ALBUM REVIEW: Delta – Thot

It has been seven years since the world was last treated to a full LP from THOT. With songwriter and creative mastermind Grégoire Fray at their core, alongside a fresh line-up of talented musicians, the Belgian-based outfit have continued to push their industrial post-rock style further into unknown territories on their fourth record, Delta.

The recording process behind Delta was far from easy; writing originally commenced in 2019, but in 2020, following creative differences that weren’t easily resolved thanks to social distancing, this iteration was scrapped. Fray was faced with a crisis of faith in himself; what role do artists fulfil in a global catastrophe, and why was his art so divorced from his cultural identity?

This formed a catalyst behind the creative process of rebuilding Delta. Across the span of this record, the listener is taken on a sonic journey packed with densely layered synths, immense distorted guitar passages, and multi-language melodies. Choral arrangements from Belgian women’s choir Le Mystère des Voix Bulgares collide with thunderous bass lines and gritty rock vocals. It’s a whirlwind of ideas that somehow manages to flow brilliantly, maintaining cohesion and power.

From the snaking bass loop of the opening track Euphrate, to the glittering Jean Michel-Jarre styled synths of Sleep Oddity, THOT endeavour to ensure that their atmospheric and grandiose post-rock sound remains engaging and substantial. Behind every lengthy wall of avant-garde guitars and soaring vocals is a snappy bass line or earth-shaking percussion, giving the listener something to hold onto as the band hurtle through immense soundscapes.

Vocals alternate between English and French, as Fray delves deeper into his cultural identity; despite the language barrier, his performance remains impactful throughout, carried by an intensity and passion that adds real drama to the already somewhat theatrical stylings of the record. On top of this, Fray is frequently accompanied by the ethereal vocal presence of bandmate Juliette Mauduit, whose sombre higher register perfectly embellishes the tracks she appears on with an air of mystique; the emotions within this record may be grounded in deeply human experiences, but the character of it is far removed from normality.

The only major blemish on the record is the eight-minute monolith that is Hüzün. Whilst the track has some cool ideas, truly leaning into the more cinematic aspects of THOT’s sound with echoing vocal chants and drawn out guitar passages, it simply goes on for far too long, lacking enough depth of ideas to warrant such a lengthy runtime. Certainly the musicianship is well-executed, but the ideas the song presents end up being sucked dry of any real impact.

However, any doubts that the record could be derailed are swept away as it reaches a commanding resolution. Supercluster is a driving and passionate number that acts as a reminder of the joy in existence, whilst Morning Waltz is one final rapturous burst of energy marked by some of the album’s finest and most catchy percussion. All of this is wrapped up beautifully with the sparse, piano-decorated ambience of Estuaire.

Too often do post-rock records end up becoming overwrought, bloated messes lost in their own ambition. On Delta, THOT have expertly avoided this, and produced an album that is ambitious and inventive, yet wonderfully accessible and engaging, culminating in an experience that is rewarding for long time post-rock enthusiasts, and perfect for newcomers. An impressive feat of musicianship and determination.

Rating: 8/10

Delta is out now via Pelagic Records.

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