Blindspott's fans have spoken, giving the nod to the band's latest, End the Silence.
Blindspott's fans have spoken, giving the nod to the band's latest, End the Silence.
Herald rating: * * * *
There's an atmospheric thread writhing through Blindspott's second album. It ripples into existence on opener, 1975, and never relents. It's the first sign of a more mature sound, and proof that these lads from West Auckland have grown up.
It was always going tobe hard to follow up their multi-platinum, self-titled debut from 2002. And considering it's been a while, it could have proved even more difficult to retain their fan base. But this week, End the Silence debuted at number one ahead of bands such as the Chili Peppers, Tool and Pearl Jam, who also released new albums recently.
So, the fans have spoken.
But what about the album? Early on, the band were lumped in with nu metal acts like Linkin Park.
This time round, with the help of Swedish producers, Pelle Henricsson and Eskil Lovstrom (Poison the Well and Cult of Luna), Blindspott have moved on and come up with a beautifully heavy and at times extreme album.
On tracks such as current single, Drown, and Coma, the deathly, down-tuned riffs of bass and guitars smash into the song with power and grit. And new bass player Dave McDermott could pluck reinforced concrete girders with those powerful finger tips. He's solid, mate.
This is a band attacking their instruments and they're not just playing them for kicks anymore.
And while that menacing, atmospheric vibe permeates almost everything, the band never give up their love of a good tune, as album highlight For This Love shows.
Then, to add another dimension, there's the reflective, almost Cocteau Twins-like moments of Face Down (featuring vocals by Henricsson's two daughters, Fanny and Klara) and Lull (with Anika Moa).
Initially, End the Silence is not as engaging as the band's debut. But it takes time, and its best quality is its timelessness.
