Reviews

Making a comeback album is always going to be tough - but doing it 32 years after your last one adds extra layers of difficulty. Not only is the scrutiny intensified, but the 'classic era' of a band is even more revered the farther back in the past it is. In a time where reunion albums are turning up everywhere Coroner has shown that old dogs don't need to learn new tricks - they merely have to modernise their old ones. Starting with the moody instrumental intro 'Oxymoron', the track sounds like the band breathing new life into itself. 'Consequence' blasts into action, and the pristine production is immediately apparent. Every note is clean and clear, and the sound envelops. Within moments the bass drums are pummelling, and the vocals of Ron Broder cut through. It is still that same voice from the 80s, but it is older and weatherworn - like the years away have been hard. The chorus introduces unexpected electronic elements before heading into a lengthy subtle instrumental passage, and it is clear the band has not forgone the progressive elements they were always known for. It even leaves room for Tommy Vetterli to rip through a classic metal solo. Overall it is an amazing album opener that shows elements of everything they were once known for, and begs the question - Can the rest of the album match this level of perfection? Spoiler alert: 100%. 'Sacrificial Lamb' slows the album down, and instead of speeding along it lumbers. It is not without charm through, and before the vocals even start the perfect finessing skills of the band is on display. It has some great heavy moments and is perfectly placed. 'Crisium Bound' is pure Coroner, showcasing their odd timing and song structures, hallmarks they were always known for. The syncopation in the verses is particularly dazzling, and the song builds to a big finish. 'Symmetry', the album's centrepiece is beyond mere thrash metal. It is a masterclass in the metal riff, full of complex, but still hooky patterns. The second half of the album reveals itself a little slower than the first, as it is full of complexity that takes a few listens. The down-key changes in 'Transparent Eye' are unfathomable at first, sounding like a studio effect - but make no mistake, they are no tricks here. 'Renewal' is the fastest and heaviest song here, but Coroner have resisted the urge to creep into blast beats or similar, sticking to a distinctly vintage thrash style throughout. 'Prolonging' is the shortest track on the album, but closes it well - carefully placing an organ solo as the hero of the track. Yes, you did read that correctly. An organ solo. It is a perfect and unexpected end to an album where the songs are complex, but still somehow written in a way they makes them easy to digest and appreciate. Whilst repeat spins reveal more detail, you are hooked on Dissonance Theory from the first listen - in a way old school thrash once did. Coroner have not only captured the style perfectly, but also the spirit, and sometimes that is the most important part.

Not sure why, but this long-lost band for me popped into my head to review the other day, not having listened to it for a long time. In keeping with my Spotlight exercise on some so-called post-metal bands that I have really enjoyed listening to in the early 2000s. A period post thrash metal, grunge, nu-metal etc, it was refreshing to discover new bands and sounds. To date I have written reviews on ISIS, Neurosis and Pelican. Now we come to the final in the series - YOB, in particular focusing on 2005 effort The Unreal Never Lived. For me, out of the four bands, the one I have enjoyed the most, although ISIS is close for different reasons. Unreal ended up being their 4th release as a band in 4 years. Yes, the lads had lot of music in the bank. Unreal delivers the standard 50 plus minute release, via 4 songs, so does take some investment to let the songs grow on you. But give it time and you will see how smart the band is with a sound that is unique to them, yet is a little typical to the general at the time. The music is gritty, mid-paced anger, but in a strange way upbeat in parts, at times, particularly in later tracks leading into a drone of music that you either enjoy for what it is, or you allow it to disturb you. Hey, there are only 4 tracks, so I'll review each one. 'Quantum Mystic' starts with a burst of thunder sound, allowing that to drop into the background, before a swarm of sound begins, just waiting to be interrupted. And it sure is, via the gritty guitar interrupting a quiet tempo for a while before the guitar takes over. Not much vocal in this song, but it is not needed. Listening to the rhythm and tempo changes through the track feed the interest enough. 'Grasping Air' has a really cool rhythm to it. Slow paced complimented buy growling, desperate vocals. Very repetitive. However, similar in ways, they have a unique knack of changing things up without notice, which I really like. 'Kosmos' is track 3 and as expected you will simply delve into another flavour of music the band has to offer. All premised on a similar guitar sound, which take priority for the track, with some anguishing speckled in the track when necessary. I'll admit, this one is not as attractive as it does lack any change in tempo as they had invested time in for the previous tracks. Now for the 'The Mental Tyrant'. A 21 minute track which you do need to buckle yourself in for an uninterrupted listen. The track almost seems like it is trying to defeat you with the dirge sound, pummeling you into submission, giving the immersed listener little chance to come up for air. It really is a journey of bleak. Eventually you will awaken to a more aggressive track, essentially doing a 180, returning to their traditional sound delivered for most of the album. In summary, yes this release is not for everyone, however I continue to be attracted by the oddity of it. By that I mean not something you can't pigeon hole, rather something at the commencement drags you in, demands your attention, and commences the process of gaining your complete attention for the next 50 minutes.