Originally published on robweychert.com on July 7 2005.

Late last year, my friend Scott added a Philadelphia-based band called Chromelodeon to the roster on his Bloodlink record label. The band initially piqued my interest with a nine-song ep called The Dark Sword of Chaos, which was dedicated exclusively to the music from Ninja Gaiden II, the second installment in the greatest video game series of all time. It was clear that these guys shared my enthusiasm for the game, and they brought its music into an epic rock context that served it quite well. But since video game cover bands with limited appeal have been coming out of the woodwork for the last couple of years, I didn’t bother to look into what else Chromelodeon had to offer, even though I knew they had original material. Seeing them play with the Minibosses this past weekend changed my mind. And then some.
I sized them up as they started setting up onstage. Eight guys in the band, none of whom look much older than twenty-one or so. Two guitars, bass, drums, violin, accordion, an array of analogue synthesizers (including a keytar), a lo-fi lighting rig, and two projectors for visuals. This was either going to be a formless, cacophonous art project, or something really special. Whatever the outcome, I was already impressed by its ambition.
Given the band’s numbers, it is not surprising that Chromelodeon’s sound is huge. What is surprising is just how unique that sound is, encompassing punk ethos, prog atmospherics, and gamer geekery. Its guitars channel Godspeed You Black Emperor’s symphonic grandiosity, replacing the cynicism with a sense of wonder and adding a touch of metal bravado; fantasy-tinged synth lines recall a decidedly 8-bit Nintendo aesthetic; and the accordion and violin peppered throughout provide a subtle European folk texture.
Throughout the show, though, it was that aforementioned ambition, that potential, that really struck me. Once they started playing, I wasn’t just excited about what they were doing at that moment—which was awesome—but what I could imagine them doing in another year or two. Between their ostensible youth and their distinctive melodic sensibilities, it’s not hard to imagine their material evolving quickly, producing ever more sophisticated arrangements. I could already see it happening at the show—the as-yet-unreleased material they played was that much more invigorating than the great stuff they’ve already recorded.
The future looks bright for Chromelodeon. I am anxious to find out what they have in store.

Originally published on yourlastrites.com in October 2005. Written by Erik Thomas.

I hate to bring the metal throes of this website to a screeching halt, but this odd little album found its way into my stack and review it I must. Is it metal? Debatable. Should it be reviewed here? Arguable. Do I enjoy it? Somewhat. Is this one of the oddest and hardest albums I’ve ever had to review? You fucking bet.

The only vogue point of reference I can throw out here to at least try and give you some idea as to Chromelodeon’s odd sound is an instrumental Estradasphere, maybe mixed with the The Doors, The Mass and Nintendo game music. Heart of Sawdust is composed of six unnamed movements that flow into each other in one undulating, accordion based, synth pop, orchestral combo that’s sure to please users of illicit substances. At times it comes across like a 70s B movie horror soundtrack with guitars and an accordion. Obviously with such a quirky style and delivery, Heart of Sawdust isn’t an album of songs or moments, but more of an atmospheric trip into psychedelia and a kaleidoscope of swirling sounds that confound confuse and sometimes amuse.

Admittedly the first two ‘songs’ did little for me, with the second song serving as a sort of instrumental rock opera type track, but the dramatic third movement is an eerie, spooky sort of track that would seem to fit the Phantasm movies. The accordion, while normally associated to upbeat, folky bands like Finntroll, is used as a haunting off key backdrop to the guitars and brass instruments. The fourth movement is an ‘epic’ wailing guitar solo backed by the cacophony of instrumentation while the fifth act is a more metal upbeat, cosmic sort of number that showed some chops amid the plethora of oddball instrumental antics. The closing track shows that Chromelodeon can structure an instrumental album with the correct pacing as it is a fittingly “closure” sounding track.

If it seems like I’m flailing like a blindfolded kid at a review piñata, it’s ‘cos I am. Few albums have left me verbally challenged as this, but at the same time, in an era on metalcore plagues and death metal staleness, Chromelodeon comes as an oddly refreshing change, though not an outfit I will seek out voluntarily.

Only recommended for the most opened minded, non blinkered, challenge loving or flat out fucking wasted or high listeners.

Originally published on www.philadelphiaweekly.com on November 2 2005. Written by Doug Wallen.

Class of ’05
The Philly indie scene is stronger than ever.

It’s been a big year for Philly. The Eagles went to the Super Bowl. The New York Times dubbed us the “sixth borough.” National Geographic named us the country’s “Next Great City.” Beanie Siegel got off. The Real World invaded Old City. And the quasi-chick-flick In Her Shoes showcased everything from the Rocky steps to the Jamaican Jerk Hut. At long last, it’s not hyperbole to say the world’s eyes are on our city. And its ears, for that matter.

This was the year Diplo and Hollertronix became a global phenomenon, party boy Dave P remixed Bloc Party, folkie Amos Lee toured with Bob Dylan, at least four different compilations chronicled our music scene, and Buried Beds and the Spinto Band each had songs featured in national TV commercials.

Even sticking to the narrow margins of underground rock, we had trouble keeping track of all the key players in Philly music this year. It’d take at least a few more cover stories to address the jazz-heads, the hip-hop scene, the avant-garde, the punk and metal enthusiasts, and those countless singer/songwriters.

Sitting on such a musical hotbed, we surely missed a band here and there. So do us a favor-for every new band we tell you about, tell us about another.

You’ll be telling the world.

Chromelodeon

Sound like: Instrumental epics informed equally by film and video-game soundtracks.

Latest record: Heart of Sawdust.

Label: Bloodlink (Philadelphia). www.bloodlink.com

Toured with: Evolution Control Committee.

What we said: “A booming battering ram of disparate riffs, epic synth atmosphere and every-instrument insanity.”

What Punk Planet said: “You have to hear it … highly recommended.”

Band highlight: Capitalized on trend of playing video-game music; performed special encore at First Unitarian Church alongside the Minibosses.

What’s next: Recording more and learning music to more games.