Review Summary: Sludge-core is back on the menu.
Anna Sage relish in their existence on the edge of a knife. The debut effort by the French metalcore collective spends its 40-minute duration flirting with the concept of plunging, only hanging onto a thread of sanity by the fingertips. It’s an exercise in crafting anxiety; each attack from the foreboding instrumentals and every strained scream embodies the sense at its most threatening, portraying the mounting delirium that a quiet panic can concoct over time. When staged under a blanket of static, its foreboding aura casting a dark cloud over proceedings, the result is a palpable atmosphere of fretfulness. There’s a clear expectation set when the staccato riffing and caustic timbres of opener “The Holy Mice” enters the fray: controlled pandemonium is set to reign, stripped down to the basics—vicious vocals, serpentine riffs, thunderous drums, and a menacing bass. In comparison to contemporary metalcore acts that have begun to incorporate electronic elements, nu-metal influences, industrial aspects, and shoegaze,
Anna Sage indeed possess few bells and whistles. Fair criticism for those craving extra intrigue, but all too frequently do contemporary metalcore acts dazzle with flashing genre tags only to haphazardly stitch them together, leaving the listener scratching their head and wondering what Deftones is doing around these parts. Anna Sage’s counter-offer is grounded in their ability to create catchy and simultaneously imposing arrangements with robust internal logic. Whether assailing the listener with complex guitar passages drenched in dissonance or gradual, crushing forays, the work constructed here feels entirely purposeful. From front to back, this initial entry into the scene is an engrossing experience, and one that immediately leaves a fantastic first impression.
Part of what makes
Anna Sage divert from the overabundance of -core discs in the world is their employment of sludge metal variables. It’s a sound that craves uncompromising heaviness through any means necessary, be it a climactic breakdown or a gradual, crushing foray that accrues momentum off of a strong central riff. Consider the evolution of “Lost in a Frame” as it bombards with blast beats and a dark guitar passage, then swiftly deconstructs itself through an eruption of tremolos and twisting instrumentals. Using a scratchy melody and pounding percussion for a foundation, the song alters course as the bass pulses underneath, adding considerable weight as the tempo is dragged to the depths. Once the composition explodes, enveloping the audience with haunting screams and an eerie synth line, the result is immensely satisfying. The progression of “Walls of Hate” toys with dynamics in a similar manner, swaying back and forth between discordant sludge grooves and violent outbursts of metalcore insanity. Both tracks demonstrate Anna Sage’s knack for a compelling climax; there is always a memorable conclusion built into a tune that naturally branches off of what precedes it. Once “… The Serpents” collapses in static, falling apart under the assault of a menacing breakdown, everything seems to fall into place—every cacophonous note, every yell breaking through the speakers, every cymbal crash. The songwriting’s precision is admirable, with transitions clearly executed and styles traversed seamlessly, yet never so pristine as to be viewed as too cold an calculated.
When departing from the more adventurous numbers on the LP, Anna Sage continue to amaze with their consistency. A tune such as “The Deadly Mess of a Dying Head” has no inclinations for the grandiose, instead aiming straight for the jugular as one of the more aggressive cuts on the album. It’s a two-minute blow to the skull, accelerating through growling Converge-esque strings and orchestrating a captivating crescendo of abrasive textures. The weaving riffs and strong melodies of “Hostile Cage” transform it into an incredibly addicting number, and when it manages to hit a second gear in its latter half, the pounding instrumentation is glorious to behold. Regardless of their tactics in a given tune, it’s undeniable that
Anna Sage is an immensely enjoyable product of a sludge-metalcore revival that has silently invaded the mainstream. In more patient sections that rely heavily on the rhythm section, the infectious outcome is not far removed from the calculated heaviness of Yashira or the unyielding onslaught of Minors. It may not be as spectacularly unique as hoped for, but the French crew undeniably press all the right buttons on their debut. If held under scrutiny, the tracks created for the LP maintain their laudable structuring prowess; there’s an evident journey to reach separate peaks, which altogether crafts a much more engaging and rewarding experience. All involved members turn in a notable performance—the diverse guitar playing and distinct harsh vocals take prominent roles—though their interconnection as a unit is the true advantage here. There is no overindulgence on singing portions, dizzying technical aerobics, or half-hearted stabs at wayward genres. All is in service to a greater whole, allowing
Anna Sage to thrive as a complete package of addicting metalcore rockers. It’s another example of the greatness of the underground; this sort of unrelenting intensity is always a treat to hear.
