ALBUM REVIEW: Matriphagy – Tallah

Put on your baggy jeans, attach your wallet chain and grab your skateboard as we’re being transported back to a time where a bloke in a red cap and nine dudes with masks ruled the metal scene. That’s right nu metal is back! While that statement may be met with some unnecessary groans, just wait until you’ve given the Pennsylvanian quartet TALLAH a listen. After a number of EPs, the boys are here with their debut full-length record out via Earache Records.

From the eerie opening moments of [redacted], you will be worrying where in the world this is going. That is until No One Should Read This explodes with a dirty riff that is full of bounce and aggression. Straight away the listener will be hit with vibes of early KORN with the frenetic energy of self-titled era SLIPKNOT. Kungan carries on the unpredictable craziness with its creepy verses and livewire riffing. Finishing with a seismic breakdown which will no doubt destroy bodies in any festival pit. It’s down-tuned to hell and fans of these kinds of brooding beatdowns will be incredibly satisfied.  

While TALLAH obviously wears their influences on their sleeves, they do have two secret weapons that are key to them expanding going forward. Not taking away anything from the other members of the band who play their roles perfectly, but the frenetic vocalist Justin Bonitz and drummer Max Portnoy really shine here. Justin’s schizophrenic vocal abilities are impressive and immediately infectious. He bounces from subtle and vulnerable to outright psychotic at the push of a button which leads to some unexpected twist and turns. Max Portnoy (son of ex-DREAM THEATER’s Mike) has a similar energy to that of a young Joey Jordison which some impressive fills and real aggression towards the kit that fits the volatile demeanour of the album content.

Speaking of album content, the concept is the stuff of nightmares. The story of the album follows a lad named Kungan as he is mentally and psychically abused by his psychologically ill mother whom he cares for throughout the 13 tracks. It’s not for the faint-hearted but it is an interesting albeit disturbing concept nonetheless. The track Placenta sees the relationship with Kungan’s mother fully realised and it’s hard-hitting and brutally told by the band. Album highlight L.E.D sees the band at full nu-core with a mix of turntable scratches and riff breaks that provide some of the most headbang worthy moments of the record. It also features one of the heaviest breakdowns to end the track in spectacular and destructive fashion.

Justin’s more melodic vocals take more of the spotlight in tracks The Silo and We, The Sad showing off his ability to not only be a terrific screamer but can also belt out the melodic notes when the time calls for them. He displays so much personality within his vocals that it’s hard to not be intrigued by them.  These two tracks show the band with a little more reserve and structure which allows them to be more than just break downs and frantic riffs. The bass is particularly noticeable on these tracks with its deep-seated low end rumbling underneath.

If it’s the heavier tracks that have piqued your interest more, however, look no further than the erratic Cottonmouth or the ear-shattering album closer Red Light. Both are insanely heavy and feature some of the most deranged and bonkers moments on Matriphagy.

TALLAH takes nu-metal to gruesome new heights on Matriphagy with its unsettling lyrical themes and crushing breakdowns. While there’s nothing groundbreaking on show, TALLAH has taken what was exciting about the genre many years ago and gives it a fresh lick of paint. The vocals of Justin Bonitz being a real highlight pairing up well with the promising talent of young Max Portnoy. The band has a very exciting future ahead of them and Matriphagy stands as an impressive and intense debut album.  

Rating: 8/10

Matriphagy is set for release on October 2nd via Earache Records.

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