Review Summary: Are we there yet?
To see where we are now, we have to admit that
Dark Future was pretty much all over the place. That sounds rough right, especially considering the dynamic and varied soundscapes that American-based Entheos were plastering all over their progressively deathly, occasionally jazzy canvas.
Dark Future became a turning point for the now two piece, tentatively culling away all but vocal mastermind, Chaney Crabb and drummer turned majority songwriter, Navene Koperweis—Entheos would refine their sound into a digestible tech-death that’s thankfully less reliant on electronica or synthscapes while incorporating bigger atmospheric swings. The result?
Time Will Take Us All. Circling back to the line-up, um…change—it’s still worth mentioning that this two-piece still manages to contain Entheos’...ex bassist, Evan Brewer because “Evan’s bass playing is a big part of what makes Entheos sound like Entheos, and it was important to us to have him on the record.” Not sure why the guy is on the outer, but we’re not here to discuss revolving doors. Instead, we’ll discuss just why
Time Will Take Us All is the band’s betterest album to date.
That’s mostly because
Time Will Take Us All is
deep, with context and relatability. When writing lyrics, vocalist Chaney Crabb dove deep into her own psyche of the last few years. Having suffered through a scooter accident in which she herself had to go through extensive stitching and a three month break from all vocals (which makes sense considering the embed of gravel, severed chin, split nasal septum, bent nose…), Crabb found herself mentally conflicted; happy to be around friends and family, thankful for the support and yet, torn and depressed with the idea of possibly not singing (or screaming) ever again. This journey, and the road to recovery would symbolise the beginnings of new lyrics and later transform into “Absolute Zero”, “In Purgatory”, “Oblivion” and later, the title track. With this in mind, the album’s trajectory became more understandable, personable and less sci-fi. That’s something the band’s fans can get behind.
“Absolute Zero” itself opens the new record with a romp. Fierce growls punch through the opening moments while lurching riffs bury themselves quickly underneath. Crabb’s mid-ranged low growls contrast with almost blackened shrieks. An obvious dichotomy of differing styles, all heavy. Melodic licks pop up and around a cement mixer of riffs while Brewer’s bass rolls clearly through the mix. “In Purgatory” follows in a similar, seamless vein, at times taking on an Archspire-lite approach. Crabb spits out growls with vehemence, rapid-fire and downright unapologetic. Entheos take a stereotype of typical, almost generic death metal and add subtle nuance to it. That genericism forgotten,
Time Will Take Us All well on the way to becoming unforgettable. The music is undeniably heavy, brimming with technicality at every turning point. Koperweis’ main calling might be behind the kit, but in writing the rest of the record’s instrumental efforts it’s worth asking the guy if he’s a wizard. There’s a sense of melody here and whether it’s snaking under a multitude of wholesome riffs, a fiery solo or even Crabb’s occasional use of sung, clean vocals—each component has its place in building the new record’s atmosphere. The more ominous climes that introduce “Oblivion” and the coinciding sprawling bass lines contain a sense of contrast with the rest of the record’s more tumultuous pace. The tempo also winds back, more akin with a brooding plod of a death doom track. Crabb’s deeper growls almost shout before turning filthy but it’s the guitar solo and the warble of feedback that closes the song as the eeriest note possible. Atmosphere building brilliantly for the album’s latter half.
Despite
Time Will Take Us All being so chock full of highlights, especially within the frame of its opening few tracks, “The Sinking Sun” (a personal favourite) and the closing, title track really shines here. In regard to the former of those two, “The Sinking Sun” riffs itself into existence. There’s not a lot going on here that would tip the scale beyond the climes to which the rest of the record has offered thus far; however, the track’s middle section just breaks things down until they hit
just right. Crabb’s deep growls envelope the song's riff bombardment, accenting each section until a headbanging groove takes over. Koperweis, it seems, knows his way around the band’s string sections. The snare absolutely, delightfully booms while little cymbal fills gracefully dance above it. The light trilling ting of the ride is particularly wholesome. Crabb’s snarl evenly brings it all together, further contrasting her vocal power and awareness, sometimes letting the music be exactly that. However, it’s the closing melody here that shows just how cohesive Entheos’ songwriting has become—a progressive call to the ethereal closer. Crabb’s cleans are well-placed here more than anywhere else. Mellifluous melodies battle once again with the more obvious death metal influences, while Brewer’s bass lines continue to swell with the rising atmosphere. The title track gives us one more big swell before disappearing into the void.
Time Will Take Us All is an interesting take on streamlining ideas until they matter without losing a core explorative identity. It’s not as ‘out there’ as the group’s (now duo?) previous efforts and can be received all the better for it. Entheos have come a long way since their debut,
The Infinite Nothing. Despite the growth from record to record, it could be said that this newfound sound direction isn’t enough of a shift to convert the naysayers. The band’s foundation of style is still a cornerstone of what they offer circa 2023. Moving forward I guess it’s less of a matter
where time will take us all. I’m more interested in hearing how we’ll get there.
