Coming back from work the other day I was in a terrible mood and finding this little gem on the mat seemed like the perfect solution to release the day’s aggro. Social Suicide, a Norwegian band, although you’d be hard pressed to hear that in the music, have produced a bout of metal/hardcore that is as catchy as it is innovative and happily the punk side is subordinate to a strikingly heavy production that sees the band rival arch noise-mongers Dillinger Escape Plan while their original take on the genre draws favourable comparisons to scene leaders Botch and the ever-green Refused.
Listening once again some two days later and with my mood abated (it’s never a good idea to review a heavy band when in need of an adrenalin fix because under those conditions almost anything violent sounds good!) it’s satisfying to discover that ‘Broken Pilgrims’ still stands up thanks to the band’s undoubted musical ability and the many elements that they incorporate into their music, seemingly without effort despite the fact that much of their work would fox other bands. Opening in a squall of feedback ‘mail from the watchtower’ sees the band start out as they mean to go on with a brutal stop/start riff and vocals screamed out presumably from the centre of a riot while the chorus vocals remind you of the much missed At the drive in. Fuelled by adrenalin and anger there is still a lot to admire in the music which strikes out well beyond punk’s stereotypically three-chord boundaries to make something that sounds fresh, relevant and heavy as hell. ‘Death of new kings’ is, if anything, even heavier, opening with vocalist Sondre Haug pressed up against your face screaming the lyrics right into you while you gasp for breath and Bjarte Hugland’s guitars flailing away, never that far behind before stopping as suddenly as it started and segueing into ‘Harlots and prophets’ with its militaristic drum tattoo intro so smoothly that you’re unlikely to realise the track has even changed without looking at the counter. Speaking of drums Esteban Munoz must surely be a human octopus and together with Remi Arefjord (bass) he makes up one half of a devastating rhythm section.
Typically music such as this can become exhausting, but Social Suicide’s masterstroke is to keep things varied and to keep things short. As a result the album, while brutal as hell, certainly does not outstay its welcome. ‘broken pilgrims’, for example, is a massive, violent blast of screaming rage but by stripping the guitars out of the verse the band offer at least some sense of light and shade / tension and release within the music and as a result they keep the listener guessing as to what will come next, whether it is that songs massed vocals or a vicious beat down that shakes the foundations of your house. ‘Martyricon’, for example, is a swirling cauldron of hatred that will set any mosh pit blazing within ten seconds of its start although, once again, the guitars can be witnessed doing something far more intricate than you may typically expect from this type of music. ‘Fallen angels’ sees things slow briefly, as it begins with a brutal riff that wouldn’t sit out of place on a Helmet album before unleashing a massive, massed vocal chorus that is unashamedly catchy even providing some incongruously wonderful handclaps on the bridge – this band have everything! It’s one of my favourite tracks on the album as it showcases everything that makes Social Suicide such an outstanding act. ‘Vth man on a dead man’s grave’ is a more straight forward punk track with simple guitar and pummelling drums, although even playing it straight Social Suicide can’t resist throwing in the odd quirk like a time change just to keep you thinking. ‘Let the waves come’ is an off-kilter and uncomfortable ride into jarring hardcore territory with a riff that is every bit as aggressive as sitting in a room while a maniac waves a chainsaw around. ‘Enemy cave’, however, veers back towards the dynamic, post hardcore, post everything , noise rock of Botch, with nimble guitars and off kilter rhythms impressing and exciting in equal measure. ‘Rodeo III’ is equally unpleasant and guaranteed to have security peeling kids off the barriers on the forthcoming UK tour. Final track ‘the last martyrs’ sees the band grind out a final missive form the dark side before ending before you’re entirely sure of the monumental nature of what you’ve just heard.
Overall Social Suicide have turned in an album that ramps up the pace for any other hardcore/metal band who may wish to release an album this year. Aggressive, intelligent and never short of unusual and innovative ideas, it sounds amazingly fresh and it never outstays its welcome – a remarkable achievement in today’s overcrowded music market. This is an excellent, heavy and interesting record that will appeal to punks and metal heads alike and will be guaranteed to get any evening going with a bang. Thoroughly recommended.
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