‘Apocrypha’ opens with a smack to the face and a stripped back single key keyboard riff and then the band launches into the parade. This may not be Fear Factory, but it is loaded with similarities to Burton C Bells past.
The opener, ‘Ghost Heart’, introduces itself with some beautiful spoken word laid on top of cyber guitar riffs. The vocals are melodic and atmospheric, not as brutal or harsh as we have witnessed from Burton C Bell in the past, but involving a heavy influence of harmonious and melodious structures. The track builds with tiers and keeps a constant rhythmic vocal anchor to the rest of the song. This is a strong opening for ‘Apocrypha’ and a platform on which to build the rest of the production.
‘The End Is Always The Beginning’ opens with atmosphere and progressive ambience. Drums create a mesmerising tune on which the riffs and fretwork seem to hang off. Bell’s vocals have taken a twist and seem more melancholic and depressive than he is usually accustomed to. The track is built on facets of tech and advanced souls and whilst the track itself doesn’t seem to have purpose or direction, and appears to stagnate with no real progression or motivation, the vocals seem to be one dimensional and this doesn’t add anything to the wondering bass line. The track is dissected with some spoken word which adds some much needed flavour but unfortunately the track then resonates back to the act of treading water in this lonely ocean
‘Apocrypha’ opens with whispers which lead into the track which delivers with a building intro into the rest of the body of work. The mood and feel to this track is that there is a beast waiting for the command to strike. The musical score is calming and restful and as much as the tempo and beat quickens a little, this isn’t enough to keep your attention without wishing there was some injection of adrenaline to lively things up a little.
It’s at this point I realise that there isn’t enough diversity of direction in the individual tracks to warrant a dissection of each and every tack on its own merit. ‘A Wolf Interlude’ is plodding and melancholic in its direction, ‘Honoree’ offers more of a constant beat and ‘Stormcrow’ opens with a thunderclap and rain before marching into a muscular and powerful backbone.
The rest of the tracks on ‘Apocrypha’ are multi-faceted and complex in their DNA. They all contribute to atmospheric and futuristic audible journeys with the vocals being mesmerising and mature in their portrayal. The whole album is developed and advanced compared to many of its sparring partners on the horizon now and this difference is what makes this release one of notable interest
The album closes with an interesting cover of Terence Trent D’Arby’s ‘Sign Your Name’. a total diversion from the rest of the album and in all honesty I’m puzzled as to why they felt the need to stain the album with its inclusion, or even why they felt the need to place it at the end as it has a degree of undoing some of the beauty and tranquillity which has been built prior to its appearance.
It’s hard not to draw any comparisons between this and Fear Factories back catalogue, but if I was to make just one it would be that this is like a smoother, more mature and well developed ‘Obsolete’ or ‘Genexus’, although this bears more to its soul than just a resemblance to another’s art, this creates atmosphere and maturity, an album that commands reflection and contemplation. This isn’t one to go hell for leather at, or even one which will generate huge walls of death or circle pits (when some virus allows), no, this album is one for the back ground, one for the stormy nights and candle lit settings. This is one to purely sit back, chill and appreciate it complexity and beauty.
(8/10 Phil Pountney)
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