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| | village voice > music > Meshuggah's Catch 33 by Evan Moore |
 | | Formed in 1985 in Umea, Sweden, Meshuggah set off their brand of Scandinavian thrash with atomic-clock precision and staccato rhythms until the organized chaos and fusion-on-crack solo of "Future Breed Machine," the dynamic exercise in aggression that leads 1995's Destroy, Erase, Improve. |
 | | What sets Meshuggah apart from math-metal and other odd-meter bands is their use of displacement, polyrhythms, and superimposed polymetrics—shifting beats from where they're supposed to be, generating triplet and straight feels simultaneously, and sustaining several time signatures at once. |
 | | Meshuggah's guitars are tuned so low (and have so many strings) they sound like basses, and drummer Tomas Haake's polymetrics add just what Clyde Stubblefield's syncopations brought to James Brown: funkiness. |
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