I don’t know how many of you care as deeply about Badly Drawn Boy’s Mercury Prize-winning 2000 debut album The Hour Of Bewilderbeast as I do, but today is a great day for anyone in that club. Fresh off the release of their self-titled debut LP, the Manchester post-rock trio Shaking Hand have covered “The…
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Have you ever been in a situation where someone tells you the phrase “you hate me”? Man, that’s the fucking worst. What are you going to say? You have to be like, “Um, no I don’t,” even if you do actually hate that person. And if you don’t hate them, your denial is still going…
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They’re expected in the studio this spring.
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Anytime I hear a phrase like “cinematic trope” in a song’s opening line, I sit up and pay attention. That’s what LA-based singer-songwriter Joanna Samuels does on her new single “Two People, The Moon”: “You know how there’s a cinematic trope/ About two people and the moon?/ She’s looking up at it the same time…
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Next month we’ll all get to hear Run, Run Pure Beauty, Luxembourg-based Jana Bahrich’s latest album as Francis Of Delirium. She’s already shared “Little Black Dress” and “It’s A Beautiful Life,” and today she’s back with “Requiem For A Dying Day.” The song’s a mournful ballad that reminds me of Cat Power or the ballads…
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Reviewed by Sam Jones
Ah yes, Swedish death metal. If there’s ever one nation to boast a great plethora and variety in death metal, its Sweden. Whether its chunky, racing, buzzsaw-toned, volatile or simply by the numbers, Sweden has graced us with scores of quality acts with Xorsist being no exception. Born out of Stockholm in 2020, the band rapidly unleashed their first self-titled Single a year later and soon reinforced that eponymous release with their debut studio album, 2022’s Deadly Possession. Then you had their second record, At The Somber Steps Of Eternity, which I also reviewed prior to release, citing the band’s Dismember influence and shredding buzzsaw tone; this record saw the band’s first signing to a label, in this instance Prosthetic Records. But with a new album finally en route, a change in guitarist, altered logo and a signing on with Hammerheart Records, could Aberrations be a new step for the band? Upon the surface its difficult to discern but come April 24th everyone shall have an answer to that question.
From the outset Xorsist demonstrate they’re not here to waste your time, as if the last three years was merely an inconvenience preventing them from tearing your head off. With rapturous feedback and the foretelling of unrepentant slaughter the band kick off with all cylinders firing and there’s little suggesting their attack shall, for any moment, begin subsiding. Curiously the buzzsaw element I found prevalent on their last record has been replaced with something much thicker and indicative of blunt-force impact. There are hints towards a buzzsaw tone in the background but it’s faint albeit now serving to amplify Xorsist’s ravenous momentum, for the band have leaned towards a more despicable, blood-crazed approach with their songwriting.
The resulting alteration in guitar tone, impacting how the record feels, shows also a different approach in production. Aberrations feels much bigger than the band’s previous releases, everything seems to have been juiced up several times over. Their rampant performance, their disdain towards respite theirs or your own, consumes the record’s interior size as the band fill every absent space and nook veritable for breathing with gardens concrete; as you’re thrown wall to wall and back bones are shattered and necks fraught with whiplash. While Xorsist have been a force in Swedish death metal for a few years now, I think they’ve truly come into their own with this release.
I love how natural the frantic energy feels off the drumming. It doesn’t feel like the drums simply set the pace for the band, this is how they have to be on such a record for naught else would do. While there is necessary variation in the drumming, you really feel that injection of heightened animalism as blast beats are brought to the fray sending the band from primal vigour into pure and rabid malice. Furthermore these drums aren’t taut, one can hear the bounce upon which the drum sticks conjure when strikes occur. It helps impart that naturalised drumming sound aiding them rise above the din of vocals and riffs so there’s a great chance the audience won’t miss a thing during their time here.
While the band establish themselves as a more bludgeoning, bone breaking act now I appreciate their insistence on possessing a slew of tracks where their individual lengths are genuinely varied. You’ll have some five and six minute pieces before a single minute piece coms along, succeeded by something longer and then something shorter. It’s why Aberrations possesses this ease of accessibility, not because it’s easy to listen to knowing the virulence of their songwriting, but because there’s no point where one needs to think about listening to them perform. Like breathing you’ll enjoy Aberrations for all that’s waiting for you without recognising you’re actively doing so. It gives you leniency knowing you can return to Aberrations with the fullest confidence it rewards repeat visits and perhaps they’ll be something else picked up that was missed last time.
In conclusion, Aberrations finds Xorsist in perhaps the best position of their career, with a changed approach to death metal baring the hallmarks of their nation’s influences whilst pushing forth their own identity with a firmer hand. I think there’s more to enjoy here too, not that they haven’t been entertaining beforehand but they seem far more assured of themselves now and a lot more confident in the songwriting they’re championing. It’s harder hitting and yet manages to weigh out that added strength with track variations that feel natural to the band’s performance. It’s not the same four and five minute pieces repeated ten times over, there’s legitimate diversity in what Xorsist have on display. If this is Xorsist’s road I’ll happily join them on it.
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(written by Islander) For those of us who were electrified and bewitched by Cnoc An Tursa’s first two albums, The Giants of Auld (2013) and The Forty Five (2017), the wait for something more from these Scots has brought its fair share of woe, because the wait has been so long. But even though it’s […]
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