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Suicide Silence - Suicide Silence

  • Published in Albums

Suicide Silence continue their attempt to turn deathcore into an arena rock staple with their self-titled album. It’s their second LP since former singer Mitch Lucker died in a motorbike accident. His successor, Hernan “Eddie” Hermida has proven a popular choice with fans and critics alike. The versatile vocalist made an impact with 2015’s You Can’t Stop Me album and last year with the Sacred Words EP. The title track was, and is, a song worthy of mass singalongs. The experimental music and infectious chorus gave an indication of the direction SS would take with this album.

The commercial success and crossover appeal of Bring Me The Horizon have been noted, and the Californians may soon follow them into mainstream acceptability. Whether Hermida will be knocking over Coldplay’s table at next year’s award ceremonies remains to be seen, but Suicide Silence is a broad ranging record. A lack of consideration for what’s expected of them permeates this record. SS subvert standard metal tropes at every turn. Hermida's ability to switch from a guttural gurgling growl to black metal screeching, to a hard rock roar all in quick succession - coupled with the inventiveness of the music - make this a compelling listen.

Significantly, SS sound like they are enjoying themselves. Opening track ‘Doris’ starts in a deliberately stuttering fashion. The downtuned instruments play with precision but allow gaps to form. A Faith No More influenced chorus gives way to rollicking riffing and a lethal dose of phaser. ‘Silence’ has a slow off-kilter introduction; hammer-ons in the background build tension over Dan Kenny’s flapping bass strings.

‘Listen’ had a post-thrash feel. The heavily distorted guitar clipping in the intro leads to a chugging Prong-style riff and an explosive solo. Hermida’s vocal range expands to a smooth rock croon for ‘Dying In A Red Room’. Again Mike Patton comes to mind as the slow crescendo of the guitars rolls and submerges the morbid lyric. ‘Hold Me Up, Hold Me Down’ is a bouncy, headbanging nu-metal influenced number with some desperate cries from Hermida adding to the atmosphere.

It is remarkable that Suicide Silence is both solidly commercial in its execution and wildly, consistently experimental. It is a record with two distinct sides. The first half of the album is deathcore infused with other rock subgenres, while the second is much lighter, with little reference to the extreme end of the spectrum. While the guitar work is still innovative and sometimes surprising, Hermida sticks to mainstream singing, rarely veering further than Linkin Park territory.

There is a brief bout of screaming at the death of ‘The Zero’ before the acoustic guitars of ballad‘Conformity’. The heft returns for closer ‘Don’t Be Careful You Might Hurt Yourself’ and confirms that Suicide Silence have got the balance just right. The heavy and the light are present here in just the right proportion; this is emphasised as whistles, laughter and a single bell toll sign off the album.

If you think deathcore bands are sell-outs then this album won’t allay your fears, but if you yearn for the days when heavy bands were considered another branch of mainstream rock, then Suicide Silence is a major step in the right direction. I'll take this openness and breadth of songwriting over a hundred other bands giving us more of the same in 2017. This is probably not the album that will bring extreme metal into the public consciousness, but it may prove to be an important milestone en route. Suicide Silence have over 4 million Facebook fans and with this album they should keep most of them satisfied while reaching a new audience. They could yet become the biggest metal band on the planet. Don't fuck it up, guys!

Suicide Silence is available via Amazon.


Ghost Bath Return To UK

  • Published in News


Ever wondered what a post-rock / black metal band would sound like? Well, wonder no longer! After making their UK live debut main stage at Bloodstock Festival last summer, depressive black metal merchants Ghost Bath, have confirmed they will return to the UK and also visit Ireland this May with Swedish metallers Katatonia. Frontman Nameless commented: "We had a blast in the UK last year and have been itching to return since. It will be great to play for you all and show off some brand new material."

Ghost Bath began in October of 2013 with the release of their self-titled EP on Solitude Productions (China). This was followed by their debut LP, Funeral, which was released on Pest Productions (China) in June of 2014. For much of their early career, they gave the impression that they were Chinese, which would have been deadly, but it turns out they’re from North Dakota. Whatever their origins, they make very interesting music.

Moonlover, their latest LP was released originally on Northern Silence Productions (Germany) and then re-released with a bonus track through Nuclear Blast Entertainment. The album was produced by Josh Schroeder and Nameless. Ghost Bath have just finished the recording of their upcoming new album with producer Josh Schroeder again at the helm. A late spring 2017 release is tentatively expected via Nuclear Blast.

Confirmed tour dates are as follows. Tickets on sale now and available via the links below:

Katatonia w/ Ghost Bath

7th May – Leeds – The Brudenell Social Club

8th May – Bristol – The Marble Factory

9th May – Wolverhampton – Slade Rooms

10th May – Southampton – Engine Rooms

11th May – Manchester – Sound Control

12th May – Glasgow – Garage

13th May – Belfast – Limelight 2

14th May – Dublin – Academy

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