Orphans

For the last 2 years it may have seemed a bit like The Agonist was hiding under a rock. I actively followed the band throughout this time and even I had slightly forgotten about them. Especially considering the deluge of two albums in 2 years, and the fucktons of videos that followed right after Vicky Psarakis joined the band in 2014, this hiatus may have created the impression that the band was going to slowly disappear. I don't think anybody would have expected to see them return this strong. It is the utter shock that came with the first single and album opener "In Vertigo" that shattered the slumber!

As it always was, The Agonist's music is riff driven extreme metal, with strong progressive tinges and truckloads of badassery. But "Orphans" is more. It's eclectic, refined and cohesive beyond expectation. I heard touches of black metal, theatrical tendencies, anthemic epic choruses, and the cherry on top of the cake... BREAKDOWNS! And above all, it benefits from some of the best production I've ever heard. Especially the deep echoing sound of the drums hit me in the stomach and cut my breath short when I first heard it. Creatively, the band is on a whole new level and I think they are at that point in their career where they have found true balance in their sound. It's not too much and not too little of anything and it's genuine and believable all the way through. Mega props to Danny Marino, the main songwriter of the band for this massive improvement.

While we're speaking of improvement, it's actually universal in the band. The one you can't miss is of course Vicky's vocals. Her range has expanded massively especially in the growling department (her bellows in the end of "In Vertigo" are already infamous amongst die-hard fans), and on the clean side she now has more control and sustain than ever before. Furthermore, the vocals are now worked up and layered with backing tracks, often overlapping clean and harsh into a seriously juicy cocktail. Going past the spotlight, the dual guitar work of Danny and his partner in crime axeman Paco Jobin is stellar. Paco has always been the shredder in The Agonist but his solos now have so much more ebb and flow, and help the songs sound plenty more mature. My favorite solos are in "The Gift of Silence" and "The Killing". The riff department is off course the central skeleton of the album, and that's not just because of heavy epic guitars but also because of Simon Mckay's drumming. The man is an absolute beast and a total master of grooves, breakdowns and unending buildups of energy. I still gave a hard time processing all the brilliant transitions and fills as well as the occasional blast beats. Throw in the chugged up fantastic bass lines (with some short but shocking stand-out moments) and all that's left is to start spinning hair like crazy.

With so much raw skill and potential channeled through borderless creativity, The Agonist have crafted a masterful album that is not short in surprises. Special moments definitely include the epic build-up at the end of "As One We Survive" or the theatrical style of "Mr. Cold", a song about the ghost sightings of the Mothman and the evolution of ghost stories in our lives. The one greatest surprise is definitely the war themed "Blood as My Guide" with its battle hymn chorus and the fantastic bridge sung in Greek, that almost has a traditional vibe. Probably a less popular choice of favorites is "The Killing I" but I must give it a shout-out for being probably the most extreme and fast piece, but also because it progs on a different level (riffs right after the first chorus). However what really wraps up this multidimensional package is the album closer "Burn It All Down" like coming back to roots with a pure badass short'n punchy metal track. I think I've made my case. It's incredibly hard to find fault with this album. Instead, I think it's better to urge you fellow reader to check it out in all its glory! "Orphans" is out now through Napalm Records, and it just might rip your face off!

Enjoy!

Originally written for The Metal Observer: http://www.metal-observer.com/3.o/review/the-agonist-orphans/

Orphans is the third album by The Agonist featuring new vocalist Vicky Psarakis, and it's their most creative album to date. Other artists in the genre stick to the Melodic Death Metal formula more rigidly, which leaves The Agonist relatively alone in exploring different styles to mix together.

And of those 7-8 different styles they employ, you can expect to find any 3-5 of them on any given track. This makes the album interesting and easier to listen to better than most others in the genre, but it makes it harder to digest. It is difficult to pick out any specific track which is particularly memorable. All of the songs on 'Orphans' tend to blend together if you listen in one sitting, since the high variety of styles within each track makes it harder to identify what is unique about any given track.

Blood as My Guide is my favorite example of how much a single song can shift in under 5 minutes. It's a terrific blend of fast and powerful guitar riffs, softer vocals rarely heard elsewhere on the album, ominous background voices, and growling vocals. In addition to mixing up what you're hearing, they also shift in and out of English (into Greek), alter speeds, and mix up the dynamics. Each of the styles carefully mold into the other, but if they sat on any specific style for a bit longer it might be easier to distinguish individual songs.

Overall the album is one of the most interesting listens I've heard in Melodic Death Metal. If the songs could be arranged a bit more judiciously, or if they used slightly fewer elements in each so that individual tracks could stand out as all-stars in their unique elements, I think the next The Agonist album could be a true success.

The Agonist's contemporary take on melodic death metal flirting with metalcore elements has received lots of criticism since former singer Alissa White-Gluz has left the band and joined genre veterans Arch Enemy. The band certainly hasn't deserved so much negativity since the band has found an excellent new singer, developed its own style and continued to do its thing. The thing that keeps the band away from becoming more popular might be the lack of truly impressive songs with memorable choruses and the overall messy songwriting.

Most songs include numerous interesting elements. Let's take opener ''In Vertigo'' for instance. Atmospheric backing choirs meet guttural harsh vocals and melancholic clean vocals, fast guitar solos meet chugging breakdowns and droning bridges, double bass sections meet more percussive elements and there is even a short bass guitar solo in here. The song is brilliant and offers something new to discover even after multiple spins. However, most people will just feel confused by the at times fast, messy and radical changes and transitions. The Agonist's songwriting is certainly an acquired taste.

The band sounds more accessible when it slows down a little bit and focuses on its atmospheric side. ''Mr. Cold'' might be the best example in that regard as the wonderful guitar melodies unfold best in this song and prove how skilled the musicians actually are. The clean lead vocals sound balanced, passionate and vibrant here. The drum play is employed with care and changes pace to vary intensity throughout the tune. The only thing that keeps this song away from being a single candidate is the somewhat stressful chorus that doesn't quite fit with the rest and needs some time to grow.

The highlight on this album might be title track ''Orphans'' which convinces yet again with atmospheric choirs and powerful clean lead vocals. The song is overall on the softer side without lacking progressive drum patterns and a few growls and screams. Those are however employed with care and don't bury or interrupt the overall melancholic atmosphere of this song. If you want to listen to one single song to hear whether you might like this new record or not, this one here would be the best choice.

If The Agonist slowed things down a little bit in order to write more atmospheric, balanced and structured songs, they could finally exploit their full potential that is often overheard. Orphans shows plenty of promise but many tracks include too many transitions, ideas and changes for their own good. The album needs a few spins to get listeners used to the band's unusual style. However, this record certainly is a grower. Fans of progressive metal bands like UneXpect might actually adore this band already while those who listen to bands like Arch Enemy might find this band too artsy. It's an acquired taste and a raw diamond but this album is worth giving it some time and polishing said mineral.