Something about Canada makes it a breeding ground for prog. This is the band's first album in six years, and once again they fuse prog with a touch of metal core. It has been twenty-one years since I have paid much attention to them. Higher-pitched, almost power-metal-like, sung vocals counterbalanced lower growled vocals. They brough in a session bassist and drummer for this album, but it flowed really well like everyone had just been rehearsing these songs like old times. "Fishhook" finds them locking into the more upbeat side of the genre that I am not as big a fan of, as it begins to sound like something Devin Townsend might do. You can also hear how they share some common ground with Pain of Salvation's older work.
"Grandfather's Axe" comes at you with a heavier thrashing till the vocals come in, then it takes on a groove, much like the Arise From Worms album; the more proggy elements take away some of the impact that would otherwise make this sound heavier. "The Orchard" is all over the place, the layered vocals are too happy for my taste.'Liberty Spike" works better than the previous song. It's energetic, but the mood is more balanced. The vocals have a little more edge and don't sound as celebratory, even though it is a hectic roller coaster of dynamics. The song ends with some of those more grandiose layers of vocals.
The album closes with the more dramatic bombast of "the Mariner". The guitar waves around things in an unhinged fashion that is not dark. They shift sounds and genres in a more Mr Bungle-like manner, though Dog Fashion Disco might be a better frame of reference.There is less chameleon shape-shifting as their core sound is present, just dialed up in a different direction.There is no denying these guys are talented, they could stand to be a little hooky and darker, but it works well enough for what they do, and fans of this band should be on board, will give this album an 8.5
The last time I checked out this band, they were blending nu-metal with metalcore, so let's take a listen to how their sound is evolving. The first actual song finds them collaborating with Static Dress, who we just reviewed. This is not surprising, as Static Dress was also a nu-metal band. It blends shoegazing verses with more explosive Slipknot-like dynamics. It works well enough; nothing groundbreaking here. Prodciuition wise the album sounds good as there is a big layered mix."Fortress Down" fnds melodic vocals holding things down but sitting further back in the mix, while there is a tapestry of sonci chaos unfolding with the drums making sense of things.
"Gemini" is more aggressive and abrasive, with harsh vocals taking over. It's almost too noisy given the nature of the mix, where dynamics work better when the song has a more spacious feel but feels cramped in this context. Electronic elements become more prominent as the song progresses. "Harder to Pretend" is more electronic nad atmosphereic but needed to break things up. "Revenant" finds them bringing in NOWHERETORUN. It is driven with a heavier, more deliberate thump. This is maringally predictable, but given the nature of this album's unique mix, it captures this differently. Guitarist Mnasur Brown joins the band for "The Way". The song can draw comparisons to Deftones with its ambient ballad feel.
"Meet My Maker' hits harder, but does not forsake melody, yet how the vocals sit on the harder groove of the guitar will draw further Deftones comparisons. The drumming is great on this one. "Fangs " is moodier though not darker; this album really isn't that dark at all. The vocal melody on the chorus is rather hopeful." The Ladder" is a more commercial pop song. It is well written, though not sure how well received by their current fan base it would be. Jordan Rakei is adding his voice to the mix to further this feel.
They come back from this with the crunchier stomp of "Gifted Every Strength that contrasts with the previous song with its screamed vocals. It's longer than most of the songs on this album, and they cram more into but not in a manner that flows as well as what htey have done leading up to this. Though five minutes in, they slow things down and take on a jammier tone. The last song leads off with a more shoegaze feel. It is more melodic, but feels a great deal like what htey have already done on this album.I will give this album a 9; it works for what they are doing and adds some forward-thinking ideas regarding how they bring these songs to life.
This Nashville-based singer-songwriter plays a style of pop-tinged folk that is not far from what Boygenius does, though less based in rock music. Holding the most similarity to the Phoebe Bridgers side of that equation. The lead single "If Only' is what made me give this album a shot. It is highly hooky, effective songwriting. There is more of a pop feel to the strum of "Politician." Lyrically, she takes a cue from Taylor Swift cleverly, she paints a picture with her words./
I can also hear some HAIM in how she uses melodies on "Firefly Collector". She has a more subtle atmosphere to her work than most of today's pop icons, whom I am drawing comparisons to. "Goldstar" is more introspective lyrically as she looks back on her childhood. "Nothing I Can't Undo" finds her proclaiming she does not want sex, she just wants them to want to, which is an interesting perspective that shows some of her insecurity being bared.
"Driving in the Dark" is more straightforward folk. Her vocal melodies are strong enough to carry whatever direction she decides to take these songs.. There is a less sonically dynamic take on this formula and a more reflective tone to " Wild Dogs". "Genesis" is the first song that feels like filler to me; it's not bad, just does not feel as inspired as the previous songs, which is still impressive considering that at this point we are nine songs deep into the album. She goes back into reflection on "Good Thing Short," which shows more country roots. There is a similar vibe to the last song 'Venice," though it carries a more atmospheric feel. I will give this album a 9.5, it's one of the strongest indie folk albums I've heard this year.
With darker synths opening the album with a groove, it feels like they are expanding from the militant industrial anthems. Granted, that is still embedded in who they are, but it reminds me of their earlier work. Andy has become a better vocalist over the years. Not a great one, but able to apply more vocal color. There is a coldwave-like feel to the first three songs, with more drive; it's more electronic than industrial, but it works for me. "Born Destroyer" finds the more familiar aggression creeping back in.
"Feraline" finds a more balanced approach employed. The synths are moderately aggressive but more focused on you doing a stompy goth dance. Not only some of the latter-era Skinny Puppy songs. "Rise" is the first song that finds them stepping back into a more Post-Rammstein-flavored industrial. But it is not a deal-breaker. "Venom" shows that being more conventional and industrial is not a bad thing, and it works when done well, putting songwriting at the forefront. With songs like the more spoken word thumper "stfu" this can be hit or miss. Though on second listen even that one begins to grow on me with its 90s sensibilities.
"Each Scar a Vision" has a more dancefloor-churning throb, with the aggression dialed back."Only Here For a Good Time" holds the cold wave tension as the beat pushes things forward. Lyrically this album is darker than it is sonically, as heard on "The Way We Want to be Seen". It holds more in common with Nine Inch Nails musically, though Andy talks his way through it. "Demons Wanna Be Cummon" holds a similar groove but is sonically more dynamic. The last song is more guitar-oriented and has a maringally more organic feel. I think this album is a step forward for this band, as the songwriting is a notch better, so I will give it a 9.5 and see how it sits with me.
If these guys did not do Rhea Ripley's entrance music, I would probably not review this album, as I have been less than impressed with their arena-ready nu-metal dressed up as goth. So here ya go, Rhea, I'm doing this for you. The title track is what I expect from them, but it does have a groove and the massive sound that finds them headlining at festivals. The sung vocal hook is predictable but works for what they do. It has the big breakdown that is heavier than you might guess these guys get, unless you are a fan, then you know what to expect here. The second song has more electronic elements in play, but when the verse really kicks in, it's along the lines of Linkin Park, but with a more emotive vocal that goth kids might like. However, the anthemic chorus jsut sucks. It's kind of a crucial thing to go too commercial with, as it shits on the other cool stuff going on.
Eminem's frequent collaborator Skylar Gray shows up on "R.I.P". She does what she does for Slim Shady, so that is not a surprise. Chris Motionless' voice sounds better than what I have heard from him in the past. "Fight Like Hell" sounds like all the rock festival metalcore bands. To their credit, he sings more often than not, though the chorBut it cerus is kinda dumb; the rapped second verse is better than what I assumed him to be capable of. Though it paints them into the nu-metal corner. Cory Taylor shows up for "Playing God," so there is another nu-metal point on the board. His vocals are pretty dominant, and Chris does a good job of blending with him. They do have a predictable songwriting formula in place. But the masses are stupid and won't notice. Hey, I never said Rhea had the best taste in music.
"All That I've Ever Known" has more of that Linkin Park feel I picked up on earlier.. It also has another big dumb chorus. The singer of Dark Divine shows up on "Blood Rave". This is a more modern take on nu-metal run through a synth wave filter. The hooks are poppy but work for what they are doing. Some elements seem to draw inspiration from the Faint that is very subtle. "Love at First Bite" tries to play into the vampire imagery, but is not far from what a synth wave band like "Gunship" does. Singing by vampires does not mean this is not pop, but lucky for them, I like pop music. "Count Back From Zero" sounds like they are drawing inspiration from Strvngers who were doing this sort of thing almsot a decade ago, ironic that is what this album is called. But Strvngers have not done anything new in a while.
"Blood Pact" is on the more predictable side of metalcore when it's in its heaviest moments, as it sounds like they are more inspired by synth pop. At times, this finds them sounding more like Korn. "Afraid of the Dark" blends the synth wave sounds with the more metal core past of the band. When they try to play heavy, it feels like they are trying too hard and just touching on the most expected tropes/ As expected, they pull off a convincing cover of Cory Hart's "Sunglasses at Night". Motionless does not have the greatest falsetto, but the song works. This album is better than expected. I will give it a 9, feels like Spirit Halloween" if you are a teenager, I can see how this might get you pumpoed for Halloween, but it's not a goth album.
I reviewed the Prevail" EP single earlier in the year. Now unpacking the new ep. Three of those songs are, of course, on here, and with a second listen, my thoughts have not changed alot. It's going to be up to the vocals to impress me more. I do like when they are layered more on the second song, "Western Horror Story," which wa also on the three-song single. "Space" is a new one and a little more atmospheric in how the guitars sit in the mix. There is a Cure vibe to it for sure. The breathy whisper of the vocals is kind of anti-climactic. The girl's voice is more expressive; she needs to take the mic more.
The title track finds the guitars locking into a similar post-punk drive that held a similar tension to the previous songs. The vocals are not straying too far from what we've heard already. This song has more energy behind it and packs a more solid punch.I do like it when they rock out. "Closer" to you maintains the momentum established, so if yo are just grooving, you might not notice. It is the more nuanced mood of the guitar in "Satisfy" that catches my ear. They make this one more dynamically and compensate for the vocals, proving they can write great songs when they set their sights on it.
"A Perfect End" was on the three-song single, and it closes the album here, so let's see if a second listen changes my mind on it. It is darker than the bulk of this album, and the guitar melody that runs through it is catchy, but much like Boy Harsher, the monotone vocals are just a breathy whisper in the drone. I will give this one a 9, which is higher than what the single got, so the extra songs added more textures and did not make the dull vocals a factor, as I had more sound to choose from.If you like post-punk, it is worth your time.
While capturing the dark mood you want from Tricky, this album features singer Mitch Sanders, who opens the album. Sanders employs a light Thom Yorke-like falsetto. This song drones a bit with an organic bass line. They are both from Bristol, but on the second song, there is a more Brit pop feel with rock guitar that crashes in, and some of the moody electronic elements sink to the bottom of the mix. Tricky's trademark low, gravelly whispered croak is layered under Sanders' main vocal. He does step up and take over the mic in a manner that makes this sound more like his album on "Be Still In the Pain". When Run Red Rambo's rap comes, it makes things click into place much better.
Things get maringally more experimental on "I Tried". It's clear after three songs in that this album is going to be widely different from what we typically expect from him. In reviewing this, I have to put aside the fact that I am a fan of albums like "Post-Millennium Tension" and try to listen to this with fresh ears, not colored by past expectations. There is more of a Brit -pop feel to "So Cold." It begins to feel like they have pushed things a little too far from Sonic's zipcode that Tricky normally resides in with "Paris Maybe". I don't have a problem with this collaboration; it just sounds more like a Mitch Sanders album than a Tricky album. Aside from the hometown connection,
I am not sure what drew him to this guy. I think a more intersting album might have been made with a collaboartion with Joji, Chelsea Wolfe, or Xiu Xiu."Cannon Fodder" is almost too abstract and vocal-centered."Because I Don't Know" at least has his vocal sitting in a more appropriate place, even with the weird synth groove. "Marinade" at least has Tricky's voice coming to the forefront. Musically, it has more in common with the Beatles. "Radana" features the rapper of the same name, which feels more like a Tricky song, and Sanders' voice works well in the hook. "Piano" feels like a James Blake ballad of sorts. "Frontier Town" sounds like it's from a movie soundtrack. They strip things down to an acoustic guitar for 'Hengrove Blues," which works well enough for what it is. Good songs are good songs even if this is a wild left turn, so I will give it a 9; it's just not the album I was expecting.
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