These experimentation are more than a gimmick. The guitars serve in a backing role, heavily tinged with a Southern lull which lends the whole track a rock n’ roll attitude that’s hard to resist.Īnd that’s the most important thing here it’s hard to resist because everything is executed with the same precision as the first part of the album. The center is dedicated to a highly emotional vocal duet, with guest vocals contributed by Portia Gebauer to contrast those of the main vocalist, Chris Gebauer. The hints towards rock ballads and mainstream pop anthems replete throughout the beginnings of the album suddenly burst forth on this track. The sixth track, “Kidney Bleach”, is where things really start to change. While the first five tracks (counting the intro track, petition to Stop Intro Tracks 2017) are perfectly well executed post black metal, the true appeal of the album lies closer to its end. However, Deadspace don’t just stop there. For example, “Void” introduces a guitar solo towards its end resplendent in reverb and treble, striking a decidedly unique chord in an otherwise pretty standard post black metal track. And like Asira, the heavy/prog rock influences are abundant. Like the aforementioned Asira, at their core Deadspace play post black metal there are plenty of blastbeats, the vocals focus on high pitched screaming and the guitars are dreamy and laden with effects. The latter seems to be the direction in which Deadspace chose to go on their recently released The Liquid Sky. One can retreat back towards black metal, making post black that is heavily informed by the genre from which it originated (a good example is Ghâsh) or you can splice your post black metal with some truly out there and unexpected influences (like Asira‘s reliance on progressive/heavy rock). In post black metal’s case, there are a few interesting answers. The first wave of post rock encountered the same problem, as did post punk and all the rest of the “after” sub-genres. Bands looking to work within the post black metal milieu face an inherent difficulty: how do you innovate on a genre that’s considered an innovation in and of itself? When you’re operating in a musical sphere which defines itself as “after” something, when the very basic approach of your genre is considered a departure from the core in which it originated, it can be hard to differentiate yourself from the rest of the bands relying on just the same definition.
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