I first listened to this album with high hopes. I had watched videos of Francesco Fareri shredding on YouTube and was impressed with his speed. But after. Country of origin: Italy; Location: Rome, Lazio; Status: Active; Formed in: Genre: Progressive Metal, Shred; Lyrical themes: Instrumental. Listen to and buy Francesco Fareri music on CD Baby. Download or buy the CD Mechanism Reloaded by Francesco Fareri on the independent record store by.

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Best viewed without Internet Explorer, in x resolution or higher. I first listened to this album with high hopes. I had watched videos of Francesco Fareri shredding on YouTube and was impressed with franceaco speed.

But after listening to more than just small sections of his work, I realized that speed is really the only thing on offer here.

Francesco Fareri

This album starts of fairly well with a decent piano intro followed by some insane sweep-picked arpeggios. But the sense of melody that the song had during the intro is lost when Fareri decides to keep shredding.

This is the main issue for most of the album. The guitar is obviously the main focus, but whenever it’s playing the lead fageri songs lose their coherency.

The guitar leads are almost always flat-out frabcesco, with very few melodic leads to grab on to. The fact that this guy is trying to be “progressive” also hurts; playing ridiculously fast arpeggios in a normal time signature is bland enough, but playing them in odd patterns renders them completely unmemorable. The only time that Fareri’s francwsco ever make a decent listening experience are when he’s playing one arpeggio per beat or two beats. He uses this style as a chorus-type thing in the first song, “Suspension”, and it’s utilized elsewhere for good effect.

If Fareri could make the rest of his shredding sound this coherent, this album would be farreri lot better.


Playing notes at a speed other than “as fast as I can play” would also be helpful in sparking some interest for the listener. The production on this album is another one of its downfalls. The lead guitar tone is kind of weak, which is crippling on an album of shred guitar. There are actually francecso on this album, but they’re so far in the background that you will not notice them unless you’re paying attention to them specifically.

Not like there’s much to pay attention to anyway; Fareri plays the same chord over and over and calls it a riff. When he’s being progressive he plays the same riff in a start-stop way to emphasize the fact that he’s basically ignoring the time signature.

The bass is inaudible most of the time and I can’t tell if it was Fareri actually playing bass or a computer. I’m going with computer. The few intricate bass parts I could pick out are too accurately played, which can’t be said for the guitar, which has slipups now and then.

The drums are done on a computer, which is acceptable for a solo artist just starting out. But they sound worse than most.

The bass drum is too trebly and sounds completely sterile. The toms suffer similarly. Fareri manages to take the computerized drums a bit farther than most artists who take that route; there are fills and variations where most artists would just keep pounding away on those double bass drums. There are also a lot of inorganic-sounding tom fills that are all basically the same.

At least he tried, frwncesco Francesco Fareri cites Vitalij Kuprij has his prime influence, and he tries to show it with the keyboard work here.

Unfortunately, it wouldn’t be until the next album that he would actually get Kuprij to play on his albums, so Fareri again resorted to a computer. The most obvious way this is abused is the ludicrous amount of orchestra hits he throws in during transitional parts of the songs.

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Oh god, they’re so fake-sounding that it makes me cringe. There are a fareeri keyboard solos on here, and they’re decently composed.

Francesco Fareri – Alone – The ESP Guitar Company

Unfortunately, they sound utterly computerized and consist almost entirely of sixteenth note runs Matthew Mills is another solo guitarist who has the same problem with his keyboard solos.

An organ tone seems to be the medium of choice for these dubious solos. The use of piano is actually the most successful thing on this disc; it sounds reasonably like an actual piano and Fareri never tries to francesc with it. The piano parts on this album show that Fareri can actually compose something decent when he’s not going at MPH. As you’ve probably gathered from this review, the main issue on here is songwriting. The shredding that predominates on this album is all technically excellent probably the fastest guitar work Franceaco ever heardbut also monumentally unmemorable.

After twenty or so listens, the only part of this album that I can recall from memory is the francesdo of the track “Suspension”. Everything else is a blur of exchanging sweep-picked guitar and calm, guitar-less piano sections. I am usually a huge fan of mindless guitar wank but this is too much. This is exactly what a solo guitar album shouldn’t be; a farerk masturbation session with the only memorable thing being the headache you’ve got afterwards. This album is definitely not recommended.

Even I, lover of wank, can only enjoy this a little bit. The average metal fan should just ignore this release completely. Bands alphabetical country genre Labels alphabetical country Reviews R.

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CharloNovember 8th,