ALBUM REVIEW: Late Eternity – Skywalker

Prague-based quartet, SKYWALKER, are to release their new album, Late Eternity, this week. This album marks a milestone for the band, being their first to be released on a record label, Pale Chord. The post-hardcore sound SKYWALKER has created in their previous self releases has gained them notoriety, and this new album is no exception.

The first track on the album, No Leader, starts off with a thought provoking intro on the topic of not being accepted. The band has said this album is about whether or not we should “go it alone” or accept help from other people. This topic is prevalent, especially at this time, as many people are feeling a sense of loneliness and helplessness. From this effective intro, the song drops into some fast paced drums and guitar riffs. The powerful vocals of Jay Kucera then make a grand entrance, really pushing the meaning of the song into the spotlight. The mix of the clean backing vocals and uncleans used throughout this track add a nice dimension, and add to the catchy element most SKYWALKER songs have. We are finally gifted with a strong breakdown that rounds of the track very well.

One of the earlier singles off of the album, Ignis, which came out in 2019, further exemplifies the memorable element SKYWALKER songs just seem to have. This more melodic track opens up with a strong riff backed up with some electronic synth sounds. Some calming vocals then lead us into the first verse, then replaced with more of Kucera’s harsher tones. These flow really well into the clean, super catchy chorus, which includes some great drum beats from Damian Kucera. Most metal fans love a drop/breakdown, and this song does not disappoint including a change up in the pace of the song, and some more aggressive vocals which really pack a punch. The contrast the ending melodic vocals and backing vocals give this particular track creates a lot of depth and makes it enjoyable to listen to.

Charon’s Song follows, giving us some super cool guitar and bass riffs from David Machalicky and Tom Rothschild. Clean vocals then dramatically drop into a more intense chorus, creating a nice contrast. There are electronic synth elements in the majority of tracks on this release, which are nice to here as they give the songs a different feel from SKWALKER’s previous releases. In a lot of post-hardcore and metalcore tracks, chorus’ tend to be clean sections after an unclean verse, but in this particular song the band has flipped this around, a cool change that you may not expect to see.  The band delivers another crushing breakdown at end of this song, sounding as if you had been dropped into a jam session made up of enjoyable riffs and beats.

One of the softer songs on the album, Justify Me, opens with almost 80s sounding synth, layered with a calming guitar riff and light vocals. A metronome sound plays through the first verse of the song, an interesting idea that gives the song another element of depth. The general melody of the song is really pleasing, giving us another catchy tune to add to the collection. However, it wouldn’t be right if there wasn’t a breakdown, even in one of the softer songs of this release. The heartfelt lyricism in the tracks makes it clear how much the theme of the album means to the band, adding passion, and results in no filler songs.

The hard hitting intro to Sand God creates a massive impact, contrasting to the clean verse. This song is a great example of how SKYWALKER is able to successfully blend softer sections with heavier vocals, riffs and drums seamlessly. At no point in the album is this transition jarring, but rather the opposite, as the release flows very well. The growls we are given in this song reinforce the impact it has, resulting in a well-rounded tune.

Overall, Late Eternity by SKYWALKER is full of catchy choruses and dynamic tunes, accompanied by heartfelt and passionate lyrics. The blend between softer and heavier sections has been produced very effectively, making for a truly enjoyable release.

Rating: 9/10

Late Eternity is set for release on February 19th via Pale Chord. 

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