Skip to main content

ALBUM REVIEW: "The Mortal Coil" by Polaris

   The Mortal Coil is a damn fine debut album from Sydneysiders Polaris, who have been doing the rounds for almost five years now. Most independent EPs fly under almost everyone's radars, but 2016's The Guilt & The Grief EP threw them right into the limelight of the music scene, giving them an ARIA charts berth and a whole lot of attention. I was actually lucky enough to see them supporting Stories (R.I.P.) back in February of 2016 at the Red Rattler in Sydney during that EP cycle, and boy oh boy do they know their way around a stage.
   So naturally I was excited for their debut full length The Mortal Coil. And it's just fine. If you liked the riffs on The Guilt & The Grief, their better on The Mortal Coil. Jamie Hails' voice is better, Jake Steinhauser's singing soars and sits nicely in the mix, the breakdowns are bigger and the production is slicker. If you like your metalcore bouncy, fun and a little bit technical (but not too beard-strokey) then this is the album for you - it's kind of like if Periphery and their second husband Northlane had a baby with Limp Bizkit.
   For me I found The Mortal Coil too much of a retread to be really exciting, though. The songs are well written, the playing is tight, the breakdowns are cool, but it really is just another metalcore record (a very solid one), even with some distinct nu-metal influences thrown in there. What Polaris have managed to achieve, though, is make a very distinctly metalcore sounding album that also sounds distinctly Polaris. This is something that I still have a hard time understanding, because at first glance this seems like a contradictory statement. But somehow Polaris make the recycled ideas and motifs of the genre sound fresh again; they chew them up and spit them out again as something uniquely Polaris.
   So was I completely enamoured with The Mortal Coil? As much as I wanted to be, no I wasn't. But it is a damn solid album, no doubt about it. I only wish that with future releases the band becomes more comfortable with relying on the things that make them stand out from the rest of the crowd, because these are the things that mad
e me excited to hear more from them.

   Favourite Songs: The Remedy, The Slow Decay and Sonder

   Least Favourite Song: Consume


   Rating: B+

Comments

Popular posts from this blog

A Response To 'Christian' Views On Secular Music

Is there such thing as music that Christians shouldn’t listen to? Should we be dismissive of music with either explicit language or sexual, violent or substance oriented themes? Should anyone even be telling anyone else what they can and can’t listen to? These are questions that are thrown around a lot in Christian circles, and given what I do here on this blog and how that overlaps with my job working for the church, I thought I would share my thoughts on this topic. I’ll say this at the outset so that we’re on the same page – I think any attempt to dictate what people should and shouldn’t listen to is stupid and disrespectful on a fundamental level. I’ll go into detail about why I think that later on, but for now here are some thoughts I have on some of the “Christian” opinions I come across pretty regularly. The first and most ludicrous thing that seems to follow me around is the idea that because I listen to underground genres, particularly on the heavy metal

ALBUM REVIEW: "Graveyard Shift" by Motionless In White

   I've never really enjoyed what Motionless In White do, because they've been wedged between industrial beats, gothic murkiness and generic breakdown-laden metalcore for so long without really nailing any of those sides of their sound. Listening to their music was really jarring and I've never really cared all that much for any of their records. Graveyard Shift was a real surprise for me, then, being a perfect concoction of the two worlds they have been trying to bring together on their previous efforts. It's like Marilyn Manson, Nine Inch Nails and Korn had an illegitimate child, born with eyeliner and leather (the Jonathan Davis feature on Necessary Evil is a knowing nod to this influence). There is a surprising energy and cohesiveness to these songs, and it is by far the best album from them so far; so much so I had to double check I was indeed listening to Motionless In White on Spotify. Everything the band have offered to this point are here, but refined and tweak

1 YEAR LATER: "22, A Million" by Bon Iver

   Bon Iver's third studio album turns 1 in about a week (where did that year go?), so I thought it would be interesting to talk a bit about how my impressions of the album have changed - or how they haven't - over the last 12 months. When this album was released I was more excited than I think I ever have been to hear a new album. For Emma, Forever Ago is one of my all time favourites, and I love his self-titled second album too, so I had huge expectations for this album, but was also wary that expectations might ruin my experience of the music. This was particularly the case for 22, A Million , because it is unlike anything else Justin Vernon has released. There have been hints at this more processed, electronic direction previously, like the song "Woods" on the Blood Bank EP and occasional flourishes on Bon Iver , but 22, A Million is a drastic departure from the Bon Iver sound we had grown accustomed to at this point in time. Or at least, that's what I thought