ALBUM REVIEW: Ruin – Foretoken

The phrase ‘less is more’ is certainly a cliché and doesn’t apply to every metal band, and especially most melodic death metal bands. Often times it’s the layers of technical and intricate guitar work combined with layers of synths and vocal effects that separate these bands from the pack. In the case of Prosthetic Records’ newly signed melodeath duo FORETOKEN, their debut album Ruin could have heeded that cliché a little more than it does.

That is not to say that this band isn’t comprised of talent, as vocalist Dan Cooley and guitarist Steve Redmond certainly have chops in spades that make their presence known throughout the runtime. However, it’s the way that technicality is mixed and how all the elements are blended together that ends up diminishing the album’s shine in the end. Though the album really does a good job at capturing the essence of multiple sub-genres of extreme metal in an artful and melodic way, the individual components cause the product as a whole to suffer a bit.

It should be noted that the duo recruited TRIPTYKON drummer Hannes Grossmann was recruited for drums on this album, and this band makes a statement right from the start of the opening track Bewildering Duress. Absolutely furious drumming opens the record up in total chaos, which certainly feels apropos in an album filled with myths and stories about tragedy from across the world. Cooley’s voice is immediately a standout, with his screams sharp and pointed like a dagger cutting through the background. There’s definitely a blackened tinge to it. However it is that background that remains the major problem of the record. There are very prominent orchestral passages and hits on each song that drown out the lion’s share of the guitar, especially the leads, on this record. It’s unclear whether this is accidental from the mix or intentional, but either way, the songs suffer as it adds an unnecessary sense of too much going on when there’s already a lot. What is going on with the guitars sounds great, as it’s constantly moving and really adding great melodic backing.

The Retribution improves on this a bit, as the orchestra hits are more accentuated and complement the song, adding a gothic texture. This track takes on a more blood pumping, adventurous feel, and it’s a fun ride. There’s a fantastic drop out and kick in half way through followed by a chugging riff that demonstrates that when the band takes time to slow down and simplify, the intensity and clarity increase tenfold. A Deathless Prison has an ominous clean opening with strings that set a nice mood with interesting melodic exploration. It’s the first of a few times the band uses middle eastern-esque soundscapes that feel like they belong in a Ridley Scott movie like Kingdom of Heaven. Cooley’s piercing vocal tone is again a standout on this song, and the track’s return to a clean guitar and string passages again capture the epic soundtrack nature of the song. The chanted harsh whisper section also sounds great, as the vocals absolutely take the prize on this song, as most of the instrumental virtuosity gets buried once again.

Hamartia is another furious starter with a really great guitar solo, that unfortunately gets buried again under so much orchestra. There is, however, a clanging sound like a hammer on an anvil that gives a cool vibe to the opening. Cooley’s vocals again sound great, but Grossmann’s drumming is especially furious here, as the extreme metal side of the band really shows in the song’s construction. But once again, when FORETOKEN slows down the pace, they sound tight and focused in a way that strengthens their sound. By the time this ten minute epic winds to a close, the rest of the instruments drop out and the guitar sounds great when it moves to the forefront. Redmond is a great player with a lot to offer, and when he shines, he really shines.

His Rage Made Manifest starts with a goosebump inducing piano intro that leads to an absolutely incredible howl from Cooley. The song give the impression of a secret metal etude written by Chopin. There’s a great harmonic guitar solo, and the less cluttered nature of this track makes this track a standout. In fact, everything sounds clearer on this particular song. Closing out with more ripping guitars, this is a must listen track. Finishing with another epic, Indelibility of Iniquity the Ridley Scott soundtrack textures return, and there’s a neat riff motif to start the main thrust of the song. There’s an awesome sounding slow march chug after an orchestral buildup. Blast beats and guitar runs sound great as the song pulls into black metal territory with its melody. There’s a real feeling of dread, terror, and urgency in this track that transitions into sorrow with a cello passage. By the end, it feels like a sea beast rising from its slumber to wreak havoc on an ancient world. A fine way to end a record indeed.

FORETOKEN are a talented duo. Individually, these guys have their talents on lock. Prosthetic Records should be proud of their signing, and if they can pare things down a little and really focus their efforts on blending more simplicity and memorability to riffs and synth/orchestral passages, these guys will go far. Combine that with improved mixing and record two is one to surely look forward to.

Rating: 7/10

Ruin is set for release on September 4th via Prosthetic Records. 

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