Dainami – The Process

The Process

Dainami’s The Process is quite the amalgamation of a CD – over the disc’s 13 tracks, the band touches base with prog-metal, nu-metal, and just balls-out rock. Dainami is a three-piece prog-nu-rock/metal band, and The Process is a completely self-produced and self-financed release.
Know what that means, kids? Yup, you know it. That means that while Fred Durst is off at the Playboy Mansion striking out with all the models, Dainami’s using their musical prowess and talent to make a record that’s actually worth listening to. Unfortunately, since people like Mr. Durst seem to rule the music biz, the quite listenable The Process probably won’t be heard by nearly as big of an audience as it deserves.
When Dainami decides to rock, The Process is golden. “Antidisestablishmentarianism” tears stuff up with a guitar riff that would make Adam Jones from Tool proud and funky bass breaks that keep things from getting too brooding. “The Argument for Universal Sterilization” plows along with chugging rhythms and darkly catchy chorus that build to a growling climax.
“Glimmer Light’ is a bit more on the Iron Maiden side of metal, as the riffs fly fast and furious with a ‘spacey’ backing atmosphere to them. Another worthy listen is “Drive,” which bounces between a vaguely space-porn-blues bent and a straight-up rocking chorus before launching into a noodling guitar solo. The album closes with “Speaking Slowly,” a near 10-minute space-fuzz bass romp that builds up to tear the disc to a close with some frantic guitar work.
The rest of the material on The Process just doesn’t seem to measure up to the more ‘metal’ tracks, though. When Dainami takes a page from Tool, things just don’t work out as well. “Queen of the Nile,” for example, starts out with potential but then languishes through six minutes of material without ever really doing anything. “Monkeycard” suffers from the same fate, although it is made more tolerable than “Queen” thanks to the flurry of heavy guitar sounds that kick in about halfway through the track. The only really listenable ‘prog’ stuff on The Process is the eerie “Blue Morning,” which is actually a pretty captivating six-and-a-half minutes of dynamic-based guitar and bass interworking that eventually breaks into a rash of guitars before winding down.
All in all, The Process is certainly worth a listen. The prog-rock/metal stuff here seems to drag the disc down a bit, but I think that’s more of a reflection about my opinions on prog-rock than it does the material here. The straight up rock/metal stuff, however, is pretty stellar, making The Process more than a worthwhile listen for fans of this genre. Fred Durst, eat your heart out – Dainami’s The Process rocks your lame ass.