Review Summary: Life is the price you pay
It has been an interminable wait in the years since the most recent Harm’s Way album Posthuman at the beginning of 2018. Posthuman marked a notable change in the band’s sound with its inclusion of industrial and nu-metal elements. This change was mostly well-received and the album, along with the group’s impressive and eye-catching live performances, gained the band a large amount of new fans. However, with COVID and other circumstances, there has been a longer wait between releases resulting in more hype and intrigue as to what a new Harm’s Way album would sound like. Does the album deliver after the long wait?
Silent Wolf is the first single from the album and the opener. Pulsing, screeching guitars propel the listener into the song while vocalist James Pligge powerfully screams about his disappointment and resentment towards the systems we are supposed to rely on. There is an impressive balance struck between the heaviness and atmosphere the band juggles. The songwriting on the album is at an all-time high for the band. Most sections flow well into each other and make the songs satisfying repeat listens. A strong start to the LP. It sets the stage for what most of the album will be - musically and thematically.
Denial picks up right where Silent Wolf left off. Waves and waves of relentless heaviness overpower you with just enough room to catch your breath until they pile on more. Combining that with a catchy chorus and an interesting bridge make this one of the best songs on the album. There is an abundance of skull-crushing riffs, sections, and maybe the best breakdown on the album.
Wailing guitars and a seismic bass jolt you into Hollow Cry and set the climate for the desperate delivery of Pligge’s vocals. The quivering, unsettling guitar tone is akin to something that would be on Chat Pile’s debut LP. The steady, determined bass thumping beating you down is counterbalanced with absolutely filthy guitars in the next section that make you want to stomp on skulls. On to the second single released, Devour. The fastest and shortest song on the album gets right to business. The more traditional hardcore elements that Harm’s Way has always been built on combine with a breakneck pace for a confrontational experience that still contains melody and order.
One of the more experimental tracks on the LP, Undertow features vocals from King Woman and works well as almost an interlude to bridge the two halves of the album. The song is well-crafted so you feel like you are drowning under the swirling sounds with King Woman’s vocals being the only gasp of breath available.
The feelings of nihilism, hostility, and resignation are put on full display in Heaven’s Call. Singing about the lack of hope in him and the world, Pligge flows effortlessly:
“Find a reason to take a breath
A broken promise, the hate infests
As I await my stomach torn
You're better off to be unborn”
Pligge and Harm’s Way as a whole are able to simultaneously level you with their heaviness but also sound vulnerable and honest. The heavy sections don’t overstay their welcome and the way riffs/breakdowns are teased throughout make it all the more satisfying when they finally happen.
There’s not too much to say about Cyanide other than it is a satisfying, heavy banger that features an impressive transition courtesy of drummer Chris Mills to a final, classic Harm’s Way breakdown. There is an unnerving atmosphere present throughout the album, but is perhaps best executed on Terrorizer. Thick, suffocating layers of sound pummel you while Pligge barks about needing to terrorize the enemy before they terrorize you. The industrial elements utilized on Posthuman are again employed to great effect through screeching, menacing synths with bad intentions adding variety to the soundscape of the album.
Something Pligge does that I appreciate is that he screams viciously but you can still understand most of what he is saying. While there are myriads of heavy bands with vocals that are indecipherable and still enjoyable, it is nice for an earth-shattering album to still have identifiable lyrics that you can sing along to. Sadist Guilt is a solid track and isn’t as bleak and relentless as most of the songs on the album but still matches the heavy/negative vibe of LP.
Album closer Wanderer is a fitting conclusion to the release. A melancholy, despondent guitar riff serves as the base of the song. If all of the songs before were about fighting what’s wrong with the world and oneself, this is about accepting the situation and walking into the ocean until you can’t swim back. Pligge takes a backseat for this track and another band member provides the lead vocals, cleanly singing about wandering beyond the sunset. It is emotional and moving without being sappy.
The album has a cohesive sound without turning into something too predictable or static. A little more experimentation and risk-taking would be welcomed, but the surprises and chances the band take here are well-executed and hold up upon repeated listens. The lean runtime and lack of filler are appreciated and lead to very few uninteresting moments. Every member of the band delivers a great performance and link together in the right ways to make each song an intriguing and enjoyable listen. Founding members Pligge, Mills, and Bo Lueders continue to forge into new ground musically with much success. Newcomers Nick Gauthier and Casey Soyk (who have been around since the Posthuman era) only serve to help press on into interesting and novel directions. Common Suffering is a formidable addition to the Harm’s Way catalog and one that should be given the time and attention it deserves. Finally, do yourself a favor and listen to the album while you go for a walk/run, workout etc. The music is great and only gets better when you move to it.
Favorite Songs: Silent Wolf, Denial, Hollow Cry, Devour, Heaven’s Call, Terrorizer
