What is arguably going to be the most controversial record in its musical field, Suicide Silence are here to show off their versatility and show off something else that the fans will most likely criticise. With it now seeming the band going into a direction and create something they have always wanted to, have they made something that will good light or will it be just another backlash to add to their list?
The first two songs on the record are the tracks that people have already heard and are banging their heads against the desks in pain. ‘Doris’ starts off with a very strange intro to the album as a whole, but once the track kicks in it flows a lot more groovy in its album writing. The live recording of the entire album is a main feature throughout with the band having some off the cuff touches. Whilst the ‘tee-hee’ vocal parts can be a bit off putting, the more noticeable cleans have a decent tone on them and once the bass sections flows through, the sound on that is such a nice flavour to the song. The guitar effects can take away at some points with the flanger/phaser sound being a weird placement. As it flows straight into the next track ‘Silence’ the heavy intro is a mosh pit waiting to happen and gives a throwback to their older material. Then the verses have a distinct nu-metal sound within its walls and as the vocals flow really nicely on some of it, at points it can feel a bit off putting. With the KoRn/Deftones names thrown around as comparisons for sections, it does come off but at the same time it feels a bit upsetting comparing these disingenuous sections to those bands.
‘Listen’ opens up the unheard songs with the bounce of the drum patterns and the distortion of the guitars, which at some point feel muddy at time. The bass and vocal heavy sections feel full of raw emotion and punch through, and feel when the guitars start chugging, it has that moment of feeling like some angsty metalcore with the high screams getting a bit eye wincing at points. Then there are these parts that have some uncouth chanting singing bits in the background with the more spoken word element having a sprinkle of seasoning to the otherwise already salty dish. The ending minute of this track feels ripped out of the ‘Issues’ era of KoRn music, dubbing a nice nostalgic feel. Arguably one of the better tracks on the record is most likely the softest song you’ll ever hear from the band. ‘Dying In A Red Room’ is beautifully written and gives a much darker tone without having to utilise so much of their heavier accolades. The Deftones influence is much more apparent in this track and even with a taste of the band Tool coming into full effect. The only downside of this song is the ending when the sound of Eddie’s vocals make him come across like a dying computer.
With the band asking for less feedback, ‘Hold Me Up Hold Me Down’ kicks off with some feedback before the guitars kick in and bring something that is an enjoyable listen, but as the song goes on, the bands structure seems to fall off the rails, with the style of vocals that Eddie does over one section feeling really out of place and makes you lose interest in the track and with an album that has quite a huge chunk of four and a half to almost six minute tracks, being something that grips the listener is something you really want. What might surprise a lot of listeners is that there is a monstrous breakdown with some of the most disgusting low vocals being produced and the guitar tone working effectively. The fact that this breakdown goes on for half of the song feels like a lack of creativity, which is amazing coming from an album that encompasses so much unique elements from so many genres. There will also be the fans who will get off on the pig squeals and blast beats, and rightly so.
‘Run’ is a definite throwback to the 90’s way of writing and music style with the structure of its guitars and drums with the clean vocals, like in DIARR, work a lot more as a whole when you think about how they are writing their music. The guitars are what make this track a more enjoyable experience with the tone that they use having such a great flow within it and overall becomes another enjoyable track. ‘The Zero’ uses key changes to a bit of its advantage, with about 3 different keys being used overall. The clean vocals start to fall off the rails again with the odd grunt addition and the pattern he uses not feeling like it flows with the track for most of the song. The panning of the guitars get a bit more of a pulsating motion in the verses and the instrumentation push a bit more, with the choruses being a very solid listen, especially with the screams. The ending of the tracks poses a bit more of an exciting side of the band, with the guitar buildups muted and tremolo picked with the selected drum pattern helping put a few more wheels in motion.
The final two tracks are the bands final clasps and with ‘Conformity’, it starts to show off the more enjoyable side of their softer material and with the addition of the acoustic guitars, it adds a more seductive element to it. Once again, the instrumentation builds so much around it being a great track and the clean vocals for 85% of the track really give an argument to them pushing more of that side of them and whilst the track has notions of the calmer side of Metallica in the linear parts of it all as well, unfortunately the time aspect of the track feels a lot more dragging than it does gripping. The final track goes on a heavier tirade and has a more death metal aspect to it much like ‘The Cleansing’ album era. The old school fans of the band will definitely be gripped to this track with its ferocity and its stylistic approach with the blast beats and pounding triplets. ‘Dont Be Careful You Might Hurt Yourself’ is undoubtedly one of the heaviest tracks on the record and closes the album on a very tribal note, with the whistling and the sounds of clinking instruments.
You have to applaud the band. They have made something that is the path they want to go and invoke a lot of stylistic endeavours that will no doubt be great in their future releases. The fact of the matter is though that the live recording, a certain amount of clean vocals, some parts of the guitar tones and the overall attraction of many influences turn this album into a bit on an audible calamity. The band have set a new bar for themselves musically, but it honestly won’t be hard to beat.