Society’s Plague – Call to the Void

Rating: 2.5/5
Distributor/label URL: https://www.eclipserecords.com
Released: 2018
Buy Album [URL]: https://www.amazon.co.uk/Call-Void-Explicit-Societys-Plague/dp/B079M6ZC31/ref=sr_1_1?ie=UTF8&qid=1520511796&sr=8-1&keywords=society%27s+plague+call+to+the+void
Band Website: https://www.facebook.com/societysplague/

Band line-up:

Matt Newton – Vocals
Joe Royer – Guitar
Roger Clem – Guitar
James Doyle (JD) – Drums
Aaron Sheffield – Bass

Tracklisting:

1. Ashes For Air
2. Whispers
3. Distant Waves (feat. Bjorn “Speed” Strid)
4. The Fall
5. Broken By Design
6. Paramnesia
7. Fear Is Failure
8. Abomination (feat. Michael Smith)
9. 1:01
10. Rise Of The Eidolon

Review:

Society’s Plague are a melodic metal/metalcore five piece from Kentucky. The latest of their two full-length albums ‘Call to the Void’ features ten tracks, and its song ‘Distant Waves’ has Bjorn ‘’Speed’’ of Soilwork on guest vocals. The whole package will be released on 27th April, 2018 through Eclipse Records. So, first thoughts: What’s going on with the kick drum? Can you imagine almost exactly the same robotic sound and volume in your ears over and over for a whole album? Because that’s what you get. Furthermore, because this is modern metalcore, you can expect machine gun beats, meaning you hear the drum even more than some other genres of metal. It’s so overwhelming, it’s easy for the listener to just focus on that, and not appreciate the other musicians. However, there are many who will be used to that kind of stuff.

The songwriting isn’t bad, but it is full of cliches. The shouting isn’t at all distinctive, though the clean singing one would expect does have at least some character. Other than the drums, the worst offenders are the guitars, however. It would be almost impossible to guess whether many of their parts are coming from Society’s Plague or In Flames, if they weren’t told the artist’s name beforehand. It’s mainly that scale heavy stuff with lashings of root note abuse, often with predictable melodies higher up on the fretboard. In their defence, the distorted arpeggios and full, rapidly strummed minor chords are pretty cool when the notes bleed together, as they give an almost black metal vibe. If only those darker ideas were most extreme, the band would come across as a lot more interesting. It begs for some other sub-genre, whatever that may be.

Other than the interesting instrumental ‘Dusk’ with its clean acoustic guitars and light synths, there is little variety in the album. It also lacks anything that is particularly memorable. However, at least rampant sections do get mixed with calmer ones at times, even if the latter don’t push the boundaries, either. Don’t expect anything close to jazz fusion harmony or the otherworldly, there. In conclusion, there is much more creative music of this style out there, with better production and musicianship. If you’re looking for a shred fest and you like listening to crazy tapping and sweep picking, this album isn’t really for you. It just reeks of averageness. But don’t take my word for it, have a look at one of the band’s music videos, here…

 

Review by Simon Wiedemann
Share
Copyright © The Independent Voice 2018