Review Summary: The Bauhaus Of Black Metal
"What comes forth now it is unknown to me..." The aptly fitting opening statement of
Unknown immediately introduces us to an experience genuinely distinct from its (cult classic) idiosyncratic predecessor.
Voices'
London -- a distinguished and justly lauded progressive black metal record -- explored the process of dehumanization consequent of extreme-metropolitan life, weaving (deliberately) urbane incisive narrations into its' overarching conceptual framework, unraveling the story (and sanity) of the narcissistic, romantic central figure: "The Artist". Perhaps needless to say, it was a deeply ambitious project; unashamedly eclectic and yet simultaneously a remarkably well-calculated use of archetype and style.
London was a comprehensive and aesthetically realized statement, so much so that the band was satisfied ostensibly departing (for the foreseeable future) the genre proper.
London was an excellent (bordering on avant-garde) black metal album. This is not
London. This is
Frightened, and
Frightened is
not a black metal record.
If
Akercocke's superb return record, 2017's
Renaissance in Extremis was any indication, David Gray has undergone extensive personal maturity and artistic refocusing.
Renaissance in Extremis was a markedly more subdued and reflective affair than its' lineage, featuring radically divergent themes and (formative) lyrical content, constraining the extreme elements of the band's sound (hence the thoughtful album title) to accentuate the instrumental dynamics, thus emphasizing the subtleties of its' production while (often) allowing the narrative (of self-betterment) to take center stage. This was a remarkable leap forward for a band hitherto known essentially for (unapologetically) showing off, both their instrumental prowess as well as the sheer force of their sound and (indulgent) individualistic attitudes.
Renaissance in Extremis was a qualitatively justified departure from Gray's past work, and he's wasted no time in striking while the iron is hot. Undeniably,
Frightened is yet a further divergence, both shedding
and embracing stylistic qualities to a far greater extent.
From its' very outset, it's clear that
Frightened knows precisely what it intends to be, and where it's leading the listener. Gone are the verbose character monologues of David Gray (and his unmistakably smooth cadence). The artfully twisted, cinematic melodrama of
London has given way to an altogether more focused and cohesive sound. Searing tremolos and raucous blast beats have been supplanted by chilling, resonant chords and propulsive-yet-varied lower-tempo drum patterns. The gritty, urban sampling of
London has been substituted for tense, dark-wave synths. The shrill, manic shrieks of past have been largely sublimated into tortured croons. Notably, Peter Benjamin's vocal work has developed considerably. Not only has his delivery greatly improved, but he sounds more comfortable in his vocal range. His clean vocals are substantially more consistent throughout
Frightened, and his -- far more sparingly used -- wretches are benefited, as they hit harder due to their infrequence. David Gray's drumming has rarely been so varied, and never more deliberately mid-tempo and groove oriented. Quite clearly an implicit love letter to the confluence of the band member's musical inspirations,
Frightened is, for all intents and purposes, essentially a revivalist coalescence of early 80's dark wave influences, adapted to metal-derived drumming (that doesn't remotely lean on blast beats as any crutch) recorded and mastered with contemporary equipment. Described by the group themselves as "dark pop" (an endearing overstatement, to be sure),
Frightened is tonally akin to the Bauhaus' sense of theatricality, abounding in gloomy post-punk worship. The defining moment of the album -- and the furthest removed from anything the group has ever done -- is the stunning closing ballad:
Footsteps. Peter Benjamin rises to the occasion, delivering the best vocal performance of his career. Invoking
Hyæna era
Siouxsie and the Banshees, the track is an absolute grower. Its' cascading cymbal work and rousing string arrangements tug at the heart; a ballad worthy of
The Cure,
Footsteps is far and away the most lyrically sincere this band has ever been:
"Life is an empty embrace
Painting the sky with her face
Never look into the flame
She's just a footstep away"
Voices have still given us an eccentric, sexually tense, melancholic offering, with familiar (extrapolated) lyrical themes. Psychologically, where
London dealt with the corroding strain the city (object) had upon the disintegrating individual (subject),
Frightened sees subjectivity take precedence, with a more personal, emotionally candid, introspective focus. Doubtless,
Frightened's unapologetic stylistic progressions will see its share of polarizing reception, as expectations and comparative analysis are (understandably) the bed fellows of any critic community. As fans, we can't help but draw upon our frame of reference. Thus, the question remains: will we allow our expectations (subjectivity) to rob us of our ability to experience
Frightened (the object) on its' own terms? Instead of designing an album around the fans' vision,
Voices (like many daring groups before them) have invited us to experience their own.
Frightened is not
London. That one thing is not another does not address the quality intrinsic to either. Will You allow
Voices' name being printed on the cover stop You from appraising this record in an honorable and objective manner?
Recommended tracks
Footsteps
Manipulator
Unknown
Dead Feelings
Evaporated
4/5 (4.2/5 had the Petrograph demo made the cut)
