Review Summary: KOG sound re-energized and ready to devastate on this release, that’s for sure, even if it’s not obnoxiously apparent.
Frankly, Kingdom of Giants haven’t received the attention that they deserve. The five-piece metalcore/hardcore hybrid from the West Coast is relatively obscure, despite the fact that they’ve released two albums and an EP. It would indeed be a shame for the group to fade into the sea of mediocre crap that other bands are more than content to thrive in, because it’s blatantly obvious that Kingdom of Giants refuse to be ignored and will be heard. This resilience literally dripped off their last full length and was pervasive and infective, a pure “soundtrack to a revolution.” The album didn’t receive much recognition, and it was polarizing by those who heard it: either listeners loved the project, or detested the very idea of another metalcore band. Those who loved it were hooked on a cliffhanger of an album, and had an intense desire for a follow-up. Thankfully, the band granted the request, and listeners received
Ground Culture. With the replacement of a guitarist, how does Culture stack up against
Every Wave of Sound? Incredibly.
Remember those feelings of revolution and angst that churned within you throughout the duration of
Every Wave of Sound? Remember finishing the album and being ready to crush your demons and defeat your most formidable fear? Now, amplify that feeling. Screw that, inject it with caffeine and steroids, then down two or three Monsters. That’s the entire ambiance of
Ground Culture. It’s a whole other machine from the previous record, a whole other experiment in the dark, rebellious niches of your mind. Vocalist Dana Willax still has the ability to convict you of your worst demons with his threatening, harsh screams, yet comfort you with lighter screams and trusting cleans. He still isn’t fully original, no, but the scare-the-crap-out-of-you delivery won’t permit consideration of that minor detraction. As for the new guitarist, his presence doesn’t add a whole lot to the band’s already considerable sound, but there are some newer riffs thrown in here and there that make for a good formula of variety. Yes, the band does veer into chugging a little too comfortably at times, but not to the point of other bands of the genre. As for the rhythm section of the group, both are still able to proficiently carry the band’s sound and even some of the breakdowns. KOG sound re-energized and ready to devastate on this release, that’s for sure, even if it’s not obnoxiously apparent.
In comparison to “My Compromise”, the opener from the last record, “Lion’s Mouth” is the prime choice. Whereas “My Compromise” turned into one, slow-burning chugfest/breakdown, “Lion’s Mouth” is a fast-paced, short burn that devastates the listener just as fast as the hasty retreat of a tornado. There’s some strong guitar leads and riffs, as well as impassioned screams that sound even harsher this time around, and an overall harsher sound as well. “Eternal Burn” has clever, in-your-face lyrics, breakneck riffs and drums, and stunning leads that make for a worthy-follow up to “Lion’s Mouth.” The chorus contains an especially strong, gritty clean vocal performance and is practically carried by both Dana and the drummer. “Endure” features breakneck drums, strong cleans, and great vocal interplay between Willax and guest vocalist Ricky Armenillo (of This Or The Apocalypse) and sounds similar to “Obstacles” and “In Focus” from EWOS. “Virtue” is in the vein of Being As An Ocean, with its spoken word buildup and inspirational lyrics, while the title track is one of the strongest in the band’s discography. Those are just a few of the stand-outs on this already prodigious project.
Dana still sounds proficient as ever, so no problems in the vocal department. Also, the new guitarist does actually stand out on a track like “Eternal Burn”, so his slight addition to the group is much appreciated. Yes, the men of the group utilize breakdowns, but they are fun and mosh-worthy, rather than mundane and numbing. They still manage to craft well-thought lyrics without relying too much on false angst or swearing, a refreshing change of pace from normal groups of the genre. Despite a couple filler tracks, there really is nothing to complain about.
Lyrically, EWOS are still wonderfully strong and then some. “Virtue” deals with encouraging those who feel left down, while “The Silence Mill” and “Lion’s Mouth” decry injustice, as does “Ground Culture”. “Eternal Burn” is strikingly personal, and it decries a harsh religious official who uses scare tactics to get the message across. The song also contains the clever line “no harm, no foul, no guilt, no conscience”, putting a thought-provoking spin on an oft-debated on topic.
Kingdom of Giants dodged the sophomore slump bullet for sure, instead heavily improving upon the minor flaws found upon
Every Wave of Sound. If EWOS didn’t convert you to a KOG fan, than GC sure will, so don’t skip out on this. First buy
Ground Culture, then come back for
Every Wave of Sound.
