Review Summary: Periphery is as Periphery does.
The rampant controversy surrounding a new Periphery release is inevitable. The group has always been massively talented, if not wholly original. They found a way to combine elements of Meshuggah, Dream Theater, and countless metalcore acts into a melting pot of schizophrenic, high octane progressive metal. A wicked sense of humor pervades every release in the form of an exaggerated self-promotional skit, comical sounding techno sections, and ironic album and song titles. Periphery’s quirks were either charming or unwarranted, depending on whom you asked. They either wanted to take their musical outputs more seriously, or were pressured to pull themselves together as they continued on. Each release toned these qualities down as the compositions and songwriting improved and became more ambitious. Juggernaut marks the first major concept album from the group, split into two 40-minute LPs,
Alpha and
Omega. The fluidity of the tracks and an abundance of interludes necessitate that the massive Juggernaut must be heard in one sitting.
Tracks bleed into one another on each release, giving the feeling of each half being comprised of a fewer, more massive tracks. Frequent tempo changes and quieter transitions make for an incredibly adventurous listen, especially given their most evolved and mature songwriting yet. However, lush soundscapes and gorgeous atmospherics provide some much-needed variety and appear in some of the LP’s most energetic tracks, found at the end of “The Bad Thing” and throughout the 11-minute epic, “Omega.” Where
Omega truly stands out is in its jagged guitar riffs and polyrhythmic drumming. While
Alpha boasts a more patient and accessible nature,
Omega proves to be a much more exhaustible and dissonant experience. The shorter tracklist and running time gives the darker side of Juggernaut a significantly less overwhelming listen, despite the increased aggression and depth. Spencer Sotelo’s vocals have changed little from
Periphery II: This Time It’s Personal. His range and vocal style hasn't changed in any significant way, and previous detractors will find nothing new to like about him on Juggernaut. His whininess and lyrics are cringe inducing at times, particularly in the beginning of “Priestess” and the midsection of album closer “Stranger Things.” Instrumentally, Misha Mansoor and the boys are at the top of their game. Tracks are sure to deliver constant riffing and soloing, fingers dancing across all spans of the fretboard like a spider weaving a web. This is certainly a guitar album, and the equally impressive drumming largely follows whatever monstrous or technical riffs and breakdowns the guitarists bring forth.
For all the impressive and enjoyable musical ideas at play, Periphery’s flaws and compositional flourishes are minimally improved in the songwriting department. These are for the most part encapsulated in
Alpha, but still prevent
Omega from realizing its full potential. Schizophrenic and bombastic tonal shifts make for a varied and adventurous listen, but far too often are good or interesting ideas short-lived and squandered in favor of another staccato’d breakdown or synth section. A disappointing shortage of individualized standout moments could be disguised as an attempt to create a more fully realized concept album, as opposed to focusing on single hits.
Alpha shakily attempted to hold itself together balancing those qualities, while still containing enjoyable individual tracks. Interestingly, the more tormented
Omega achieves these qualities relatively successfully. A run of shorter, easily digestible (for Periphery’s standards) songs lead to the 11-minute title track epic, their most overwhelming and adventurous achievement since album closer “Racecar” from
Periphery. “Omega” is a veritable cluster*** of guitar riffs, frantic blasts, and screaming, frequently interrupted by synths and quiet instrumental breaks. Despite the overstuffed qualities, it remains the highlight of Juggernaut.
Popularity still rising, this seemed like Periphery’s potential to create something truly incredible. Juggernaut is certainly a name warranted for such a bombastic, overblown record with little in the way of self-awareness or subtlety. Technical riffing, crushing breakdowns, epic sounding choruses, and delicate synth patterns decorate the eighty minute running time. As is the case with their other outputs, a flurry of great ideas sometimes gets lost amidst the constant tempo changes and shifts in tone quality. Guitar leads and memorable riffs too quickly give way to mindless chugging and repetitive grooves that at times feel lifted straight from
Periphery I or II. Sotelo hits the notes, but his voice and vocal style too frequently sounds awkward and out of place amidst the sonic variances of blast beats, slamming, and Mansoor’s guitar wizardry and explosions of downtuned riffage. Juggernaut’s large scale concept validates it as a minimal improvement over their trademark sound, marking an equally enjoyable and bafflingly overwhelming experience.
