The Shape of Colour

In­ter­vals, the prog metal brain­child of gui­tarist and com­poser Aaron Mar­shall, has gone through a few iden­tity crises since its in­cep­tion, from start­ing as a solo stu­dio pro­ject to be­com­ing a four-piece in­stru­men­tal band to in­tro­duc­ing a vo­cal­ist and then re­vert­ing back to a solo pro­ject in its the cur­rent in­car­na­tion. Not let­ting the re­volv­ing door of band mem­bers af­fect his out­put, and get­ting help from Dark­est Hour’s Travis Orbin and Protest the Hero bassist/en­gi­neer Cam McLel­lan on drums and bass re­spec­tively, Mar­shall’s growth as a player is quite ap­par­ent on The Shape of Colour. Con­tin­u­ing to es­chew the rhythm-first fo­cus of their ear­lier work, Mar­shall’s com­po­si­tions have be­come, quite sim­ply, more colour­ful. Th­ese new shades of mu­si­cal ex­plo­ration come both in the form of col­lab­o­ra­tors (such as BAD­BAD­NOT­GOOD mem­ber Le­land Whitty’s smooth tenor sax­o­phone on “Fa­ble”) and Mar­shall’s own gui­tar work. That said, his com­po­si­tions still main­tain a high de­gree of tech­ni­cal­ity, with the com­plex leads of “Black Box” and “Slight of Hand” never quite reach­ing lev­els of ob­nox­ious, overindul­gent shred that in­stru­men­tal gui­tar-driven mu­sic can, at times, fall into. Com­bined with shorter song lengths, Mar­shall’s lat­est ap­proach high­lights his height­ened at­ten­tion to phras­ing and

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