Review Summary: A frenzied finale from a band that left a lot of potential on the table.
Some bands drag out their careers far past their primes. After making a few classic albums, their releases start to decline in quality before finally releasing material that fans would be embarrassed to associate with their idols (case in point,
Metallica). Others, however, have no choice but to break up due to band conflicts/financial issues, leaving a couple of breathtaking albums behind before vanishing into the background. Such a band is Sikth, a six-piece progressive/technical metal band from Watford, United Kingdom, who split because of an inability to find replacements for their two recently-departed vocalists. They are remembered today by a passionate cult fanbase who fell in love with the band for their frantic and original sound. While the band remains a challenge to get into for some, others will instantly appreciate the uniqueness and harsh beauty that radiates from their work.
Sikth's debut album The Trees Are Dead & Dried Out remains a progressive/technical metal standout for its innovative use of twin vocalists, berzerk time signatures and environmental themes behind the lyrics. Their second release, Death of a Dead Day, focused more on the heavier side to the band's music and sacrificed some of the melody for increased technicality. From the launching whirlwind of notes of the opener "Bland Street Bloom", it's not difficult to tell that Sikth prefer to do things their own way. Complex drum patterns and non-conventional tapping licks mesh deliciously with the band's dual vocal assault, lead by Mikee Goodman and Justin Hill (both of which left the band following the release of this album.) The clean vocals are soaring and shrieks are generally used to accent the cleans during the band's choruses. As the album progresses, the insanity levels only continue to escalate. Songs like "Flogging the Horses" and "Way Beyond The Fond Old River" showcase the vocalists' abilities to use numerous different vocal styles, some of which are downright maniacal. While this might be a turnoff for some, I feel that it adds a degree of pure psychopathy to the music.
When I first heard "Summer Rain", I felt the need to click the repeat button on my iPod several times to listen to the introduction again. Guitarists Dan Weller and Graham 'Pin' Pinney and bassist James Leach use a slap technique to coordinate one of the most memorable riffs on the album, and it never fails to amaze me every time I listen to it. The pace slows briefly in the first ballad on the album, titled "In This Light". Since this track is one of the few lacking harsh vocals, it allows the majestic cleans to take the spotlight and this is one of the exceptional tracks on the album because of that. However, the momentum immediately resumes in the following song, "Sanguine Seas of Bigotry", where what I feel is the heaviest riff on the album grabs you by the throat and refuses to let go until the music has stopped. Suddenly, the vocalists begin reading a chilling poem without the backing of the musicians in "Mermaid Slur". The environmental themes from the previous album return for a brief cameo, in lyrics such as "Is this the desperate mile? Are the seagulls hungry still? Did the pond run out of water? Turn into a motorway?" The rest doesn't last long, however, as "When The Moment's Gone" picks up the momentum once more. While the first half of the song doesn't contain the same amount of energy as some of the other tracks, the second half gathers steam and climaxes with one of the most technically-challenging riffs on the album.
"Part Of The Friction" is my favorite song found here, particularly because of the transition in the midpoint from sludge-like and heavy to melodic and emotional. Goodman repeatedly belts out the phrase "You are all the same! Playing the game!" over Hill's passionate backing vocals. "Where Do We Fall?" is another song that thrusts the clean vocals into the limelight. While it is perhaps the most tame song on the disc, it doesn't fall flat and manages to keep the energy going until "Another Sinking Ship" begins. The drumming really shines here, as percussionist Dan Foord executes an exhilarating middle section full of blast beats and technical drum fills. Finally, "As The Earth Spins Round" marks the end on an absolute mammoth of an album. The bass section three minutes in always makes me shake my head in disbelief, reminiscent of the end of "Skies of the Millenium Night" off their debut. Rabid dive bombs and ascending guitar leads are prevalent, progressing to a fadeout riff full of double bass and non-stop headbanging delight.
In short, this album is a blast to listen to. If you enjoy original, high-paced technical metal, this is the band for you. It may take a while to get over the vocals, which are definitely an acquired taste, but as you listen you may just find that they age like a fine wine. It's a shame that the band was forced to break up following the conclusion of this album, as they clearly had a boatload of untapped potential that was never realized. While fans still hold out hope for a reunion, the band has never suggested anything of the sort and almost all of them have gone on to form solo projects. The music is innovative, the technicality is mind-blowing and the pace is unrelenting - all reasons to at least give it a try. If it's not for you, then so be it.
Standout tracks:
Part Of The Friction
In This Light
Bland Street Bloom
Summer Rain
