Matt Konfirst | An Effigy of Solitude

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Metal/Punk: Instrumental Metal Metal/Punk: Progressive Metal Moods: Mood: Angry
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An Effigy of Solitude

by Matt Konfirst

Ever wonder what it would sound like if Joe Satriani were angry? Thick death metal rhythm guitars with shred influenced melodies might just about do it. Check out this debut release.
Genre: Metal/Punk: Instrumental Metal
Release Date: 

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1. I Dream Prophecy
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3:44 $0.99
2. Into the Madness
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3:33 $0.99
3. Epiphany
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4:23 $0.99
4. Release
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3:49 $0.99
5. Sonata in Twelve Tones, I. Obsessive
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1:47 $0.99
6. II. Restless
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1:55 $0.99
7. III. Lifecycles
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2:19 $0.99
8. The Void
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3:06 $0.99
9. Prelude and Invention in g minor
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2:06 $0.99
10. Freedom
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4:26 $0.99
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ABOUT THIS ALBUM


Album Notes
Matt Konfirst- An Effigy of Solitude
Don't let the serene cover throw you- this album is heavy! Explore the edge of madness with this debut album by Berklee College of Music alumnus Matt Konfirst. A concept album designed to examine the facets of insanity; it runs the gamut from light-hearted abandon to the shadowy world of the misanthrope.
The opening track describes a dream set on a chilly autumn afternoon where our protagonist happens upon an old abandoned house in the forest. As he approaches the aging structure, he sees his reflection in a window. The reflection stares back briefly, but then sadly, shaking its head, it turns and walks away and his vision fades leaving him with an empty view of the interior of the house. What could it mean? This vision must mean something. Was it a trick of the eye, some cruel prank? Leaving this scene, he is filled with dread as he ponders the meaning of it all. His demeanor rapidly changes from a carefree young man to a brooding misanthrope. Who can he trust with this dark secret? Who would believe the vision he had? Who would even care? Black shapes flit in and out of the edge of his vision. They haunt him day and night. Where is the reality he once knew? The overwhelming melancholy pushes him into the madness. He can't escape. The world swirls around him as struggles with this new perspective on reality. He knows he used to be somebody else, but who? Suddenly he thinks he knows, thinks he's rediscovered that former Eden. In a moment of insight, an epiphany, everything seems to come into focus. The nightmare has apparently faded and he feels free from the chains that have held him down. He celebrates this freedom with wild abandon. It feels so good to be alive. Why had the madness taken him before? It seems so foolish now. That vision and the insight it provided. He must find out what it means. This will be his task in life, to decipher its meaning. It is his obsession, his one goal in life. He pursues it single-mindedly as the world spins out its endless cycles around him.
He knows! The black void consumes him! It sucks him down into an endless spiral. He's screaming the voiceless scream that tears us from our nightmares. He screams until his throat is raw and he can taste the blood. And then he stops. The vertigo leaves him, and from his vantage point he can see the details. It's so clear now. He's gained the one thing he never had: the perspective to see it all clearly. The vision was there to show him the way. It was the lack of knowledge and insight that tore the hole in his soul. He knows now what he must do.
Also, be sure to check out Matt's guest appearance on the Earthcubed album, "The Dark and the Divine".


Reviews


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Brian Christ

A metal symphony
While I have to acknowledge with a prior reviewer, that tracks 5, 6, and 7, are in fact totally different from any other of the tracks, and that the album overall is rather short, this is what makes the album, in fact, a complete symphony from start to finish.

This is masterfully written and gracefully played (if you can say graceful to describe metal guitar sounds..), and leaves me with a sense of completeness of the work, even though it is short in length.

If only the "classical masters" of old had taken this approach in some of their works!! If you can listen to both classical and guitar like I do, then give this an honest listen, and I think that you'll love it too.

Vitaly Menshikov

full-fledged multi-instrumentalist, compositional talent, and a rich sound
Prolusion. "An Effigy of Solitude" is the debut album by the young American
musician and composer Matt KONFIRST. It is 31+ minutes in length, which one
may consider a drawback, I, for one, do not. I regard any recording lasting
more than 30 minutes as a full-length album. Otherwise, how should I think
about King Crimson's 31-minute "Vroom", which I find much better than its
follow-up, "Thrak"? After all, not a single album by Gentle Giant was ever
called an EP either.

Synopsis. What would you expect from an album by another
newcomer-individualist, especially since no instruments are mentioned in
the CD booklet where there is only stated that Mr. Konfirst alone performed
all the tracks here? Me too. I was almost certain that there is nothing
else but a traditional synthetically electronic stuff on "An Effigy of
Solitude", and I never before was so much mistaken in my presuppositions as
in this case. In reality, it turned out to be that Matt is a full-fledged
multi-instrumentalist and, thus, is a true Solo Pilot - to Prog and related
dimensions, of course! Sure, by saying all this, I imply his compositional
talent as well. To say that the album has a rich sound is to say almost
nothing. At least at the moment, I can't recall the other solo flyers'
efforts that would sound as rich and variegated as the hero of this review.
Matt has spared no color to paint "An Effigy of Solitude" and show all the
dramatics and, simultaneously, the complexity of the state of loneliness,
which is always emotionally mental, and not physical, in its nature. Not
counting one guitar solo on I Dream Prophecy (1), which is done clearly in
the vein of Ritchie Blackmore's 'proprietary', immediately recognizable
style, the music is fresh-sounding throughout. Besides, most of the pieces,
most of which, in their turn, are located in the second half of the CD, are
marked with signs of outstanding originality and those of innovation alike,
as these things are usually inseparable from each other. Only four
compositions are made up of familiar (in a general sense) musical textures.
These are the said opening track, and also Release, Lifecycles, and Freedom
(4, 7, & 10), each representing Progressive Cathedral Metal, where, though,
most of the guitar solos are classically influenced, and those of
synthesizer sound like being fragile. Generally, various - tempo, tone, etc
- contrasts are among the main virtues of this recording. On the other
tracks, melodiousness is completely out, and eclecticism, often bordering
an eccentricity, is in. Each of them is both much deeper and darker than
the previously described ones, which, though, are good in their own ways.
Into the Madness and The Void (2 & 8) are the entities of a highly
intricate Doom Metal with RIO, at least quasi RIO tendencies. The same
words are in many ways topical with regard to Epiphany (3), despite the
fact that the composition has Blues Rock in its basis. The RIO-related
musical forms are much more evident on most of the remaining pieces, all of
which were performed without the rhythm section. While shorter than any of
the other tracks here, Obsessive, Restless, and Lifecycles (5, 6, & 7) are
free of any possible frameworks and consist of ever-changing interplay
between passages of piano and synthesizer and a few different solos of
electric guitar, most of which were certainly overdubbed. They represent a
confluence of both of the Classical and Avant-garde kinds of Academic
music, which is too obvious to be described differently. Instrumentally,
Prelude & Invention (9) is of the same story and features similar musical
events, which, however, is only seemingly. In fact, this is Classical
Academic music in purest form. Do you see how many different musical
directions are presented on this short album? Yes, Matt is a gifted,
inventive and, what especially pleases me, an amazingly open-minded
composer, easily covering most, if not all, of the basic progressive
genres. His mastery as a musician, at least as a guitar and keyboard
player, is beyond any doubt.

Conclusion. I had a great desire to rate "An Effigy of Solitude" as a
masterpiece, but since I hardly tolerate drum machines, regardless of how
excellently they are programmed, I am forced to detract a half of a star.
Hey Matt! All you need to become the Fifth Element hero is to concentrate
on the most extraordinary aspects of your compositional thinking and form a
real band or, at least, invite a drummer in the project.

VM: June 3, 2004

keith

powerful
Very powerful,the middle part of the album i think was out of place in an otherwise excellent album.Also a very short album. But still glad i have it in my collection because the rest of the music is mindblowing.

keith

powerful
Very powerful,the middle part of the album i think was out of place in an otherwise excellent album.Also a very short album. But still glad i have it in my collection because the rest of the music is mindblowing.

Quintessence Metal Webzine

Pushing the boundaries of instrumental guitar music...
Matt Konfirst (U.S.)- "An Effigy Of Soltude" (2003 Screamin' Demonesque Music)
Another Chicago-based axeman that's multi-talented and has put something out quite extraordinary and pushing the boundaries of instrumental guitar music. Some serious crunchy guitars/rhythms Matt comes up with and shows Classical pieces with Bach-like piano excerpts. Matt's guitar tone is pretty thick and muddy as well but it works and this doesn't mean anything as far as being sloppy...the tone was on purpose (like Martone for example and Kopyto..both 7-stringers get quite an original tonality compared to alot of guitarists).

The cd is a short-lived 31 minutes but the creativity, ideas and influences really speak volumes. Fans of older Kollman, Torben Enevoldsen, Edward Box and Martone, will love this CD as well as Matt's songwriting and guitar playing talents.