#HELL ARCHITECT GENRES FULL#

I have found that most every element on display here is narratively linked in some way to the album’s concept, creating an incredibly affecting listen that rewards repeated listening. Alongside synths, MotA drive home the noisy psychedelia element of their sound here (fuzzy blues-inflicted leads, washy chords, distorted vocals) in an apparent effort to narrativize the gradual, entropic return of all consciousness to chaos. Like their musical cousins in The Atlas Moth and Kayo Dot, MotA strive to envelope listeners first in the cosmic darkness of the great beyond, then in the light of eternal oblivion – emphasizing setting over scene. Path of Eight’s commitment to atmosphere is masterful. For example, the Driver-esque vocals on “Stretching Out” are literally stretching out with the song’s lazily drifting riffage, while the distorted death prayer intoned in “Ritual Bell” evokes the ever indistinct disembodiment of a soul escaping the material world. Many of the clean vocal moments specifically recall Toby Driver’s ( Kayo Dot) foray into vulnerable and weird territory on Coffins on Io. These are the cries of lost souls in the void, singing out a desperate swan song before falling into oblivion’s clutches. Now, that bears a bit of explanation on my part: I say “honest” because all three vocalists are not necessarily the most gifted or strongest of performers however, their genuinely emotive hooks carry the weight of individuals who are reporting in from the threshold of death’s realm. I like to describe vocals on display as honest. On another note, the triple vocal attack that Path of Eight brings to bear across all 8 tracks is a strong element to which I find myself consistently drawn. And with each track boasting its own unique – not same old, same old – thematic structure, Path of Eight possesses what is, in my opinion, one of the highest playback values in the post-metal genre this year. Whilst still occasionally stirring up the repetitious maelstroms that post-metal is known for, the most interesting and rewarding part of Path of Eight is its hook-laden, noise-inflected themes that seem to swell up to triumphant heights and subsequently fade within a single 5 minute song. This may not sound remarkable, but given that MotA belong to a genre that tends to push the limits of listener attention spans, it is a welcome change. The longest song herein maxes out at 7 minutes, while the majority of the album features songs in the 4-5 minute range on average. One of the most notable aspects of this album, in comparison to MotA’s past work and the post-metal genre in general, is the short form song structures. MotA are looking to shake things up with Path of Eight, and they are able to execute this progression with authority. Heavy shit to be sure, but what does it sound like? The post-metal tag is often a deal-breaker for listeners, evoking generic sludge riffs mashed up with echoey guitar leads that indulge in an unauthentic brand of emotional catharsis over tens of minutes per song. Inspired by Buddhist eschatology and otherworldly phenomenon, as well as earthbound experiences of human tragedy, Path of Eight tells the story of a soul, disembodied and thrust into infinity, searching for and finding oblivion in the wake of the death of consciousness. Post-metal stalwarts Mouth of the Architect are back with an expansive, yet introspective, concept album that explores the self’s journey after death.

#HELL ARCHITECT GENRES FULL#

Old Man Doom projects into the astral realms with Mouth of the Architect‘s newest full length.

Hell architect genres