Albums of the Week: 26/03/19 (Venom Prison, Angel Du$t, La Dispute)

Venom Prison – Samsara

8.5/10

Best Tracks: Uterine Industrialisation, Asura’s Realm, Implementing the Metaphysics of Morals

FFO: Gatecreeper, The Black Dahlia Murder, Employed To Serve

Off the back of their brutal 2016 debut LP, Animus, Venom Prison became one of the most talked-about bands in extreme music, touring with bands like Trivium, Suicide Silence, Decapitated, and Dying Fetus, among others. The anticipation for their follow-up has been palpable – and goddamn, does it deliver.

Sticking on Samsara at full volume will have you looking like one of the Nazis at the end of ‘Raiders of the Lost Ark’. It’s hot-blooded, thick-textured, furious death metal, so densely produced it can be a struggle at times to pin down each individual element. Larissa Stupar’s brilliantly savage (and impressively versatile) vocal performance cuts through the mix like a hot chainsaw through butter. Her unflinchingly graphic lyrics - which vent rightful rage at a multitude of political and social injustices - ensure she effortlessly takes centre stage on the record, and cements her as one of the most significant voices in heavy music today.

Of course, that’s not to discredit the other musicians in the slightest. The complexities of the instrumentation on Samsara can be difficult to grasp upon first listen, but buried under the ocean of brutality are some staggering riffs and outstanding rhythmic passages. The influence from the world of hardcore is another factor that makes this album as thrilling as it is; it feels like Venom Prison are to death metal what Power Trip are to thrash. From the Jesus Piece-style breakdown on Uterine Industrialisation to the brilliant (though fleeting) two-step passage on Asura’s Realm, the band would fit just as comfortably on a bill alongside Code Orange as they would Cannibal Corpse.

At this rate, Venom Prison are undoubtedly set to become the most exciting act in death metal this side of the millennium, and Samsara only serves to legitimise that claim. For that reason, it’s my album of the week.

Angel Du$t – Pretty Buff

7.5/10

Best Tracks: On My Way, Push, Want It All

FFO: Culture Abuse, The Beach Boys, Turnstile

I can’t lie; the first time I listened to Pretty Buff, I really didn’t like it. It was such a jarring change from the sound of Angel Du$t’s previous work that I almost had no idea what to think about it, other than, “Oh, this doesn’t sound like it’s for me”. Turns out, of course, that I was an idiot. I’m now at least seven or eight listens in, and I can tell it’s only gonna grow on me more.

Pretty Buff is really in a genre of it’s own, but the two primary ingredients thrown in the cauldron are the melodic choruses and upbeat songwriting of power-pop, and the bounce and energy of a hardcore band like Turnstile. The latter isn’t surprising, considering drummer Daniel Fang and vocalist Justice Tripp are (first and foremost) members of Turnstile and Trapped Under Ice, respectively. But the heavy use of acoustic guitar, the pure pop lyrics, and the occasional sax solo are all elements which will initially surprise (and eventually delight) you if you’re at all familiar with the band’s previous albums. It all works amazingly well together, if you really give it a chance.

Far be it from Angel Du$t to release the album of the summer in mid-March.  Taking up the mantle that Culture Abuse laid claim to with Bay Dream last year, Pretty Buff inhabits the same realm of bright chords, sticky hooks, and unapologetic fun, but switches up the slacker vibe for a faster and more upbeat pace. Tracks such as On My Way and Bang My Drum, for their unavoidable sunniness,  are guaranteed to make you smile. Admittedly, there are a couple songs on here which I care less for, and they usually come in the form of more saccharine cuts like Light Blue and Park, which (whilst enjoyable) lack the energy of the rest of the record, and ultimately end up bringing it down a little.

I really feel like I’m reviewing this album pre-emptively, even after living with it for a week and a half. It continues to grow on me, and I’m sure I’ll be sticking it on throughout the summer whenever I wake up and see the sun peeking through my curtains.

La Dispute – Panorama

8/10

Best Tracks: FULTON STREET I, ANXIETY PANORAMA, THERE YOU ARE (HIDING PLACE)

FFO: Touché Amoré, Listener, Citizen

La Dispute have always been a band I’ve appreciated from afar. Wildlife and Somewhere at the Bottom of the River… are fantastic albums, and (after seeing it live last year) I now view King Park, in particular, as one of the most affecting songs ever written. Beyond that, though, my interest in the band has never really developed further, primarily because their style of post-hardcore and emo hasn’t ever been my go-to.

On Panorama, La Dispute’s focus on storytelling within their songwriting is still their primary draw. The lyricism is poignant, heartbreaking, and beautiful all at once, and it’s made all the more powerful by Jordan Dreyer’s unique vocal stylings. The man makes every word sound heavy with meaning, and when he transitions from near-whispered spoken word into a frantic yell on songs like FULTON STREET I and RHODONITE AND GRIEF, it’s hard not to get goosebumps. The overarching theme of the record concerns tragedy, loss, and emotional process that comes with it. It goes into specific detail regarding stories based on real-life incidents in an utterly poetic manner without being gratuitous in the slightest.

The instrumentation that backs the stories is tight all-round, as well, especially in tandem with another five-star production job from Will Yip. The guitars are drenched in reverb and delay effects which layer on top of each other in a haze, making any lead section that cuts through all the more impactful. The understated use of horns, tambourines, and other unexpected instrumental elements are all done excellently. There are, though, one or two tracks which, to me, seem a little meandering, and thus lack the emotional gut-punch of some of the others. IN NORTHERN MICHIGAN, for example, aims for a progressive and subtly haunting atmosphere, but ends up feeling like it never really gets off the ground. That said, these songs are few and far between.

Panorama is a worthy addition to La Dispute’s back-catalogue, and features the same level of effective storytelling which makes their classic records… well, classic. It's another one I predict will reward even more on repeat listens, and I recommend it whether or not you think this genre is for you. If not, then at least watch their video for ROSE QUARTZ/FULTON STREET I (linked below). It’s a legitimate work of art, and an early contender for video of the year.