It’s been thirteen years since Misha Mansoor and his tech metal buddies burst onto the scene and reinvented everything we knew about more progressive styles of metal, but now they’re here to cement their status as one of the greatest metal bands of the last two decades…but will album number seven be lucky for them? Periphery’s last record (Periphery IV : Hail Stan) opened with a near 17 minute epic that was as brave as it was brilliant, so when you see that this record’s opening tracks is just over 7 minutes long, you could be forgiven for thinking that maybe the band have calmed things down a bit. You’d be wrong. There’s also some questions to be asked about just how much is too much? The five piece aren’t known for shying away from new ideas and blending styles together, sometimes to the detriment of cohesion and listenability.
“You could be forgiven for thinking that maybe the band have calmed things down a bit. You'd be VERY wrong however. ”
‘Wildfire’ is a ferocious whirlwind of an opener, with the trademark Mansoor guitars flanked by the ludicrously tight rhythm section, leading to moments where headbanging seems a little bit pathetic really, and the only real way to express yourself to this song is by spinning in a circle with your hands in the air. We then jump straight into “Atropos”, a song about living a superficial life and the impact that can have on those around you. This track is the first one on the record where it feels like a full journey, one with twists, turns, hills and valleys. It’s beautiful in places, with soaring melodies mixed with crushing heaviness. It really encapsulates the essence of Periphery as a whole, condensed into one track of unhinged glamour.
‘Wax Wings’ has some subtle piano dotted through the track, accentuating some spectacular vocal work from the often misjudged Spencer Sotelo. Halfway through things slow down and get almost relaxing and ballad-esque, becoming one of the most ethereal and goosebumps inducing pieces of music that the band have ever done. All across this release, the production is absolutely incredible and tight. Adam “Nolly” Getgood is doing frankly masterful work behind the mixing desk, allowing each and every one of its many element to shine and not get lost in the tempest of ideas.
“Adam "Nolly" Getgood is doing frankly masterful work behind the mixing desk”
The first overt Meshuggah worship comes to the fore on “Everything Is Fine”, bringing some of the heaviest moments of the record so far. This is a pummelling piece of music, mixing scattered guitars, skittering electronics with an avalanche of insane drumming.
Perhaps the most out there moment comes from “Silhouette”, an ambient/dreampop track that almost floats through the air. After the previous battering it’s a welcome reprieve, but probably not one that will make it’s way into Periphery’s greatest hits. A good idea, but the execution needs some refinement before the band crack the style.
Recent single “Zagreus” does everything you know Periphery does and does it fantastically. The blend of unrivaled technicality mixed with a sort of radio metalcore sensibility bodes very well for the bands mainstream future potential. The sheer chaos and energy this track alone create ‘Zagreus’ this a perfect song to introduce people to the band. By this point you’re exhausted, your mind turned into an upside down bowl of jelly by everything you’ve just heard…then the first of two ten minute tracks begins. “Dracul Gras” feels a lot longer though, with a plodding middle section that isn’t filled with enough exciting moments to keep the listener fully engaged. It doesn’t live upto “Reptile” standards, but thankfully, “Thanks Nobuo” does. In just over 11 minutes, it takes things to another level for the album’s conclusion. An absorbing, euphoric epic that features soaring, scream them from the mountaintops lyrics and some wistful electronic flourishes and a mix of intriguing rhythm parts before leaving you misty eyed and fading out gracefully.
With one or two tracks not reaching the cosmic heights of the band’s previous work, this album sometimes feels like they’ve gone one idea too far, but the sheer quality and beauty of tracks like ‘Thanks Nobuo’ and ‘Atropos’ are undeniable. They sit comfortably in the pantheon of the greatest Periphery tracks and show why they’re a band unlike any other. An exhausting, yet ludicrously rewarding listen.