HARDWARES

PERIPHERY's infamy is a product of the group being caught at the centre of the djent debate of 2011 (the details of which are entirely made up of geeky sub-genre analysis - enter at your own peril) and, as a result of all the djent talk, Periphery's primary influences - MESHUGGAH, DREAM THEATER and COHEED AND CAMBRIA - are easy to spot if you're over 25, which the majority of this group's fanbase is not. Despite the blatant copyright infringement that goes on during II's entirety, Periphery has managed to tread off the beaten path and dissertate with dynamic, precision and a flowing listenability, especially on impressive record opener 'Have A Blast'. While the fact that this record unbelievably debuted at number 44 at Billboard in the U.S. is testament to its skinny-jeans trendiness, the metal critic still attempts a fair and impartial assessment and realizes that, despite Periphery's nondescript look that is no doubt meticulously created, this band is made to attract attention, as it stretches its component, influenced parts into other genres entirely and then retracts them back, creating a modern, history-referencing record that appeals, no doubt, to fans who think CATTLE DECAPITATION or the so-goddamn-underrated ARSIS are old-school classics. There are epic qualities to be found on II, which is not a surprise given the clear Dream Theater patterns and manic Meshuggah-isms, and it's precisely this ambition that makes Periphery more than just a djent-isn't-a-subgenre-you-asshole oddity. That said, Periphery is clearly a product of its time, which leads to this record's weakest moments but, hey, if I had started a band in 1999, I would have written every dual-lead this side of IN FLAMES, y'know? Periphery's ambitious scope and meticulous execution elevates the band beyond the confines so many of its tour-as-life colleagues are locked in and all Periphery is truly missing is perspective and reflected-back wisdom. It'll come with time.