ALBUM REVIEW: Relentless – Empyre
There’s something rather unique about Northampton’s EMPYRE. While their music could be loosely categorised as alternative rock, thanks to the moody and melodic songwriting that sits at the forefront of their latest release, that would be to oversimplify them. It’s clear that this is a group of accomplished musicians and their predilections stretch further than just alt rock, tapping into elements of modern metal and ambient post-rock to create something best described as ‘rich’. Their latest release, Relentless, is musically dense with layer upon layer to unpick over repeated listens. And yet, despite the density, each instrument shines with clarity rather than becoming part of a wider audial mush. But these sonic textures, as captivating as they are, are only dressing – the songwriting itself can feel a bit less distinct, with Relentless getting off to a slightly uneven start.
The opening title track sees EMPYRE showing a lot of their hand early on, with good results. Opening with a powerful and soulful vocal from singer Henrik Steenholdt, Relentless drifts from melancholy buzzing to staccato metal riffs naturally. And while the song’s overwrought nature starts to wear a little thin by its end, the instrumental building keeps things interesting. Follow up Waking Light, a ballad with bite, slows things down almost immediately however. Drenched in a fascinatingly thick wall of atmospheric reverb, the song feels like ALTER BRIDGE channelled through a film soundtrack. But the song never quite finds its gear, straddling a line between euphoric and dreary for much of its running time.
However, it’s Parasites that feels like the biggest bump in the album’s first half. Leaning heavily on a post-rock atmosphere in its verses, adorned by low rumbling choirs and lilting guitars, it doesn’t take long for the track to start to feel like a bit of a slog. It’s saved by an unexpectedly riffy middle section however, as twisting, turning guitars inject some much-needed energy into an otherwise bleary track.
It’s not really until we hit the middle of Relentless that things seem to shift significantly, most notably with Hit And Run. The track is probably the closest thing EMPYRE have to a power ballad. Its bright and dreamy electric guitar rhythms are paired with angelic synths to create a cloudy bedding for a genuinely emotive and heartfelt performance from Steenholdt. The off-beat drums in the background stop the track from become too staid, before it eventually erupts into a moving chorus.
With that, Relentless suddenly hits its stride. Forget Me’s dramatic rhythms offset lilting guitar lines to create something subtler and haunting. Follower Silence Screaming provides another highlight; beautifully delicate, dancing guitar lines with just a hint of INTERVALS-esque fusion provide a wistful groove and backdrop to a strong vocal melody, before the whole song shifts into a sinking, heavy chorus. Wrapping up with an unexpectedly neoclassical guitar solo, Silence Screaming again shows what EMPYRE can really do. Road To Nowhere picks up the baton afterwards, building around a pounding, ascending guitar riff in to a belter of a chorus too. It’s not all smooth sailing from this point on (penultimate track Quiet Commotion drones on past its welcome, for instance), but it is a marked about turn for sure.
Taken as a whole, Relentless is slightly confusing. EMPYRE have invested a lot of time in crafting and honing a particular sound, one saturated in carefully layered reverb and emotional intensity. However, in mining that territory on Relentless, a number of the songs start to blur into one another – it’s a bit of a false start for the album. When EMPYRE start to vary things up slightly, Relentless becomes a joy to listen to. Even if it takes the band a little bit of time to find their footing, Relentless is worth the price of entry for the highs alone.
Rating: 7/10
Relentless is set for release on March 31st via Kscope.
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