ALBUM REVIEW: The Silence – Feed The Rhino

After blazing a trail and going from strength to strength for numerous years the world was saddened to hear the announcement of FEED THE RHINO‘s hiatus at the back end of 2015 citing that they needed some time to focus on their personal lives. This came as a shock to many after releasing the video for new track Featherweight (being one of the first videos to take advantage of YouTube’s 360 degree viewing angle’s) mere months before but the rock and metal world was relieved to hear recently that their return was imminent and a new album was on the horizon. The question on everyone’s lips however was would their hiatus be detrimental to the massive momentum they had gained up to this point?

Timewave Zero begins with a very subtle floating riff with accompanying voiceovers and a suspenseful electronic beat before headbutting you right in the face with a signature huge riff and that unmistakable swagger that FEED THE RHINO have become renowned for incorporating a scathing vocal barrage injected with pure venom courtesy of talismanic frontman Lee Tobin. Interwoven amongst the unfurling chaos the melodic undertones that served the band so well shine through and it doesn’t take long to forgive the quintet for abruptly leaving a huge hole in the UK’s hardcore scene. Heedless follows suit with more vicious screams and adrenaline ridden guitar work taking minimal time for the band to slot right back into their groove topping it off with an infectious sing along chorus.

Losing Ground takes a more chilled, atmospheric approach allowing you to lose yourself in the warm embrace of the endearing chorus lines providing one of the most memorable catchy songs FEED THE RHINO have to offer. 68 feels like having a baseball bat wrapped around your skull in comparison, soaked in bass heavy punchy riffing to get your blood pumping whilst still utilising the assistance of captivating melodic harmonies.

All Work And No Play Makes Jack A Dull Boy ups the ante with gritty barrages of rage, further instances of skin searing vocals and a breakdown with the seismic capacity to level a few city blocks. Yellow and Green leads a steadier pace which isn’t quite as frantic but still just as potent, throwing yet another huge chorus into the fold followed by Nerve Of A Sinister Killer launches so much groove at you that it would make LIMP BIZKIT in their prime start to blush. The combination of ballsy guitar work and clinical drumming provide a particularly noteworthy highlight.

Fences is perfect single material, piled high with emotionally charged riffing and one of the most contagious sing alongs you’ll hear this year. The solemn subtle tones of The Silence briefly wind down the tempo whilst periodically sneak attacking you with feverish bursts of energy to keep you on your toes.

Just when you thought this consistent assault was nearing the closing stages FEED THE RHINO keep bringing out the heavy artillery, this time in the form of the disjointed yet punchy, bass saturated tones of Lost In Proximity keeping the level of intensity at a constant high before wrapping proceedings up with a song which should be no stranger to previous acquaintances in the utterly bludgeoning Featherweight. The decision to leave this until last is relatively confusing as it would have been the perfect opener to get the juices reinvigorated with some familiar territory, like watching the recap segment of your favourite returning TV series. Nonetheless it is still a huge exclamation point to put themselves back on the map and put the rest of the scene on notice.

Not that it was ever in any doubt when you look at their impeccably faultless back catalogue but FEED THE RHINO have returned to reclaim their throne with a vengeance, feeling like they never took the foot off the accelerator for a mere second. The intensity never waivers and the thought of them unleashing the songs provided within The Silence alongside their already existing arsenal on their welcomed return to the live circuit is spine tingling.

Rating: 9/10

The Silence is set for release on February 16th via Century Media Records.

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