Periphery step up the game with an absolutely phenomenal new release.
A Clear indication of success.
The paradox involved in a new release from a band you love is that your hopes are often set so ridiculously high that you can not help but feel slightly let down by even the slightest weak moments. Fortunately, this is a very minimal problem with Clear, Periphery’s new extended play. It is absolutely crammed with soaring choruses, crushing breakdowns, disgustingly complex polyrhythms (see: Zero) and flawless glitchy electronic programming and production that teases ones ears into a beautifully heavy sonic submission. What I have to say I adore the most about this E.P. though, is that each track was assigned to each individual member as chief composer, all based upon the theme of Overture, the gorgeous piano led introduction. As such, each song is radically different stylistically to one another, giving a very broad range of mood and structure to the opus.
In regards to slight disappointments on the album, The Parade of Ashes is a little bit cringe-worthy. Written by Spencer Sotelo, the band’s singer, it had a lot of potentially fantastic moments within the song but lacked the overall integrity of such a heavy band. The frequent use of autotune and corny pop-punk vocals is simply frustrating, but maybe that’s just me being a metal elitist.
However, as far as poor tracks go, that’s it. The rest of the EP is exceptional. Track 3: Feed the Ground is a straight-up balls-out juggernaut of a tune. It’s a complete monster; flawlessly combining the seven string djent tones with that hook (yeah, the one you always wanted to write) in a way that simultaneously makes me shit my pants with the sheer brutality of it, and inspire the need to sing into my hairbrush loud enough to make the milk curdle. Laced with dynamic choral overtones reminiscent of Avenged Sevenfold, this song has the atmosphere, the breakdowns and the catchiest vocal hook of 2014 all contributing towards four minutes thirty eight seconds of, well… MMMPH.
Periphery looking Clawful.
Adam “Nolly” Getgood saturated track 4: Zero with enough slap bass to cause a minor earthquake, and I love it. Easily the most technical track on the release, lead guitarist Misha Mansoor claims the title as progressive metal overlord of recent times with this (at times) syncopated and polyrhythmic masterpiece that assaults your eardrums like Meshuggah met TesseracT met Born of Osiris and then fornicated with Shiva in her world-destroyer form. I wouldn’t even know where to start if I was asked to figure out the time signatures present here. Embracing the signature djent tone significantly, Zero pushes the bass guitar forward so seductively in the mix that one cannot help but stick ones head in front of the subwoofer, just for the low tone texture. Or perhaps I’m alone on that one.
Either way, this monumental new release kicks excessive amounts of ass and if you know what’s good for you, you would go annoy the neighbors with it right now.
Don’t be afraid to sing into the hairbrush.