Vision)
Stolas have always been one of the better and more interesting post-Dance Gavin Dance-styled bands; you know the style: big, brash, flashy, and complex. This Las Vegas-based group always felt more introspective and more attuned to their The Mars Volta influence than the rest of their ilk (despite the fact that they could still jam); the outbursts were more earned and musical than merely aimed to showcase how fast everyone could play. That said, their first two records exhibited an unfortunate unbalance: flashes of brilliance and mediocrity were the norm, and too often vocal melodies didn’t stick the landing. It probably says something that their two most memorable songs feature two of progressive post-hardcore’s most renown vocalists: Kurt Travis (“Medusa”) and Tilian Pearson (“Year of the Light”), but those songs highlight how effectively Stolas can channel their aggression and moody melody, respectively.
The band stated they wanted to make some changes going into their third record, and it’s great to hear a band embrace the best version of themselves. The harsh vocals are pretty much gone (great call), the wild musical swings are also reigned in, leaving a sound much closer to the mean: jazz-fueled swagger, ethereal vocals, and flamboyant guitar work. This self-titled is packed with up-tempo (yet restrained), soaring prog that feels like it could have come from the previous decade. In fact, Stolas’ third release sounds very similar to Closure In Moscow’s breakout First Temple, with its mix of influences: The Mars Volta, The Fall of Troy, and bits of Saosin. And when it gets everything right, the results are mesmerizing and truly captivating. “Bellweather” is sonic joy and features the band’s best vocal melodies to date. “Anecdoche” is a coiled snake, all reeled in momentum and rapid attacks; yet, it’s restrained bridge is haunting and gorgeous. “Catalyst” skirts awfully close to its influences, but it’s buoyant and addictive. When Stolas is firing on all cylinders, it’s a joy to listen to.
That said, some of the band’s past problems still haunt Stolas on an otherwise great record. The song quality fluctuations are certainly less than on past releases, but a good number of tracks on Stolas feel merely adequate in comparison to the heights the band prove they can reach. Also, the lack of truly memorable vocal melodies does come back to bite them. While Carlo Marquez does prove a solid vocalist, many melodies just feel subpar and lacking in contrast to the backing music. These aren’t damning problems, but they hinder the overall experience just a tad. That said, Stolas’ third record is a definite step up and proof that the band is clearly on the upswing.
