Review Summary: A convincing departure from the norm.
It’s hard to find metal genres as divisive as the –core categories. The mainstream image of angst-ridden teens flailing about in a mosh pit for every ill-conceived breakdown certainly prevails in the minds of many metal fans. With this outlook, it’s hard for many people to break through the mediocre giants of the classification and dig underneath the dirt. Since there are so many outlets for music offered by the internet, the metalcore underground has exploded, revealing some energetic tunes that are emerging for young bands.
Take Polaris for example. If you just see metalcore as Parkway Drive & friends, there’s no chance you’ll hear the promising Australian outfit’s newest release,
The Guilt and the Grief. So many acts nowadays revert to the typical breakdown and chorus formula, lacking any sort of originality or liveliness to compensate. Polaris attack the listener immediately, showcasing the sort of vigor that the genre normally lacks, breaking from any persisting stereotypes. Sitting at a comfortable 23 minute runtime,
The Guilt and the Grief is a strong EP that displays the growing talent of the band.
The Guilt and the Grief begins with the first of the six tracks, “Regress”. Although one can certainly hear the Architects influence on the main riff of the song, Polaris insert more melody in their songs and exhibit more technicality with their instruments – reminiscent of progressive metalcore set The Afterimage, albeit with less progressive elements. “Regress” starts off loud and melodic, featuring an infectious chorus that’s sure to get stuck in your head. The central riff, featuring the usual djent fare broken up and made interesting with pleasing guitar harmonies. The overarching guitar melodies, combined with the vocal efforts of Jamie Hails and bassist Jake Steinhauser, really drive the song.
Polaris don’t make the mistake of faltering after a strong opener, and second song “L’Appel Du Vide” carries the energy from “Regress” over. With a powerful guitar erupting right at the start, the band showcase their ability to form beautiful soundscapes littered with harmonies and strong vocal performances. Guitarists Rick Schneider and Ryan Siew work with perfect synergy, demonstrating their aptitude when it comes to making each riff captivating. The subsequent track, “Unfamiliar”, proceeds at a slower tempo than the previous entries. Careful not to fall into the trap of monotonous breakdowns, Polaris stick to their talents and continue to show a good quality of technical instrumental work. “Unfamiliar”‘s reduced speed validates that the band has control over how fast they go, and it serves to differentiate the EP.
The band continues to impress with the second half of the release. Although uninspiring at the beginning, “Voiceless” ends up showing the group’s more progressive side with an instrumental break appearing in the middle. Tight vocal synchronizations soar with the guitars, adding strength to the overall sound. “No Rest” is the obligatory metalcore ballad, but it is aided by the presence of the bass (audible, believe it or not) and the band’s appealing riffs. Like all previous songs, Polaris try to steer away from the clichés, opting to not resort to typical djent grooves. Everything is wrapped up by “Hold You Under”, a metalcore rocker that definitely has the hardcore influence on display, sounding a lot like a Seasons in Wreckage jam.
However, not all clichés are abandoned, and the record inevitably suffers due to some of the old metalcore tricks making unwanted appearances. Breakdowns still pop up, and not all of them bring excitement. “Hold You Under” is the big offender in this department, throwing breakdowns around all over, hurting the album’s finale. The songs can come off as formulaic, as a handful go by the verse-chorus-verse-chorus recipe. While it is still entertaining, “No Rest” feels like the band wanting to contribute to the metalcore ballad trend, and doesn’t feel as genuine as other tracks.
But make no mistake--Polaris have a lot to show with this record. It is held back from being a truly great record by its conformity to genre standards, but it still manages to burst through with its commanding, energetic performances. The guitars and drumming are quite progressive and technical, giving a little uniqueness that towers above other releases. Along with aforementioned clutches such as The Afterimage, Polaris are trying to pave a different path from the rest. With their increasing popularity, it would be safe to assume the Aussies may be heading for big exposure as they continue to make music and tour.
The Guilt and the Grief is a forceful step forward in front of the competition.
