This is the third album by the LA-based quintet and while I’ve seen the video clips that accompanied the first two, this is the first album I’ve had the pleasure of listening to. Formed 8 years ago with guitarist Logan Mader and vocalist Lauren Hart with bassist Damien Rainaud, joined by drummer Dillon Trollope a year later and guitarist Max Karon a year after that.
Opening with “Eidolon”, where sharp roars fit in perfectly with the staccato drum tempo and heavy guitar riffs that have an underlying melody being played by the second guitar, in much the same way the is a melodic element to the vocals which contain both a death growl and layered harmony to go with it.
Another reason this album is in plenty of radars, is Robb Flynn’s guest appearance on “Deadlock”, where his and Lauren’s vocals blend perfectly for the chorus but also add their own unique flavours to the verses they sing.
The title track, “Scar Weaver” begins with some heavy, gloomy guitar chugging over a sedate drum pace, which doesn’t increase even though there are occasions where it does intensify, allowing the vocals to flow along while changing from nearly whispered to mighty roars.
While the pace for “Bottom Feeder” remains slow, the vocals have a far more melodic quality to their delivery, even when they are tinged with a gruff edge, in much the same way the leads cut through the manic kick drum triplets.
The blast beats that kick off “Where the Bones Lie” become a steady stream of kicking that have the bass popping along contently at a high speed as the guitars rip through their riff filled with bends and false harmonics.
Lauren’s roars on “Erasure” are filled with as much anger as her clean vocals are filled with a heartfelt sorrow, while the choppy guitar riff moves the song along to the rolling drums as they wax and wane.
There is a desperation to the clean vocals in “Deserted”, where the guitars emphasise the jangling bass as it works alongside the drums.
“We Ride” has a very SYL feel to it, with the blazingly fast drumming that doesn’t relent, and a catchy chorus combined with quick leads that are full on and perfectly over the top.
Feeling rather sedate in comparison, “Cold Arrival” has some haunting clean vocals that approach anguished cries as the melodic chorus flows between verses.
The album ends with “Only in Death” where a solid groove is pushed by the constantly rattling bassline and rapid footwork on the kick drums, the vocals flipping between beautiful clean and angry growls. There’s also a good video to accompany the song if you want to go find it.
A thoroughly enjoyable album, where the heavy guitars are matched by the vocals, as are all the melodies that each is able to produce and deliver.
(8/10 Marco Gaminara)
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