Taking grooves and turning them into living, driving, and compulsive entities is the trademark of Brooklyn metallers Goes Cube. They did it with previous album “Another Day Has Passed” and have continued the pattern on new album “In Tides And Drift” released via The End Records, infusing it with a heavier and harder feel. For all the darker intensity, the melodies and creativity are still there lurking and bursting out from behind the wall of noise.
The trio of David Obuchowski (guitar, vocals), Matt Tyson (bass guitar, backing vocals), and Kenny Appell (drums), create a sonic storm of sludge metal that has been impregnated with seeds of punk, hardcore, and varied other spices. The result is a sound more accessible than most bands that take the same highway of sound but it still keeps their ferocity of unrelenting power oncoming.
From the opening track ‘Safety Coffin’ the onslaught is never slackened or is the listener excused at any part from the harsh intensity. The first song is the brief but punishing welcoming announcement and portal into the album, and the acknowledgement of what is to follow which is swiftly backed up by ‘Thunderheads’. Both are chaotic, intense and unforgiving.
Riffs reign supreme throughout “In Tides And Drift”, each track laden full with them and addictive hooks of varying degrees. ‘Property’ has them at their best as does the following ‘Year Of The Human’; it is hard to resist a riff that growls and grinds incessantly as it burns up the speakers. The second of the two songs does change tact midway, lowering the pace with a break down that just about works, thanks to the vocals of Obuchowski.
Amongst many of the fine things on the release is the inclusion of guest vocals from folk singer Jaymay on the tracks ‘The Home Of’ and the closing title song ‘In Tides And Drift’. She brings a haunting wonderful counter and compliment to Obuchowski and the heavier moments of sound she flows against on both tracks. On the latter of the two she is stunning and almost helps the song take the honours as the best moment on the album, but not quite.
That accolade goes to ‘Small Pond, Small Fish’, two minutes of creativity, exploding drums, driving basslines and eagerly meandering guitars, and the following track ‘Lines On The Map’. That gem starts with a gothic like sound especially in the vocals recalling Sex Gang Children before erupting with aggression and power then switching back between both elements.
Behind all the avalanche of noise and power Goes Cube bring in some well thought out parts not going for the obvious hooks to entice people that many bands resort to when lacking ideas. Sometimes these smart items get lost a little behind the blocks of sound but with a little closer listening are always found there. The trio of tracks which make up a kind of trilogy show as well as any tracks on the album the writing skills. Going under the name ‘The Story Is The Story…’ with subsequent title ends of ‘Begins’, ‘Goes’, and ‘Ends’, the three parts range from a Red Fang type sound in the first part, though a Tombs flavoured second to return to the firsts’ sound with a more melodic throbbing element.
There is so much going on it is an album everyone should go and delve deeply into. The incessant intensity may not be for everyone but if real metal laced with that venom called melody is your poison there have not been many finer ports of call this year so far.