No Symmetry...Only Disillusion

Anmeldt av Eddie Rattlehead
(Seeing Red Records, 2020)

Karakter: 5/6

FalseGods_NoSymmetry...OnlyDisillusion.jpg Few bands can boast of invention in the post-hardcore/sludge metal scene. Arguably, latter Prong and early Mastodon had sealed the deal long before it was even called a contest so chances are we're dealing with more or less of a derivative. Having said that, the New Yorkers False Gods (who remind me of the now defunct Dog Faced Gods not just in name) may be onto something new and fairly unique with their debut album, the fruit of 3 preceding independently released EPs: "Wasteland" (2016), "Reports From Oblivion" (2017) and "The Serpent And The Ladder" (2019). For one thing, False Gods are distinctly memorable and catchy, even hit-like, for another, they are oppressively emotional beyond the call and this exaggeration is another aspect which makes them attractive to these ears. Finally, none of the tracks try too hard to be progressive, a huge relief in this genre.

The band has kept a pretty consistent lineup for 3 years with the core trio: Burning Human vocalist Mike Stack, guitarist Greg March and drummer Paulie Stack (Mike's brother?) intact and only the founding bassist Brian "Bro Town" Krasinkey was exchanged for Mike Capobianco (2017) and the latter relieved by Johnny Geirak (2019-although there is no certainty Capobianco is gone for good). In 2019, besides Geirak, False Gods was reinforced with a second guitarist in the person of Locus Mortis drummer and guitarist, Nick Lousi. Additionally, Colin James Marston (Defeated Sanity, Gorguts, Alphaville) was set to produce and Alan Douches (All Shall Perish, Alkaloid, Hate Eternal) to master the debut album and "No Symmetry...Only Delusion" saw the release on October 16th.

While the early Mastodonish opener, "Enemy Territory" fails to particularly engage me, the excellent "Stay Frosty", with its highly "Cleansing" Prongian memorable opening and leading riff, a Hendrix-style solo and a very "The Burning Red" Machine Headian second movement gets my blood pumping, especially when I consider the subject matter, that is, all those internet "fake newscasters" enamoured with ridiculous and unfounded conspiracy theories possessed by confirmation bias. Rightly am I excited for "I Know Too Much" is even better, even more steeped in "The Burning Red" stylings and surprising with an extremely danceable leading riff-melody, and I mean I found myself involuntarily swinging to it waiting for a bus in the sub zero degree weather, so that should tell you something. For the above reasons it is my favorite track, but the remaining 3 tracks (I don't count the pointless instrumental "Call Of The Neanderthal") all deserve a solid 5 each, one for Obituaryish or Asphyxian deathly doom (All That's Left Behind), another for reminding me of Will Haven and offering another memorable riff, and, finally, for closing on a very melodic, desperate and hopeless/hopeful note recalling as much Ulcerate as Crowbar and "The Blackening" Machine Head graced with David Howell "The Edge" Evans-style guitar fills and a conclusion worthy of Metallica's "Master Of Puppets" (An Eternity Of Failure).

False Gods debut is fun for the whole family but only if your family enjoys all of the above. The album bodes well for the New Yorkers' future if they can keep it, but it does have a little fat to trim and a couple of substandard tracks mentioned above. Other than that sink your ears into it.


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