2023-12-03 18:05:27
Since their second studio album 2042 five years ago Racetraitor The time was mainly spent with split collaborations. Maybe sounds Creation and the Timeless Order of Things That’s why it’s less like a coherent album than like a wildly rushing collage of scenes.
This becomes particularly clear in the final third of the record, when Creation and the Timeless Order of Things likes to end his songs abruptly or like Mathy’s rolling sludge Cape Flight (with Stan Liszewski from Terminal Nation) can even be threaded out: the hunted grind rabies Saint Apollonia Despite the prospect of a dramatic panorama, it ends in a similarly unthinking manner as the hasty conclusions of Sarcophagus (which stages its Blackened Hardcore as a gangshout attack), Cape Flight (a psychedelically slow post metal trance a la Oathbreaker with Carrie Gerardi from Tiger Spirit on Alex Reed vocals) or Sword (a slick hardcore shooting session with Sanket Lama by Chepang).
Even the comparatively well-composed one Panga Proxima (which, born from medieval folklore, howls hoarsely at the moon over rolling percussion and expresses anger in front of a picturesque tragedy until the band completely freaks out) is – in contrast to a lot of scenic aggression without a coherently concluded climax – more of a coherent one, too delicately embedded arc of tension of aggression.
That Racetraitor Not honing their songwriting to the point of turning rough diamonds into real jewels also fits in with the pissed-off attitude of Creation and the Timeless Order of Things, like the stylistically uncontrollable fury of the album, which spits out metalcore with crusty snottiness: 24 years following the debut, the band sounds as impetuous as a bulwark of youth, arrogance bursting with Sturm und Drang explosiveness.
True, only lifts Eid with cello and violin before bursting out as a nagging, blasting, orchestrally dramatizing hardcore, putting its external influences on a pedestal, when the oriental acoustic introduction later drags itself across the bazaar, but is assimilated Creation and the Timeless Order of Things in its course so many shades of negative physicality entered his being.
Chamelecon is brain-mad grind in waves, Cave of the Patriarchs hisses nastily and bangs with snotty slinging riffs only to tip over into the doomy grinding arranged in an abysmal opulence. Another fade out – but now at least it comes to life in a more seamless transition with the grungy one Godspeedwhose contemplation with a sinister noir suspence score doesn’t shy away from the frantic escalation.
The incredibly tacky Land Acknowledgment combines death with the stoicism of post hardcore at high speed, complete with flickering strings and noise elements from Ethan Lee McCarthy (Primitive Man), and Black Creek / Red River provokes as a nasty sludge wrecking ball with Tim Kinsella (Cap’n Jazz) even poppy-melodic hatchings chicanery in front of psychotically hissing guitars, before the so appropriately titled Pastoral Monolith represents something like symphonic black metal – by the way Refused-Fronter Dennis Lyxzén as possibly the most prominent name on the richly filled feature list.
That Racetraitor Integrating these guests so seamlessly into their homogeneously igniting stream of mangy violence as a whole, and not even taking the time to think regarding any seams that blur away from instinctive perception in the intoxication, is actually symptomatic of a work that It might just as easily be a first film with half-baked details as it might be a show that brings everything to an end.
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