ntologics’s sophomore album Drones From Home finds the multi instrumentalist duo laying down all sorts of funky grooves, metalish guitar parts, and a whole lot of other magic all their own. Bulbous grooves, penetrating melodic phrases, and other worldly vocals are the order of the day for Ontologics.
Opening with their title track, “Drones From Home,” the Rhode Island duo of Ian Campopiano and Matthew Walshe funk their way forward with a bossy bass line, snappy guitar riffs, and hipster style singing, rapping. It’s a high energy song that gets its strength and appeals with its busyness. A tough street attitude in the vocals carries it all even further, and these two sound like they mean business, in the studio and in a dark alley. Campopiano’s self-restrained guitar phrase keeps the tension just below the surface, making the song feel like an even more of powder keg waiting to go off.
“Cracked Eggs Don’t Hatch” continues the energy level. Rapidly delivered rap-sung vocals supported by briskly paced drumming, bass lines that feel they’re about to pop, quirky rhythm guitar parts, and a smooth, elevated melodic phrase each speak beautifully in their own languages.
“Under Warranted Suspicion” is an amalgamation of eccentric drum smacks, unwieldy bass lines, brisk lead guitar phrasing, and an odd sound effect going on in the backdrop. Despite the unique soundscape created by this duo, this tune, and their others, manage to appeal in the traditional sense of funky grooves and dazzling guitar work. Campopiano’s odd, tough vocal persona has found the perfect backdrop and the whole mess of rock, funk and prog makes perfect sense in the way they combine those elements.
“Rigged” might be their best offering for modern rock radio. It’s a blistering hot vocal protest song supported by a racing melodic line, a dancing bass line, and intricate yet energetic drumming. Criticizing the system for being rigged, this duo conjures a lyrical treat everyone can appreciate while they go to town with their quirky funk parts. Their obscene, catchy chorus allures even further with its simplicity after the music has firmly carried the listener there.
An instrumental named after a late 1970s action figure called “Stretch Armstrong” lets the boys showcase their adept, pulpy drumming, aggressive grooving, and laser precise lead guitar phrasing, a melodic line that has a voice of its own. The interestingly titled “A Wizard’s Touch For All You Skeptics” offers more of the intricate hard rock Ontologics has presented thus far. A personal life story in the lyrics keeps things interesting amidst speedy drumming and bracing guitar work.
“Almost High Noon” features more of the Ontologics speedily delivered lyrics sung over a pulse pounding score. They tastefully maintain their hard rocking sound in just the right places, leaving plenty of space for Campopiano to rap his grievances. Their tight guitar-bass-drum arrangement also impresses for its speed, direction, and locked in groove, playing like the Blue Angels of rock.
“Reaching For Pins” may have a strange song title, but its bleating guitar line sounds extremely cool and its rap is gripping. Riding out with some frisky guitar and bass, the song never fails to please. “I Went To Orion’s Belt” stabs its way forward with an incisive lead guitar line. It also gives a lot of attitude, in a cool way. Featuring P-Nut of 311, “Primal Discourse” spins on its greasy smooth drumming while its guest star emits all sorts of bass guitar magic.
“Goner” is a prettier song. Its electric guitar picking gives the tune a quirky bounce, and a perfect balance between melody and metal makes this a winner. Cruising into a psychedelic territory, the duo creates an intriguing soundscape that reflects the thoughts inside the human mind.
The duo goes ballistic with their guitars and drums on “Call It Collateral.” One can feel the guitar phrase and hard hitting bass marching forward, knocking down everything in their way. The song is made up of a thick crust of guitar fuzz that can cut through any surface. And man, do they keep it tight, no matter how hard or fast they play.
Just when one feels like he’s heard an entire full length album, Ontologics come up with the kinder, gentler killer song “Modern Revisionists.” The duo glides through the air with drum programming, acoustic drum smacks, and a zig zagging fuzz guitar phrase. This one takes the listener through a journey of their cold urban world. A rap tells it like it is, with street cred charisma, and it’s backed up by some of the best rage rock around.
Ontologics may not be able to play their music live without brining support players on tour. But, what the two have come up in the studio this time is a master work. 14 exceptionally good songs structured around fine musicianship and hip grooves makes a fine calling card to the world of arena bands.
