The Haunting Fear of Inevitability
Ah, The Drip. These propagators of catchy noise proudly blur genres with tenacity and disregard. They boast that on this year’s The Haunting Fear of Inevitability that they push boundaries even more than on the Relapse Records’ EP, A Presentation of Gruesome Poetics. The Drip have toured fervently over two years, pushing and pummeling their bodies. The frenzied combination of crust, grind, and death metal pour like molten magma on a mission. The band joins forces with Joel Grind again, as he produces and Brad Boatright masters the album. The world should brace itself on Jan 13th when The Haunting Fear of Inevitability fires from the Relapse camp.
The Drip take their songs to a new level here, not always choosing speed as their main method of astonishing. “Painted Ram” and “Wretches” move beyond three minutes, calling a grand, epic feel to the sweeping madness. Insanity and rage and degradation all meet on this gnarly, ornery plate of bastardized metal. The Haunting Fear of Inevitability last about 32 minutes. Repeated lisytens point to nuances in the guitar lines that experience and sheer will must have doictated.
The snare hits differently than the other EPs, almost more rubbery, on the first track, “blackest Evocation”. But this is a small detail. The drums are still brutal and so god damn fast. Shane Brown is a monster that pushes each of the thirteen tracks to their limits. By the third track, “Gruesome Poetics”, I am over it and it actually seems to dull for the rest of the album. The blast beats are intimidating and charitable in there amount. The wall of sound which Grind extracts from these dudes is humungous. The guitar work, slung by six stringers Bobby Mansfield and Blake Wolf and bassist, Talon Yager, create sludgy chaos. Echoes and feedback swirl and charge in swaying grandiose waves. But the majority Grind elicits atmosphere as much as the boys push riffs. The chunky riffs on the mid-tempo parts of “In Atrophy”, “Anathema”, and “Dead Inside” depict a band challenging themselves and any notion the audience might have pre-conceived.
Brandon’s Caldwell vocals at times mimic a vomiting sound; but, mostly the audience is grated by screams and death metal growls. When the album arrives at “Terror War Industry”, I am sympathizing for Caldwell’s vocal chords. He is bellowing in a forsaken tone. The absolute carpet bombing of drums fall around Caldwell’s vocals as the warn listener’s in this frantic miasma. Dark low tuned chords are the foundation, but surprises erupt everywhere; check “Exiled” for a groove in a short breakdown.
The Washington quintet started in 2007, and has 3 EP’s in its wake. The Haunting Fear of Inevitability is the band’s first full length. The band is defiantly establishing its premise that even grindcore has flexibility. This album represents progress and a command of their style. Their authority over recorded material or stage is formidable as they scorch audiences with a nihilistic frenzy. The songwriting has elevated. The mid-section of “Painted Ram” and other tracks show specific choices which a lesser band would settle for simply one catchy riff. The layers, and finesse of Boatright, illustrate the brutality and sincerity of this band.
RIYL: Like Rats, Pig Destroyer, Wormrot, Rotten Sound, Nails, Phobia, Napalm Death