Review: Haralabos [Harry] Stafylakis – Calibrating Friction

Style: instrumental prog metal, modern classical (instrumental)
Recommended for fans of: X Japan, Ne Obliviscaris
Review by: Andy
Country: United States-New York
Release date: 15 September 2023

German philosopher Arthur Schopenhauer proclaimed that music is the noblest and highest of the arts: “music is not a representation of Ideas, but rather of the Will itself. Music and the world are expressions of the same metaphysical principle, the Will” (Stanford Encyclopedia of Philosophy). I implore any philosophically minded listeners to read that whole article, but Schopenhauer, bless his heart, never got to hear what a post-Dream Theater world sounded like. Hyper-intellectual technicality would surely fascinate old Arthur who lived in the time of the Romantics, and Haralabos Stafylakis is here to bridge the gap, the latest in a newly blossoming scene of equal parts classical and prog metal. 

Calibrating Friction deeply fuses the mechanics of both classical chamber orchestration and progressive metal such that the DNA of both is weaved into a quadruple helix. The eponymous opener includes abrupt, eight-string guitar prog metal, but also a clarinet and bassoon playing the main melodic line until Stafylakis abandons the metallic heft for delicate, contrapuntal strings and woodwinds before an increasingly intense, dramatic chamber section–reminiscent of Lorem Ipsum’s baroque screamo ensemble–crescendos through another metal section. Unlike a standard Nightwish clone, the metal here functions as an amplification of the classical rather than the orchestration reinforcing the metal, and the focus on metal’s rhythm and texture helps Stafylakis build dramatic tension that classical instruments alone cannot achieve–and vice versa for the orchestration’s delicacy. This is a chamber classical ensemble with metal timbre as much as–or more than–it is a prog metal album with orchestration.

Utilizing a star-studded guest list–including Raphael Weinroth-Browne (Leprous, Musk Ox) on cello, Javier Reyes on guitar (Mestís, Animals as Leaders), and Fung Chern Hwei on viola and violin (Seven)Suns)–Stafylakis quietly assembled a super team for this project, and each guest performs phenomenally, especially Reyes with his solo on “Flows Obsidian.” Every instrument on Calibrating Friction is mixed perfectly, the superb production far better than most metal albums including a staggering dynamic range that’s apparent listening: Calibrating Friction sounds superb as both the metal and classical sections are organic and full-bodied. Moreover, the collaborative nature of Calibrating Friction accentuates Stafylakis’ substantial writing ability as a JUNO-nominated composer, and the best moments are when several musical geniuses are working together under Stafylakis’ overarching vision. In fact, grabbing even more guests from across the prog world could possibly make another iteration of this project even cooler–I’m imagining a track like “Never the Same River” with Baard’s (Leprous) drumming injecting some crazy fills into the thrumming piano overtones.

“Never the Same River” has Stafylakis demonstrating the extent of his compositional achievements; several writing tricks, like using fighting string parts in the background while letting a single disembodied soloist tie the package together, work quite well for several minutes  at the start of the track, and when the metal bursts above the tasteful strings three minutes into the track, “Never the Same River” is elevated to new heights. The previously mentioned use of the lowest notes on the piano to provide a rumbling yet pretty bass is genius, as well. The album as a whole, though, would benefit from more adventurous songwriting. By that, I mean that Stafylakis often plays into a similar pattern of using the metal as an explosive release of tension while strings and winds alternate in building that conflict back up. Unfortunately, by the third or fourth track, this modulating intensity no longer works as well as it did at first, and this combination of instrumentation should allow for essentially limitless songwriting potential. Stafylakis could include more extended techniques–a stronger djent influence in a section or two, perhaps a bowed piano, or maybe some atypical singing style–or he could even implicate more instrumental variety with deep brass or something to elevate the chamber vibe into a full symphony. 

So while the composition is largely superb, Calibrating Friction feels like the debut it is at melding metal and classical, slightly timid at experimentation within the style and relying on the style itself being experimental enough on its own. But metal and classical should explode more forcefully, really inject a color palette impossible to imagine a few hundred years ago, and while the DNA of this project indicates the future potential, Stafylakis can do more with this style. He is undoubtedly close to something sublime, though, and I reckon with a couple tweaks, he could find that Schopenhauerian Will and achieve the highest form of the highest art. Stafylakis ought to continue in this direction because this style can change the course of prog metal and perhaps even music itself.

Recommended tracks: Calibrating Friction, Flows Obsidian, Never the Same River, Of Beauty / Of Brutality
You may also like: Lorem Ipsum, Gunter Wernö, Scarcity, Aquilus, Nick Vasallo, Casey Crescenzo, John Zorn, Seven)Suns, A.M.E.N. Raphael Weinroth Browne
Final verdict: 8.5/10

Related links: Bandcamp | Official Website | Facebook | Instagram | Twitter

Label: independent

Haralabos Stafylakis is:
Haralabos [Harry] Stafylakis – guitars and programming
Van Tilburg (Adam Pietrykowski) – guitars and electronics, guitar solos on “Of Beauty / Of Brutality”
Javier Reyes – guitar solos on “Flows Obsidian”
Matt Grou – drums and percussion
Vicky Chow – piano
Fung Chern Hwei – violin and viola
Raphael Weinroth-Browne – cello
Tristan Kasten-Krause – double bass on “Flows Obsidian”
Evan Runyon – double bass on “Of Beauty / Of Brutality”
Tara Helen O’Connor – flute, alto flute, and piccolo
Ken Thomson – clarinet and bass clarinet
Kathryn Brooks – bassoon
Eric Reed – French horn
William Keats Lang – trombone
Toby Kuhn – additional percussion