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3.5 out of 5 skulls
May 26, 2009 |

The Boy Will Drown Fetish

One listen to Fetish, the debut effort from this UK four piece and you’re sure to be left dizzy, angry and confused. Upon several listens, however, The Boy Will Drown prove more than just chaotic, noise mongers. Throwing everything from post-hardcore to slamming death metal to some groove orient grind into an industrial sized blender, these guys definitely impress.

On any given track, I’m reminded of The Dillinger Escape Plan, At The Drive-in or Cannibal Corpse. To keep it simple, this pack of young bloods knows how to twist and milk the most out of their instruments in a dizzying array of styles. Slamming deathcore explodes threw the speakers with calculated destruction while melodic, wretching alternative/hardcore wails the next. All I can say is, hold on to your seats.

Deep Throat
“Deep Throat” opens up Fetish with a huge series of growls/screams and technical guitar work. I’m not sure how I feel about the slapping bass throughout the song, but it doesn’t distract too much. Overall, this is one hell of an introduction to the band. Their blend of death, grind and hardcore is unique and impressive to say the least. The lighter, more melancholy end to the track showcases the band’s willingness to experiment with and expand their own core sound

Irminsul
Based on the song title, this has something to do with Germanic paganism,… or not. Either way, it’s got Dillinger Escape Planinfluences thrown into a miasma of churning grind and brutal death blows. For all it’s technical aspects, this song is also fairly straightforward in it’s singular, pummeling goal. Man, there’s so much going on in this song.

Josef Fritzl
Josef Fritzi apparently locked his daughter in their basement for 24 years. If that’s not bad enough the sick bastard had seven children with her. It’s difficult to tell what’s going on during the first few moments of this song, but it quickly subsides into a lull of somewhat droning guitars before exploding once again in a fury. It’s an interesting track.

Apollo’s Lyre
After the country-esque guitars that ended the previous track, TBWD get back down to busines with thick slabs of bass driven riffs and aggressive vocals. Layered shouts and screams add some nice depth as a bit of melody creeps into the song periodically. Again more DEP influences also make an appearance specifically during the final chorus.

Dead Girls
This is definitely one of the more impressive songs on the album. “Dead Girls” starts out violent and bludgeoning with plenty of technical flair and off-kilter tempo shifts, but after the massive breakdown around the two minute mark the songs tone changes. A melodic and melancholy approach to the song writing makes itself known after some Red Chord like vocals. The guitars are softer and emotive which is acts in vast contrast to the first half of the song.

Dance Like An Epileptic
This is the shortest track on the album coming in at only 31 seconds, but it’s also a violent, spastic ride. The song’s wavering tone mixes grind and death metal into a short, yet bludgeoning package.

Barrymore’s Pool Party
Deep growls get this next song going with technical guitar work and thick, slapping bass. The drums are rather light to begin with, but quickly take over the track with spastic energy and tempo jumps. This song is aggressive as hell, yet highly technical, neither relying on sheer power or technical prowess as a crutch, but mixing both well. The latter half of the song sees that melancholy tone come out again within the guitars.

Akura-Class
If you look at this album’s song title alone, you can get a gist of what interests this young band. From Germanic paganism to Start Trek, much like their music, the band’s tastes are all over the place, as well. This one sounds like the bastard off spring of the unholy union between DEP and The Red Chord — jazzy, technical, yet bludgeoning and violent. I love the chugging mosh at the 1:18 mark.

Elisabeth Fritzl
I can only assume that this one is the daughter’s perspective of the aforementioned Josef Fritzi horror. It starts off violently and aggressive the pummeling drums, driving riffs and in your face vocals. Luckily or unluckily, the track is but 23 seconds in length.

Suis La Luna
The album’s final track, “Suis La Luna” starts off with spastic drum work and more technical guitar wizardry before the raw vocals come in. when not jumping from tempo to tempo, there’s actually a decent groove underneath the chaos in this song.TBWD throw everything they have into this final song.

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Favorite Tracks:
All of them

Additional Notes:
N/A

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Comments

  1. maxwell says:

    what happened to the last track, the art of partying?