Territory's Edge: Best New Metal of October 2021

October is generally a good month for metal releases, given the Halloween season and all.  There's plenty of quality material this time around, so let's jump right into it.

Mastodon - Hushed and Grim

 

While progressive/stoner/sludge metal Atlanta band Mastodon has crafted 13-minute individual songs earlier on in their career with "Hearts Alive" and "The Last Baron", their latest album Hushed and Grim marks a new endeavor of epic proportions.  It is Mastodon's first double album and their longest release to date, clocking in at 86 minutes across 15 tracks.  While the band's last three albums were their most accessible and straightforward, this one returns to their conceptual nature in a way that sounds like a natural progression.  While very melodic and atmospheric throughout, the album contains plenty of dynamics - the doomy, ominous "Dagger" is followed by "Had It All", a subdued rock ballad with a Kim Thayil guitar solo.   Hushed and Grim is a concept record dealing with grief, and is dedicated to the band's longtime friend and manager Nick John who passed in 2018 from pancreatic cancer.   Throughout there's an acceptance of the inevitability of death, best summed up on the third track with the lyric "Death comes and brings with him sickle and peace".  The album doesn't grab your attention immediately, but further, closer listens will reveal just how fantastic it really is.

Mastodon are no strangers to grappling with loss and death in their music.  Albums like Crack the Skye and The Hunter were tributes to drummer Brann Dailor's sister and guitarist Brent Hinds' brother respectively.  From the beginning, as aggressive and feral as their early material could be, something more was present beneath the surface than just mere rage.  Dailor credited Mastodon's first album Remission with helping him heal and process the pain of his sister's death, and explained that the title represents forgiveness and healing.  Remission was lyrically abstract and chaotic in nature against a backdrop of intense technical drumming, but it contained more subdued instrumental sections as well, perhaps representing stability found in the midst of turmoil.  A similar sense of acceptance and healing in the midst of tragedy is present here, but is more multifaceted and contemplative in tone.   Hushed and Grim is a masterful, multi-faceted record, but we shouldn't expect anything less than quality music (not to mention consistently fantastic artwork) from Mastodon.  Expect this, and one other October album, to be very high on my year-end list.

Frontierer - Oxidized

Scottish noise/hardcore outfit Frontierer have made one of the heaviest and most abrasive albums of the year.   Pedram Valiani's breakneck, technical riffs combined with harsh, distorted electronics result in a chaotic sound comparable to Godflesh, Fawn Limbs and Will Haven.  Fans of Code Orange (particularly their more intense material) should find something here to enjoy as well.  The result is a difficult album to get into for sure, but also a very well crafted one.  "Daydark" is the cut I'll highlight further and treat as a single, as delving into the entire 16 tracks of this sonic cacophony headfirst is a daunting prospect for listeners, even those who are well acquainted with this style.  Reminiscent of Loathe, this aggressive mathcore track unexpectedly gives way to ambience and atmospheric clean vocals, before delving back into the chaos.  I particularly like the way Frontierer incorporates this contrasting melody surrounded by the tumult on both sides.   The band made Oxidized available on Bandcamp as a free/pay what you want download.

The Breathing Process - Labyrinthian

 

My first encounter with this band was their 2010 album Odyssey Undead, which combined a European symphonic black metal flavor within the context of an American death metal band.  Between that time and the present, the sound of The Breathing Process has streamlined to symphonic deathcore and more closely resembles the likes of Shadow of Intent and Brand of Sacrifice.  Their latest album Labyrinthian comes shortly after they were signed to tech-death/deathcore label Unique Leader Records.  Guitarists Jordan Milner and Sara Lorelein also incorporate some riffs reminiscent of black metal such as on "Wilt".  Subtle dissonant melodies and prominent orchestration throughout provide a sense of grandeur.  While the drum production is somewhat muffled, Labyrinthian is a cohesive record and the band's technical skill comes through clear.

Arch Enemy - "Deceiver, Deceiver"

Arch Enemy have roared back with a new track, "Deceiver, Deceiver".  This is a standalone single and for now, nothing further has been announced.  Barring a January 2019 covers compilation, the song marks the first new material for the Swedish melodic death metal crew since their 2017 full-length Will to Power.  Vocalist Alissa White-Gluz sounds as fierce as ever.  Her aggressive delivery combined with the chaotic atmosphere and blast beast drumming make her chastisement of a duplicitous antagonist especially convincing.  A tradeoff of lead guitar riffs between Jeff Loomis and Michael Amott provides a suitably dark backdrop.  Amott stated that the track is "not the happiest of tunes, but believe me - we're ecstatic to be back!"  That feeling seems to be mutual among metal fans, as "Deceiver, Deceiver" has already received over 600 thousand Spotify streams within 10 days of its October 21 release; an impressive feat for material this heavy.  

Veil of Maya - "Outrun" 

 

Like Arch Enemy, Veil of Maya's last released album also dates back to 2017.  However, the Chicago progressive metalcore band has remained on the radar and released four standalone singles in the last three years.  Veil of Maya's latest song "Outrun" is as catchy as it is unpredictable.  Starting off with an aggressive djent sound and harsh vocals, the music switches to a synth pop instrumental as vocalist Lukas Magyr sings a Weeknd-style R&B melody in the chorus, and then transitions right back.  Guitarist Marc Okubo also has a moment of homage to Iron Maiden.  His guitar harmonies in the bridge are an intentional nod to 1983 hit "The Trooper".  "Outrun" could become a future staple at live shows, as indicated by the music video, which features live footage from the band's tour with Dance Gavin Dance.  

Trivium - In the Court of the Dragon

 

This stellar and surprisingly ambitious record was the only release that could rival Mastodon's double album this month in terms of quality.  Trivium's new album In the Court of the Dragon has drawn some well-deserved comparisons to perhaps their most acclaimed work, Shogun.  In fact, the closer "The Phalanx" was originally written during that era but remained unused until now.  The title track is a relentless, take no prisoners beginning much like Shogun opener "Kirisute Gomen".  Trivium's 2020 effort What the Dead Men Say indicated that Matt Kiichi Heafy and company were comfortable in their lane and had settled on their sound.   What the Dead Men Say was not a bad album by any means, but it went through the motions and was not nearly as impressive as its predecessor The Sin and the Sentence.  Some tracks sounded like B-sides from that album.  That's not the case on here.   The sound is unmistakably Trivium, but the songwriting is stronger and more adventurous.  Subtle symphonic flourishes also give this a more epic tone.  The strings are most effective on the three 7 minute songs "Shadow of the Abattoir", "Fall Into Your Hands" and "The Phalanx", which are strategically placed as tracks 6, 8, and 10.  There's also some throwbacks to their early Ascendancy era, especially "A Crisis of Revelation", and more subtly, Matt Heafy's singing style on "Shadow of the Abattoir", which is reminiscent of the dark penultimate Ascendancy song "Departure".  This is easily among Trivium's best - I'd give it the edge over Shogun and What the Dead Men Say on a good day.

On a side note, 2021 isn't the first time Trivium have used dragon imagery.  Dragons appeared in the artwork for the Shogun cover and The Crusade singles "Becoming the Dragon" and "The Rising", as well as some tour merchandise during that era designed by Paul Romano, so Trivium hearkens back in more ways than one.

Territory's Edge - Best Metal of September 2021

Following some inactivity, I plan on reviving this blog through a new review format.  Here I discuss my own favorite new releases in the world of heavy music within the previous month in a feature called "Territory's Edge".  Like a wildcat patrolling and roaming the edges of his or her home range, the act of finding and listening to new metal music is an often solitary one of exploration.  Whether it's current material from personal favorites or discoveries of exciting new or underground artists, there's always more metal to track down.  In the midst of long full-time work hours, my goal is to make this a recurring feature.  Singles, EPs, and albums are all eligible for this list.  As always, go purchase the music and support the bands if you like what you hear!

Silent Planet - "Terminal"

 

 

The Azusa, California resident metalcore band unleashed a fantastic pair of songs this year from their upcoming album Iridescent, which releases on November 12.  The two tracks provide a study in contrasts.  While "Panopticon" is characterized by glitchy industrial electronics over aggressive bass lines (no guitar appears on that song) and contains only screamed vocals, the newest single, "Terminal", explores Silent Planet's most atmospheric and experimental depths to date.   Ambient verses flow into bleak, crushingly heavy guitar riffs.  Frontman Garrett Russell's incisive, spiritual and eloquent lyricism - an aspect that helped Silent Planet stand out from the crowded metalcore pack during their early years - takes a more personal turn on this song.  "Terminal" addresses Russell's experience with mind-altering medications while he was admitted to a mental hospital in November 2019.  Ethereal clean vocals convey that disassociation and undercurrent of despair.  The music video ties in with the one for "Trilogy", released last year and inspired by the same events.  Iridescent is ultimately an overarching story meant to be listened to as a whole - "Terminal" is one piece of that narrative.  To say I anticipate hearing the new Silent Planet project in full is an understatement.  We've got a potential album of the year.

Rivers of Nihil - The Work

On their fourth full-length album, Rivers of Nihil expand the boundaries of their progressive/technical death metal sound.  The Reading, Pennsylvania band are coming off their critically acclaimed 2018 project, Where Owls Know My Name.   Like its predecessor, The Work integrates saxophone (courtesy of Zach Strouse) within Rivers' dark, expansive soundscapes.  Melodic and versatile, this album comes across like a tech death take on Pink Floyd.   Of particular note is the track "Focus",  with guitarist Brody Uttley's programming lending a sinister Neurosis/Nine Inch Nails industrial atmosphere.   The Work is a multi-faceted experience, ranging from more straightforward death metal of "MORE?" to the progressive rock balladry of "Wait".  While sticking closely to its concept, the album has no shortage of variety, and individual songs incorporate a range of push and pull dynamics of their own.   At 64 minutes in length, there's plenty for fans of complex and heavy music to consume here.  Rivers of Nihil are poised to continue their trajectory as true juggernauts within the metal scene.

Inferi - Vile Genesis

Since their formation 2006, Nashville technical death metal ragers Inferi have not let up in intensity.  Their particular breed of death metal is a fearless yet calculated aggression, much like a snarling mongoose about to sink his teeth into a cobra.  The band's sixth full-length album, Vile Genesis, is a relentless onslaught of speedy melodic guitar shredding and death metal ferocity.  The clean guitar break on the title track provides a sparse moment of contrast that further emphasizes the surrounding chaos.  These eight tracks average five minutes in length, yet maintain a breakneck tempo through the guitars - Inferi packs plenty of technical riffage here.   "Carving Thine Kingdom" is a standout cut that recalls Brand of Sacrifice with its backing orchestration and infectious guitar riffs, and "Heirs of the Descent" fades out with a ominous final note. 

Invent Animate - "The Sun Sleeps, As If It Never Was"

Shortly after signing to UNFD, Invent Animate released their latest single, which is split into three separate tracks but is in essence a single ten and a half minute song.  "The Sun Sleeps, As If It Never Was" comes on the heels of 2020's full-length Greyview, the band's first album to feature new vocalist Marcus Vik (ex-Aviana).   The result is an ambitious single that impresses more than the album that preceded it.  Thematically, this techy metalcore composition explores the impact and aftermath of addiction from dual perspectives.  Drummer Trey Celaya has called the release a highly personal one, as it was inspired by his family's drug addiction crisis.   "The Sun Sleeps" is an honest discourse about a real-life scenario that allows the music to speak for itself. 

Spiritbox - Eternal Blue

 

It's no exaggeration to call Spiritbox's debut full-length one of the most anticipated releases of the year.  Led by singer Courtney LaPlante and her husband, guitarist Mike Stringer, the Vancouver based band has built up momentum steadily until they have become one of the biggest new names in the hard rock and metal world.  Spiritbox strategically released many singles spanning late 2019 to 2021, including a few that came long before the release date was announced.  Between the buzz that these songs created and Courtney's multiple guest features on other bands' songs, Spiritbox has made a seismic impact in 2021.   Their breakthrough song is "Holy Roller", originally released in summer 2020 and by far the heaviest on Eternal Blue.   Cold, mechanical and caustic, a spoken word verse drops into a brutal breakdown, and back again.  Other highlights include the haunting Evanescence-style opener "Sun Killer" and the venomous "Yellowjacket", the latter featuring guest vocals from Architects' Sam Carter.  The closer "Constance", titled in memory of Courtney's late grandmother, concludes the album on a moving note.  While one of the few songs to contain no screaming, it is perhaps the heaviest of all in tone.  The music parallels the slow loss of memory to dementia by initially sounding calm and serene, gradually growing more dissonant, and finally fading into a void of distortion.  With just one album, Spiritbox has lived up to the hype and are here to stay.
 

Wake - Devouring Ruin (2020)

  

Wake, March 27, 2020

Tracklist

1.  Dissolve and Release

2. Kana Tevoro

3. This Abyssal Plain

4. Elegy

5. Mouth of Abolition

6. Paean

7. Torchbearer

8. In the Lair of the Rat Kings

9. Monuments to Impiety

10. The Procession

Purchase the album on Bandcamp here:

 

 Devouring Ruin | WAKE (bandcamp.com)

This small Canadian band from Calgary, Alberta started out under the grindcore label but now they play something else entirely.  I first heard about Wake and decided to check them out in early December after they appeared at #25 on Treble Zine’s year end list.  They released both a full-length album and a 3-track EP named Confluence in the same year.   Grindcore bands are known for having very short song lengths, and Wake’s 8 song album Sowing the Seeds of a Worthless Tomorrow was only 19 minutes total. However, both Devouring Ruin and Confluence have a track that exceeds ten minutes in length. Wake is now best described as some combined form of extreme metal.  I'll discuss tracks from both of those releases.

“Dissolve and Release” displays some atmosphere, mixing a clean guitar line within technical death metal, and opens the album up on a strong note. “Beyond Empyrean” and “Disparity and Chaos” include some interesting instrumental sections and riffs. The guitar work of Arjun Gill and Rob LaChance creates an intense, dense atmosphere.  Brief melodic interlude tracks are sprinkled across the album. Wake won’t be for everyone, and even by my standards it’s on the heaviest edge of the music I enjoy. For those that enjoy technical, compositionally strong death metal, this is a complex project to listen and decipher many times over.

Amazonia

Photo Credit: Land Rover Our Planet

The French progressive death metal band Gojira is known for songs such as "Stranded" and "Flying Whales", along with the environmental causes and charities that have long been a part of their work.  The band, led by brothers Joe and Mario Duplantier, make no exception with the release of their new album, Fortitude.  A month ahead of Fortitude's release Gojira released the single "Amazonia", and with it used their influence within the metal community to raise awareness of a critical issue and bring about change for good.  

The lyrics of "Amazonia" and the corresponding video discuss the deforestation of the Amazon rainforest, a crisis that impacts and erodes the rights of Brazil's indigenous people groups.  Forest land that belongs to them is being burned by outsiders to be converted into development, mining, livestock pasture or cropland.  The rapid rate of deforestation disregards sustainability and the rights of these native people, who are often met with violence and criminalization in the struggle for their own land.   They have also been disproportionately impacted by the recent pandemic. 

Screen shot from the video for "Amazonia"

 All proceeds generated from the song "Amazonia" are being donated to The Articulation of Indigenous Peoples of Brazil, an organization that works for the empowerment of these people and their health and rights. Gojira's incisive message is driven home with these lyrics: "Behold the life/the boundaries fools will crush/the greatest miracle/is burning to the ground."  The track's tribal instrumentation is an homage to Roots, a 1996 album by the Brazilian thrash metal band Sepultura, whose members have long been advocates for native cultures. 

Habitat loss and degradation is considered the greatest threat to biodiversity on this planet.  An estimated 40,000 plant species, 2500 terrestrial animal species, 3000 fish species, and countless invertebrates call the Amazon home, and local populations are directly endangered by forest destruction.    For large carnivores like the jaguar, deforestation is a two-pronged threat.   Jaguars and their puma relatives are apex predators with sparse densities and require large home ranges to roam, raise young, and hunt prey.  Not only are the big cats displaced from critical habitat, the land is often converted into for-profit cattle ranching operations where the native animals are persecuted as predators.  The plight of the jaguar, one of Amazon's iconic species, strongly parallels that of the indigenous people in the area - as well as around the world.  Greed and the idea of "manifest destiny" have no limit and will ruthlessly destroy all that stands in the way of expansion and profit.  This connection is reflected in the anti-consumerist message on another track from Fortitude, "Born For One Thing", as well as its music video.

Screen shot from the video for "Born for One Thing"

Gojira are not alone in their advocacy. The band launched an initiative auctioning several custom, one-of-a-kind personalized guitars and other band gear, with all proceeds benefitting the The Articulation of Indigenous Peoples of Brazil.   Members of other high-profile bands have also stepped in to donate equipment to the cause, and at the time of this writing almost $250,000 has been raised.  Gojira's collective effort that truly showcases the power that a community can have when working together towards a meaningful cause.  Though metal is a genre of music often unfairly stereotyped as violent or ignorant, Gojira has set an example we would do well to follow and learn from.  We can accomplish good for others when we work together. 

Gojira - Amazonia (gojira-music.com)

Gojira (propeller.la)

Articulação dos Povos Indígenas do Brasil | APIB (apiboficial.org)

Underoath - disambiguation (2010)

 

 

 

 

 

 

 

Solid State Records, November 9, 2010

Tracklist

1. In Division

2.Catch Myself Catching Myself

3. Paper Lung

4. Illuminator

5.Driftwood

6. A Divine Eradication

7.Who Will Guard the Guardians

8.Reversal

9.Vacant Mouth

10.My Deteriorating Incline

11.In Conclusion

 Underoath’s 2010 release is not just my top preference from their discography.  Dark, heavy, and experimental, it is one of the first heavy albums I listened to, and one that influenced how I listen to music today.  Water is a recurring theme on this album, from some of the lyrics to the music video for “In Division”.  What makes this album so strong is the way that Underoath fully immerses the listener into the imagery and mood they convey.   Track three, “Paper Lung” shows this very well.  “Paper Lung” is a beautiful, atmospheric, and ultimately crushing track that builds to a climax and conveys imagery that transitions from still, calm waters on a cold lake to being dragged down underneath the surface.  The Radiohead-inspired "Driftwood" is one of the band's most experimental songs and really does wonders for the album's atmosphere and pacing.  There's not a moment of wasted space here.

 

Spencer Chamberlain’s performance is something else here.  He conveys a raw desperation and brutal self-examination that brings furious purpose to songs like “In Division” and “Catch Myself Catching Myself”.  Additionally, for taking over the clean vocals in the absence of Aaron Gillespie during this album cycle he does a fantastic job.  Tim McTague's driving guitar tone on these songs further brings Spencer's urgency to the forefront.  It’s well known that many songs on this album are about Spencer’s struggle with drugs (fortunately he is now clean) and nothing is lost in translation in terms of the disillusionment he conveys.  As far as the sound of this album goes, there’s more to it than just the metalcore style of their previous material, as there’s a post-rock and alternative metal influence on “Paper Lung” and “In Completion”, as well as the experimental track like “Driftwood”.  This album is more than simply a high point for the band; it ranks among my favorite records of the 2010s.

Rating: 10/10 

 

Sevendust - Blood & Stone (2020)

 

 

 

 

 

 

 

 

Rise Records, October 23, 2020

Tracklist

1. Dying to Live

2. Love

3. Blood From a Stone

4. Feel Like Going On

5. What You've Become

6. Kill Me

7. Nothing Left To See Anymore

8. Desperation

9. Criminal

10. Against the World

11. Alone

12. Wish You Well

13. The Day I Tried to Live

 

 Twelve albums in, Sevendust has little to prove.  The band long ago established their longevity and status as a respected and influential alternative metal group.  However, while Sevendust has gained a dedicated fanbase, they've remained slightly below the radar for an active rock band that's been around since the late 1990s.   In their earlier years, Sevendust was known for being one of the first prominent African-American fronted alternative metal bands at the time.  Lajon Witherspoon and his powerful, soul-influenced vocals have given the band a distinctive, unmistakable sound.  Looking at the track titles, one might assume the band to be in a state of turbulence and internal conflict, but that is not the case.  In actuality they get along well, and Sevendust's lineup of five has remained remarkably steady over the years.  The only change came in 2005 when guitarist Clint Lowery left temporarily and Sonny Mayo took his place for three albums.

Blood & Stone is not as intense as its predecessor, All I See is War, which was heavy and riff-driven on eleven of twelve songs.  Tracks like "Dying to Live", "Kill Me" and "Blood From a Stone" are fairly standard Sevendust songs similar to previous material on Cold Day Memory or Black Out the Sun.  These tracks are solid for what they are but don't deviate from the band's previously established sound.  "Desperation" is a spiritual, passionate track where Lajon sings about the desire to be free and finding a place to breathe.   It's unclear whether these references are in the context of an interpersonal relationship or addressing society at large, but they could easily apply to both.   Sevendust has had a larger social message of antiracism and unity from the very beginning with "Black", the first track on their self-titled debut and a quote that appeared inside the album credits.   

Other songs are focused on melody and hooks.   The fourth track, "Feel Like Going On" is the album's first power ballad of sorts.  "Alone" is reminiscent of the direction Sevendust took on Seasons.  Lajon's singing drives the track and the backing music stays restrained until the bridge.  Another slower, Seasons-style song "Criminal" pairs its frustrated lyrics with a moody post-grunge/nu-metal guitar sound.   Now these songs are nothing I would describe as "arena ready" hooks but left to their own devices, Sevendust have never aimed for being commercial anyway.   They are focused on making great music together.   The most accessible cut is their cover of Soundgarden's "The Day I Tried to Live", which has been pushed as a radio single. 

Overall Blood & Stone offers a strong performance from everyone involved.  Guitarist Clint Lowery has been an integral part of the band's quality since his return from a three-album absence.  He does seem to have a more significant role on here as a backup vocalist for Lajon, with "Love" being the song where he is the most prominent.  Lowery has stayed busy with his own solo material, releasing both an album and an EP earlier this year.  The same could be said for drummer Morgan Rose, who has a solo EP on the way this year.   The album does not have any songs that stand out as being bad or unappealing, with the weaker tracks simply being average at worst.   Sevendust maintain all elements of their signature sound.  They don't deviate from what works for them, though it is clear growth and change has happened when you look back at their discography.  In contrast to the passionate and often vitriolic lyrics on albums like Alpha and Animosity, subsequent albums used swearing sparsely, some dropping it altogether.  You get the sense that the band achieved a real catharsis on Alpha and would not write an album that angry again.  Progression is vital for a band to stay relevant over time.  Sevendust has maintained their core sound, not losing what made them a prominent band in the alternative metal scene, while growing and maturing along the way.   Blood & Stone earns a score of 9/10.

Northlane - Mesmer (2017)

UNFD/Rise Records, March 24, 2017

Tracklist

1. Citizen

2. Colourwave

3. Savage

4. Solar

5.Heartmachine

6. Intuition

7. Zero-One
8. Fade
9. Render
10. Veridian

11. Paragon 

 

A little over a year ago, the Australian progressive metal band Northlane released the dark and experimental project Alien, which became my favorite album of 2019.   Part of understanding Alien involves taking a look back at Mesmer, the band's 2017 album that preceded it.   Mesmer was released as a "surprise" full-length on March 24, 2017 with no foreshadowing of its release.  A major step up in quality from Node, this project marked Marcus Bridge's second album as frontman.  Mesmer was not only an excellent album in its own right, it showed glimpses of what was to come next for Northlane. 

The eleven tracks of Mesmer maintain an atmospheric, spacey overtone at some point or another.  Aggressive riffs from Jon Deiley and drop-tuned basslines from Alex Milovic set a heavy backdrop that is balanced out with atmospheric vocals and electronics.  Compared with Node, the overall presentation is more cohesive, as the writing and structure builds around Marcus Bridge's vocal skill rather than simply integrating his voice into the band's previous sound.  Showcasing his beautiful vocal delivery, tracks like "Colourwave", "Zero-One" and "Savage" float in and out and emphasize melody.  The catchiest song "Heartmachine" recalls Periphery with an infectious djent riff and vocal melody.   "Intuition", the heaviest and angriest track, follows as a strong counterpoint.   Northlane show that dynamics are a clear strength.  Overall, the pacing and structure of Mesmer is excellent.  This includes "Veridian", the song I consider the weakest of the bunch.

While I consider Alien to be Northlane's opus in terms of concept, structure and lyricism, Mesmer shows great strength in the songwriting department as well.  The music and writing work in sync - the subject matter reflects the sound of these songs.  A key example of this is album highlight "Savage" which is about space exploration and opens with some otherworldly sounding production.  On Mesmer, rhythm guitarist Josh Smith wrote most of the lyrics, while two tracks were written by Marcus Bridge.  While the songs are about specific situations, they vary in subject matter.  Opener "Citizen" is about surveillance and refers to the CIA whistleblower Edward Snowden.  The final track "Paragon" is a tribute to Architects guitarist Tom Searle, who died from cancer in 2016.   Other tracks deal with personal issues such as "Colourwave", which Josh wrote about "a really dark time in my life" and  "Heartmachine", which is about a former girlfriend of Marcus and the fallout they both experienced.  However, none of these songs feel out of place here.  "Fade" which mentions Marcus' father's death.  This was the first Northlane song to discuss his violent and troubled father, but was a subject that would be discussed more in-depth on Alien.  And like on Alien, the music of one song often flows right into the next track.  So while these songs may be discussing different topics, the album maintains a cohesion and unity throughout its runtime.  The production, which is neither raw nor polished, is also consistent.  While overall it could be sharper and clearer, it gets the job done.

Northlane is a band of two different eras.  Their early material with Adrian had a distinct sound that other artists would follow after and be influenced by (Invent Animate's Stillworld album is a good example).  With the arrival of Marcus they again found a niche, emphasing atmosphere and his vocal strengths.  Through it all, Northlane is a band that never stops moving forward, always trying something new while keeping the quality high.  Mesmer scores a 9.5/10 rating.