Recently, one of the most accomplished bands in death metal history, Dying Fetus, announced the album title and revealed the artwork for their upcoming 8th full length album, “Wrong One To Fuck With”. The Maryland based 3 piece death metal act, who haven’t released any new material since 2012’s extremely successful “Reign Supreme”, are back with a new project that is sure to be just as bone-crushing, if not even more, than their previous releases.
As I’ve stated before, “Reign Supreme” is my absolute favorite Dying Fetus album, with “Stop at Nothing” and “War of Attrition” close behind. That being said, if “Wrong One To Fuck With” follows this path of continuous improvement, there should be no reason as to why this album isn’t deemed the best release in Dying Fetus’ extensive history.
I will say though, based off the morbid artwork and intense album title, if this record is anything less than painfully brutal, it will be a complete disappointment. With a title like “Wrong One To Fuck With” and artwork that features a deceased girl completely drenched in either her own blood or a mixture of her blood and someone else’s blood, with her alleged murderer standing over her with what looks like the machete he used to kill her, this album simply has to be the most aggressive, bone-snapping, offensively heavy album of all of 2017. However, we are talking about Dying Fetus of course, and I highly doubt they will disappoint at all.
A single hasn’t been released yet for the upcoming album, but a teaser for the upcoming full length is attached below! Based on the 26 seconds of audio from the upcoming album, it seems like “Wrong One To Fuck With” will be the perfect follow up to “Reign Supreme”. Stay tuned as we’ll keep you updated on all Dying Fetus news up until the album release date on June 23rd.
Beach House has been making the same album over and over since 2006, and each time they get a bit better at it. “Bloom” is the third iteration of their self-titled record. Immediately recognizable from the first moments of “Myth” is the group’s signature melancholia. They do a fantastic job of creating an immersive atmosphere, one that is enjoyable and easy to get lost in. However, there isn’t a moment’s rest from the sleepy air, and suddenly the songs are audible molasses. This isn’t helped by the downhill trend in quality of the songs and Legrand’s mild vocal cadence. Frankly, the album is far too safe and familiar. The instruments are not so much deliberate as they are timid, and the vocals never attempt anything to seize attention. Not only is its depression overwhelming, but it is difficult to hold back the yawns. “Bloom” has the qualities of a lullaby.
While most of this record is slow, it is not without exceptional moments. “Myth” has stylish guitar flourishes and is an all-around quality song that stands out from the ones following it. “Wild” ends in a seamless fusion of the vocals and synth and “New Year” is plain catchy. The rest of “Bloom” is a different story. “The Hours” has choppy vocal delivery, “Wishes” is just a long and pointless buildup, and “Other People” is the kind of song that might as well end after the first chorus. Even after multiple listens, few of the tracks distinguish themselves in memory. Needless to say, these songs are all tedious listens and sound too similar. “Lazuli”, an equally dull song, goes nowhere for three minutes and then leaves us with a two-minute broken record of an outro. Over repetition makes another appearance in the final track, “Irene”. Halfway through a song with an excellent melody, everything cuts except a droning synth and guitar. Next, the layers are brought back at an excruciatingly slow pace that is enough to botch the song’s climax. Then, after minutes of silence, a hidden track meanders its way to the album’s close.
The Shoegaze genre faded from existence for a reason; people get bored easily. Beach House cannot expect to make the same songs and hold the twenty-first century listener’s attention. Unless they make some major changes to their sound, their following won’t be getting much larger.
Album Review by Zach Norton, January 2017