Row Alone
                   A Review of 
         Through the Floods, Not With Them by Dualesc
                By Allison Broesder

Provocative and distinct, the music and lyrics enclosed on Through 
the Floods, Not With Them submerge listener's ears from beginning 
until end. This uniqueness shines through Matt McMillian's singing 
technique. Abrasive, yet gentle all together makes the record an 
attention-grabbing listen. The instrumentation adds an essence that 
coincides beside the lyrics tightly. Dualesc demonstrates musical 
promise in these essentials. Not only melodically proficient, the disc 
is also emotionally invigorating. One of the unique bands to arrive 
in 2002, Dualesc has established that potential for innovative and 
exceptional music exists.

The building into "Belief" snags attention, jolting the listener 
when the song reaches full tempo. The layers of music build upon 
one another beginning with the bass until the song bursts, 
generating curiosity as to what will follow. The lyrics, emotionally 
charged, capture attention with, "So everyone's breaking up, my 
hope is dying and I want it shut," and "seems so much harder 
physically being in this place." The guitar work and drums contradict 
the lyrical delivery, by being faster. Innovative with fluctuation 
between soft and hard singing styles and guitar work adds flavor. 
"Belief" asks a thought provoking question: Is your tongue the one 
that controls you? Left to be determined by the listener's reflection 
of what significance embeds it, the question remains unanswered. 
Exceptional in this spoon-fed music culture, it provides originality 
for music fans.  


By contrast, "Subtle" reflects its title by sliding gently into the song. 
In the beginning, quiet guitar compliments the soft singing of the 
lyrics. "Undoing your bias will be as much fun as shattering glass" 
supplies lyrical imaging readily seen.  It is followed by a crescendo 
of guitar as a flux between loud and soft parry with each other for 
the song's remainder. "Remember that I was there too, you came on 
and faltered and wasted. . ." begins the build into climax, leading into 
the rough screams of "Live enlightenment you fuck," and "I thought 
I could leave but I was never there" towards the end.  Lyrically sound, 
compliments of the background instrumentation establish tone. These 
elements display promise, innovation, and inventiveness that are 
refreshing. 

"Landscape," lyrically fluid, captures attention 
with, "Conversation oasis lets my thoughts control 
you." Contradicting the deliberate singing, guitars 
and drums provide a faster rhythmic speed, pushing 
the song forward. This makes "Landscape" an interesting 
edition to Through the Floods, Not With Them.   
"Caravan cross the spectrum try to see what you see" 
provides another fascinating image, leading back to 
the title.  Dancing between abrasive and beautiful, 
it offers newness much appreciated. 

Rapid and rushing, "Cita" acquires attention. Opening with, 
"Twisting and burning the earth like you own what owns you 
without which we'd be dust" sets meaning and tone as angry and 
disgusted. "Cita" places blame upon corporations and humans. 
"Corporate profits won't make right" and "It's falling apart again 
now it's our fault," communicate this with solid lyrics. The rapid 
guitar and drum work correspond with harsh singing, keeping with 
the atmosphere. The last line leaves the listener once again 
contemplative, "There is no substitute for what you can't create." 
It evokes an idea that although pop culture tells us corporate 
profits and materialistic ideals mean more, the things created by us 
signify more importance. 


"Why should I believe in you," begins "Virginity Plea." 
Asking yet another question to muse, "Where am I God? Why 
should you know, when I should not?" follows themes articulated 
in the beginning. Musically apprehensive due to forceful guitar 
and steady drum work, the lyrics set at a slower tempo, and 
position mood for this "plea" further. The amalgamation of electric 
guitar and acoustic provides an inventive method. "So in my mind 
deliberately amplified/the problem completes you," lyrically 
structured well, adds an additional layer. Returning to where it 
began, "Virginity Plea" ends, "Why should I believe in you? /What 
has turned out to be true? What's the point of me and you we're 
through," before moving into electric guitar fade out, with the 
acoustic persisting alone. 


Bursting after the close of "Virginity Plea," "Pour Over" assaults 
the ears with abrasive guitar work. Once more opening with a 
question, "Did I just make that choice or was it fate?" sets theme. 
Lyrically sturdy, "Pour Over" captures interest effortlessly. 
"Separate points on a line, don't make me choose again/I'd hate to 
prove to them-their friends," pushes the piece forward, along with 
piquing curiosity as to what follows. The drum work and guitars 
match each other rhythmically, contrasting the slower singing tempo. 
The chorus line, "Made a black and hot arrival plus one song" 
presents a clear image. Acoustical guitar comes to the forefront of 
the middle, before giving away once again to the electric. The song 
softens before leading into the final assault, complimenting the lyrics, 
"Whisper thoughts of too bad, think of the night she had." From there, 
it too, returns to the original question, with guttural singing, "Control 
of nothing, up to fate, just like it was in the first place," providing the 
answer. 

As the guitar fades from "Pour Over," "Green and Gray" begins. 
Lyrically, "Green and Gray" has several visible images. "You held 
the key for so long that it rusted in the lock," "well, I say...row like 
you need to get home today," "I drew pictures I want to keep 
re-painted on a wind swept sheet" and "...in circles I'll row alone," 
supply examples. The song dances amongst quiet singing and rough 
shouting in areas, with the guitar, drums and bass mirroring. Also 
lyrically exceptional is "Pray to be open-minded and alive...it only lasts 
forever," and "Virtues are few and patience is not one of them." As "
Green and Gray" ends, the song slows, permitting the final line of "...in 
circles, I'll row alone" to stand-alone. 

Bass enters alone on "The Armistice." It remains with "Green 
and Gray's" interchange between quiet and rough. "Idealism is 
not a bad thing-do you forget this when you grow?" position the 
theme; one revisited at various moments. Cynicism is inserted at 
varying lines. "Fucking fuck I'm bored of youth the biggest gift 
we never use/sick of saying, "fuck" too, restore connections," 
exhibits this excellently. "Idealism is not a bad thing-don't forget 
this as you grow," brings the theme back once again. "The 
Armistice" has a balance of idealistic views and cynical thinking 
dispersed. This makes the song appealing and unique, as the 
instrumentation and lyrics have a similar clash. "Idealism is not a 
bad thing-don't forget this when you're old," closes the theme 
before ending abruptly.

"Rotary, Repetition" contrasts "The Armistice" by 
being slower and hushed. The electric guitar muted, 
sets the tone for the rest of the album. The singing 
is unhurried and whispered. "So dig in clay...the trees 
don't sway in tandem they get away," illustrates a 
concrete image. The soothing delivery method makes 
this illustration eerie, as well as the subsequent, 
"leading those they abandoned, face is strange, but 
stay awake." The bass begins the end of "Rotary 
Repetition," with the drums and guitar joining. 
	
As the most different track begins, electric guitar gives way to 
acoustic. "Rows," soft and muted, reveals vulnerability. "They wanted 
so badly to burn," and "Hold out your hands, your palms up," displays 
this vulnerability with strong images. "Rows" expresses sorrow as 
well, through lyrical delivery. Finishing this way provides the falling 
action to the climax reached in earlier songs such as "Virginity Plea" 
or "Pour Over." It leaves the listener to reflect, "Seems fair, make 
clear your intentions always," as the last note of the album fades.
	
Through the Floods, Not With Them demonstrates potential for 
new and exceptional music in this stagnant music culture. 
Provocative and distinct, Dualesc instills emotion into the music. 
Due to this abrasive yet gentle music approach, these elements 
make this album worth the listen every time. Matt McMillian's 
unique singing, as well as the instrumentation creates intrigue 
and interest from the first note to the last. One of the most unique 
bands from 2002, Dualesc presents emotionally stimulating 
material as well as melodically proficient songs.  These elements 
will keep listeners coming back for more.