Phew. Again, WRVTH pack a lot. I definitely prefer NRS, but the s/t holds its own and beats it in some regards. The transition game is gorgeous (1>2,9>10 especially), and there are some surprises such as the sexy sax featured on 6 midway, or more prominently on the instrumental 9 atop a gorgeous layer of post guitars with a beautiful intro. The two downgrades though are that soft parts are less subtly imbricated with the harsh ones - this LP does more of a standard alternation -, and the harsh parts themselves get a bit full on, and even rarely unconvincing. 1 already shows that there's some tech death DNA in this, with growls even. But its intro is beautiful, and when it comes back for an outro with the bass kicking in at 5:15 to prep for the transition into 2, it is gorgeous. Alas the explosion on 2 is more generic - I find the alternation of growls and skramz vox a touch corny, I prefered what NSR does vocally. 3 is an interlude with nice bass, a djenty form of which features on 4 too which I quite dig even though not the best track. 5's a bit slow and tbh awkward with some Nile vibes. Aside from the sax, 6 is also not the best along the same lines (Niley skram). By 7 we see that the album leaves us less downtime than NSR and is quite full on - the midtrack is very pretty tho. 8's angry, and after its transition the explosion on 10 is a nadir in quality and the rest remains a bit slow and awkward. The intro on 11 is excellent and *that* guitar made me gasp ow yis with its prod that makes it stand out. The explosion is mwerf, but the midtrack is so pretty. A worthy prelude to NSR with ideas of its own. 3.8
2 Bumps | Bump |
