As described when initially released, Russell shows an impeccable amount of vocal variation, both across ‘ Terminal‘ itself, but also with consideration to his predominant sound across the band’s catalogue alongside the clean-vocal engine. We now reach ‘ Terminal / (liminal) that Silent Planet released as a double-music video. The track culminates into an ambient medley that doesn’t complete cease the uncleans, allowing the emotion to hold, all the way until a bassy medley of a crescendo at the end. Russell blisters an aggressive vocal effort on the track, but welcomes a duet of clean vocal harmonies from Thomas Freckleton and Mitchell Stark. The band dive into ‘ Alive, as a Housefire‘ which may relate to the 2018 fires in Redding, California, as Russell describes to me in an upcoming interview ( watch this space). Emotive lyrics are the focus on the track, with the rest of the band drawing into the visceral intensity. Those electro-mechanical effects returns with the band’s ambient style as they deliver a track reminiscent of some of their recent work on ‘ When The End Began’ and ‘Everything Was Sound’. Whilst the pace shifts instrumentally, the frontman takes no rest. ‘ The Sound of Sleep’ takes us to around the mid-way point of Iridescent. Russell chases his deepest growl and takes the band into an inescapable breakdown that simply describes idyllic metalcore. Packed with djent-grooves and immense production, the band strip back to their gnarly roots. The band dial it up ten-fold and Russell is leading the pack after a few tracks of clean vocal centricity. It’s a heavy one, folks so prepare yourselves. It’s great to hear ‘Panopticon’ deeply embedded in the record, and is already a nostalgic recollection to its standalone release when those shivers arrived with the excitement of new music from Silent Planet. Notably, the three-quarter mark shows the band cease to some basics and cleans before spectacularly unleashing what’s under the hood once again with their signature ambient metalcore style. The track shows the band shift between varying rhythms and moods with Russell in complete focus with his relentless unclean vocal effort. It’s not just a generic metalcore album (not to allude to their others being boiled down to that by any means), but the obvious experimental output is abundantly clear this early on in the record. This perpetuating mechanical element cascades through the track, holding that progressive tone that really shapes the track.Īs we dive into ‘ Second Sun‘ it becomes clear that this is a special record for Silent Planet. In contrast to the last track, it’s refreshing to hear the focal point of clean vocals on this track, albeit without completely eliminating Russell’s immense verses of blistering heavy hell.
We’ve heard ‘ Trilogy‘ before and it hits with those now-familiar prog-metalcore Veil of Maya vibes. It’s breakdown central immediately from this opening track, where the band alternate between menacing carnage and rhythmic balance. With dramatic riffs, thundering drums and a tight ‘ blegh’ from Russell, we know we’re getting into the thick of it right away. So, let’s get into it with an approach where the review can be followed along, and experienced track-by-track.Īfter some ominous sounds intertwined with urban sound effects on intro track ‘ 1-1-2‘ Californian band Silent Planet dive straight into ‘ Translate the Night’ which has front-man Garrett Russell immediately belch his emotive unclean vocals.
#Leaving on a mayday album cover series
The 12-track record covers a series of themes important to the band, and sees the outfit experiment into unchartered territory with their fourth studio album. Silent Planet have been marking their name in the metalcore scene over the past few years, and they’re just about to drop their biggest record to date, Iridescent.
Thomas Freckleton // Bass, Keyboards, Clean Vocals Silent Planet – Iridescent Released: November 12, 2021
0 kommentar(er)
