A reading of Douglas Dunn’s ‘The Kaleidoscope’ opens ‘I’ve Seen All I Need to See’ and immediately sets the tone. A poem that explores the themes behind adjusting to loss and the process of grief could not be more apt in a period where the entire world is grieving over the collapse of society, the loss of freedom to a deadly pandemic and political corruption on a global scale. The Body actually recorded this album back in 2019, but were wise to sit on it for as long as they have, its release is perfectly timed.

The usual oversaturation of samples, electronic effects and guest musicians are nowhere to be found on this opus, the only additional input they have had is from Chrissy Wolpert’s piano on ‘A City Is Shelled’, Ben Eberle’s vocals throughout and Max Goldman for additional drum duties. Chip and Lee have stripped it back to basics, to their beginnings as a drum and guitar duo; creating simplistic, yet hellish soundscapes. This produces the effect of being marched towards your death, the tumultuous percussion akin to an axe being sharpened against a whetstone as the impending feeling of dread and despair intensifies. Aforementioned ‘A City Is Shelled’ is a definite seminal moment on this album – the guitar sounds almost funereal, while a cascade of toms and hi-hats rain down upon Eberle and King’s dual vocal assault – the former sounding like a throaty 90s black metal b-side, while Chip’s infamous banshee screams wail alongside it.

While no release from The Body could be described as particularly cheerful, ‘I’ve Seen All I Need to See’ is especially bleak. Without the haunting melodies of ethereal choirs and softer female vocals, as we’ve become accustomed to, there’s absolutely nothing to soften the sledgehammer like blow that’s delivered. This is an album that’s assertive and concise and it wastes no time in getting to the point. If you’re left feeling utterly hopeless and miserable when it reaches its end then it’s certainly done its job.

(9/10 Angela Davey)

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