ALBUM REVIEW: Truth Killer – Sevendust
Everyone wants to know the secret to a band’s longevity. How does a band stay successful over a prolonged period of time? It’s the willingness to evolve whilst sustaining that which made you popular. A difficult duality, especially within the rock and metal spheres, but it can be done. Case in point: SEVENDUST’s Truth Killer – 12 tracks of pure SEVENDUST, with a little something to spice things up.
The salacious tingle begins with I Might Let The Devil Win – a deceiving number to open a record with. Percussion simmers beneath the haunting vocals of Lajon Witherspoon. There’s no big chorus drop, but that would be somewhat predictable. What we have instead is a slow burn which consumes the reveries of the mind. Each iteration of “please oh no, don’t come around” comes with small increments of hysteria. Atmospherics subtly build into the breathtaking spike of “I’m waiting for life” and the crack in the façade which fuels a sublimely constructed aural manifestation of desperation.
The abrasiveness of the SEVENDUST we all know and love makes an entrance with the title track. While Clint Lowery (lead guitar/programming) makes a point of bringing a touch of NINE INCH NAILS to the party, the band which wants us to “hold me like water” return to their roots with distinct chugs and angular riffs. The momentum is well and truly rolling until the slower melodic chorus. It’s not killed entirely, just slightly restrained. But SEVENDUST are quick to pick things up again into an incendiary track against society. The fire rages on with Won’t Stop The Bleeding; Morgan Rose (drums) proves a powerhouse behind the kit, being the driving force behind the knife plunged in the back, yet the track turns introspective and becomes the typical SEVENDUST fare about overcoming that which consumes you. Sat against the broiling chug, adrenaline surges into a breakdown reminiscent of the band’s classic Decay.
Those looking for a sonically heavy SEVENDUST record will find it with Truth Killer, although their perception of heaviness will be challenged. Everything may have motivational speech flowing through its veins and some will see that as a negative point, but guitars mimic the flares of the desire to be better. John Connolly’s (rhythm guitar) fretwork dwelling in the lower tones bubbles over much like the temper of those needing to escape toxicity. The cry of “let go of me” rips through the soul and it’s this effect which makes the record heavy. No Revolution will sate the itch for something with a little more edge with crunchy guitars heralding the drums of war. Vince Hornsby’s bass slide into the second chorus is a divine touch. While the track does slow to allow for a melodic chorus, allowing it to idle slightly, the makeshift bridge into the closing chorus will strike a chord with those who “feel nothing now”.
Sick Mouth comes with a slug of a chunky riff. It commands attention. Instrumentals ensnare us and fade out for Witherspoon’s layered vocals. Rather than an all-out attack on those who have the titular affliction, there’s a restraint which impacts far more. “I’ve got you all figured out” breeds the ball of hot bile in the chest. For those in the position of Witherspoon, the realisation leaves us with the crestfallen “I blame myself and now I’m practically dead”. It is arguably one of the best tracks of the album, though the absence of a drop after the growled “no prayer for the guilty” has us slightly disappointed. The crushing single Holy Water more than makes up for it with its minimalist electronic verses and rip-tide choruses. A nice touch comes from the subtle keys in the second verse which are there if you’re listening for them. They’re also a segue into perhaps the most brutal track on the record.
Leave Hell Behind’s keys haunt the mind with snapping of the synapses coming with a swell of textural electronics. Light guitars sweep in with Witherspoon’s billowing voice and it’s here our attention piques. “The past still haunts me but now I’m letting go” is gorgeous in its simplicity which hits harder when followed by the drop into a fuller guitar sound. Ballad, yes, but it still carries the SEVENDUST edge of old. “I’m sick with your disease” cuts to the bone in an anthem suited for a live arena full of similarly experienced souls. Not a band to dwell in the moment, Superficial Drug turns the subject outward once more in an attack on the dangers of seeking validation through social media. Hornsby’s bass dominates the soundscape for a blistering commentary lined with “I always fall for the colourful lies”. Social media is the sweetest lie yet the most bitter truth as it reminds us “the real words hurt the most”. Is it as visceral as it could have been? Perhaps not, but the bounce contained in the riffs and spaced out choruses carry a certain charm.
“We’re just the passengers living our arrogant lives” states Messenger – another synth laden yet minimalist track in its inception. Witherspoon comes through a touch loud within the mix, but the ear listening beyond will be treated to a delicious chug in the instrumental while the second verse feels light and airy. Those are two words we wouldn’t have expected to associate with SEVENDUST, however this is a band with a mission to evolve and they have done just that. By incorporating these metalcore or industrial elements, Truth Killer brings SEVENDUST to the next level which doesn’t always contain balls to the wall heaviness. While one side of the coin heralds evolution, Love And Hate carries SEVENDUST’s core. A beautiful grind on the guitar ushers in a churning riff which simply sizzles, though what throws us somewhat is the mellow verse. As we’ve mentioned before, momentum isn’t killed altogether, it’s merely an example of SEVENDUST perhaps needing to lean further in. This does come later on in the track as the layering guidance of “Seek Heaven” paves the way for what can only be described as a disgusting riff and perhaps SEVENDUST’s finest moment.
We mentioned at the top of the review SEVENDUST blend the old with the new. With tracks such as the closing Fence, the evidence is there in abundance. This is a band baring their sharpest fangs while sinking their teeth into something new. As we’ve said previously, some of the band’s best moments to date are contained within Truth Killer. The album begins where Blood And Stone (2020) left off and sees them step into themselves and up to the next level. Truth Killer breeds a different animal within SEVENDUST and it is one we have been dying to see. With tempered rage and still water moments, it is truly SEVENDUST’s evolution complete.
Rating: 8/10
Truth Killer is out now via Napalm Records.
Like SEVENDUST on Facebook.