von Oliver
am 12. Mai 2024
in Album, Heavy Rotation
Actually: You Won’t Go Before You’re Supposed To copes with the immense expectations that arise A Tear in the Fabric of Life and Upon Loss – and of course the super-advance appetizer at the latest Blinding Faith – to the third studio album by Knocked Loose is swollen.
After all, we’re hearing a band that has all the virtues of their smashers A Different Shade of Blue has optimized. Also by integrating the achievements of the 2021 EP (albeit without its conceptual consistency) and the massive 2023 single double into her adrenaline-boiling sound: Knocked Loose simultaneously trim any fat and distill their pit escalations to just 27 minutes of playing time, increasing the cleverly nuanced proportion of death passages, also expanding the stylistic spectrum and creating with the actually absurdly brutally dense Drew Fulk production in an equally ambitious and ambitious way grassroots-conscious whole, there are significantly more individual, outstanding scenes than the 2019 predecessor or the debut Laugh Tracks she had to offer.
And rightly guessed: due to the band’s typically direct impact, any sober objectivity is lost to a certain extent.
After Thirst hysterically rushing out his devastating breakdowns and demanding a permanent starting place in live set lists for life, sprinting Piece by Piece (placed as a tracklist reminiscence?) with a plus of groove thanks to unpredictable dynamic structures in the tight screw clamps of hardcore, but that’s what burns above all Portal‘esque chant-growling is sustained (and finally pushes secret weapon Isaac Hale more prominently into the foreground microtechnically as an example for the following material), while The Calm That Keeps You Awake focuses on the rhythmically clacking percussion playing as a striking element and also puts Kevin Kaine on the pedestal, who always makes people sit up and take notice with fresh, unconventional patterns.
You can also listen to it below Blinding Faithwhen the drums gallop stomping, before the stream of guitars later solo next to the track, and alone the “Son of god/ Kneel“-Deathcore passage uncovers iconic explosive potential in an in-house instant classic.
Also symptomatic is the integration of the two illustrious guest features, which previously raised eyebrows, but now work surprisingly well as a synergy. Suffocate assimilated Poppybecause apart from a bit of reciting cyberpunk hypothermia, the 29-year-old pop eccentric and Bryan Garris, who is as idiosyncratic as ever, are screaming their vocal cords sore over a heavily concrete dembow beat Chris Motionless Wasn’t invited for cheesy clear singing kitsch – but still Slaughterhouse 2 Beyond its first pathos part in the meat grinder of click track bleeding, hooks and melodies, it has probably become something of a veritable hit for the pit.
All of these scenes literally jump out at you and create an immediate addiction You Won’t Go Before You’re Supposed To and fuel an immensely entertaining momentum. Play at the same time Knocked Loose However, the cards are so open that, strictly speaking, there is little underlying information to be discovered, the growth potential is limited – although the attrition effect also seems to be within a manageable range in the medium term – and so there is always a little bit of the feeling left behind that on an emotional level the record is the last draining spark of conscience Something missing.
Phases like the Relay from the Mosh Wrecking Ball, which almost stands as a suite in the fantastically sequenced overall work Don’t Reach for Me (in which a heroic drama scrapes the mathcore progressively and chaotically up to the nu metal rhythm section), the grinding second escalation Moss Covers All and a creepy, horror-suspense-tinged uneasiness called Take Me Home (which first wallows disturbingly in the stoic cacophony, only to then take the anachronistic sample escape) as well as the closer, musically suspiciously calm in the atmosphere Sit and Mourn are therefore elementary for the bandwidth and half-life by taking the overarching view You Won’t Go Before You’re Supposed To force.
But because there are also small details, such as the chirping of birds (?) as a recurring theme, which, as a homogeneous line in the sound design, create a depth effect behind the mosh wrecking ball that operates with a frontal agenda, it is also bearable that they Strictly speaking, the torched catharsis does not extend beyond the limits of the ten songs that so greedily expand the battle zone.
Why? Knocked Loose with You Won’t Go Before You’re Supposed To All in all, despite this – or precisely because of it? – come as close to their ideal line as one could only wish for in the rush of euphoria (admittedly rounding up the final rating) behind the most recent tour and beyond any hype oversaturation.
You Won’t Go Before You’re Supposed To by Knocked Loose
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