ALBUM REVIEW: The Red River – AntiMozdeBeast
Gabriel Palacio is the mastermind behind ANTIMOZDEBEAST. Describing the band as ‘a solo harsh industrial metal artist’, they are due to release their third album, The Red River. This is following the success of The Crossroads EP, released early this year. Crediting MARILYN MANSON, ROB ZOMBIE and NINE INCH NAILS amongst many other influences and with two albums under their belt already, will the band continue their success a third time?
Plagues of the Afterlife is the first song to kick off the album and despite its length of eight minutes and thirteen seconds, the song is very layered. It starts off with a electronic beat that sounds straight out of 2010s metalcore scene. The vocals are shouted spoken word, which is unique, due to the fact that the spoken word is not essential to the song. Wit the electronic beat carrying the song, it makes for a strong and memorable opener.
The Fallen Saint is a lot shorter, and sounds more frantic. The electronic beat is faster and the spoken word is the same shouted monotone voice. This creates a juxtaposition that should not work, but it does. This is due to the expert production. The production on the record so far makes everything work. The pacing is not affected, and the transitions between songs are very smooth.
Institutions and Prisms comes up next. Whilst sounding like an EDM track, it, however, does not sound out of place on the album. As the beat increases, the spoken word vocals become more intense, createing a frenzied atmosphere that would work excellently in a live setting. Do not let the simple and barren album cover fool audiences; this album is full of layers and surprises waiting at every turn.
Mid-way song The Stitch upon Death’s Heel is the boldest song on the album yet. The electronic beat takes a back seat as the vocals take centre stage. This is slightly unfortunate as the song feels empty without the electronic beat, due to the vocals not being easy to hear due to the production. Pacing-wise, the song is not affecting the overall flow of the album, but it is not as memorable as what has come before it.
Thankfully, The Pentagram of a Thief gets the album back on track. Despite at first sounding like a song that could sit comfortably on an album by THE PRODIGY, the song finds its wings as it continues. The electronic beat definitely helps the song. This is because it has something to engage the listener in and concentrate on. Interluding track, Lucifer Disguised As Christ is as unique as its title. The train track rhythm of the song keeps the song chugging along but it is not the most exciting song on the album, due to the simplicity of the song. Its beat never changes throughout and nor do the vocals. Despite it not affecting the pacing of the album, it is unmemorable and a disappointing number here.
The final two songs, Isolation and Judas Complex, have interesting titles. Unfortunately, that is all that is interesting about them. This is due to the formula of the electronic beat and distorted spoken word. It worked during the album’s earlier moments, but now, it just feels a little tedious.
Despite it becoming lethargic towards the end, the majority of this album is strong. The unique style of music that does not fit one genre, ANTIMOZDEBEAST are at their best when they have a consistent rhythm behind them. However, considering that it is only one man behind the project, it is a good start for someone who is just starting out. Hopefully ANTIMOZDEBEAST will continue to grow on their next record.
Rating: 6/10
The Red River is out now via self-release.
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