May 10, 2019 | doors at 7:30pm
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Triple Ds presents:
Soft Kill | Wiegedood | Portrayal of Guilt
  • $20
  • $25
With 2018’s D evouring Radiant Light (“DRL”), Skeletonwitch have succeeded where
many bands have failed: they have reformulated their sound mid-career with
dizzyingly triumphant results. Since the band’s inception, they have been known for
blending and bending metal subgenres. Their collective love of Judas Priest,
classic-era Metallica and Immortal has always been worn on their sleeves. However,
it’s the band’s blacker leanings that have shifted to the forefront and altered the
tenor of the through line on this latest offering.
Grasping the blackened thread of “White Light” that first appeared on their 2016 EP,
The Apothic Gloom (the band’s first recording with vocalist Adam Clemans),
Skeletonwitch has emerged with the eight-song, searing, soaring, burning statement
of purpose. D RL demonstrates a band coalescing both compositionally and
conceptually. Three of the eight tracks on D RL hover near the seven minute mark
and a fourth nearly reaches nine minutes. D RL is a band cultivating new ambition.
While black metal has always been a recognizable component of the Skeletonwitch
sound, D RL sees the band leaning all the way in with epic results. Where
Skeletonwitch previously ran its output through a Second Wave Black Metal filter,
DRL incorporates a strong atmospheric influence. B ergtatt -era Ulver and Cascadian
black metal influences are on full display. From ethereal intros to tremolo sky-ride
leads, D RL is draped with and adorned in black metal’s lexicon. But the expansion of
influence does not stop there.
Nathan Garnette and Scott Hedrick are still co-captaining the dual-guitar
stratospheric charge but they’ve dramatically expanded their palette. Celestial
crunch that evokes post-metal pioneers, Isis? Check. Gothic doom passages à la
Paradise Lost? Check. High-flying Åkerfeldt-ian solos slingshotting over mountains of
undulating progressive rhythms? Check. The foundation for this sonic structure is the
effortless bass work of Evan Linger who possesses some of the strongest 4-string
chops of any player in heavy music. Providing requisite room for the guitar
maelstrom, Linger arrives with dazzling yet tasteful runs in just the right places.
And then there’s vocalist Adam Clemans. Equal parts Tompa Lindberg fury and Jacob
Bannon punk rage, Clemans’ creative intensity and sense of purpose fueled the
band’s new musical trajectory. His organic writing lends the band gravitas and his
vocal performance is nothing short of heroic.
Like the previous full-length, this album, the band’s first full-length in five years, was
recorded by Converge guitarist and engineering deity Kurt Ballou (High on Fire,
Kvelertak, Chelsea Wolfe) at GodCity Studio in Salem, Massachusetts. The band’s
rapport with Ballou provided the familiarity necessary to embrace uncharted creative
territory. Melodeath genre architect Fredrik Nordström (Opeth, At the Gates) mixed
the album at Studio Fredman in Gothenburg, Sweden. The record was mastered by
Brad Boatright of metallic hardcore greats From Ashes Rise at Audiosiege Engineering
in Portland, Oregon.
Soft Kill
Portland Oregon’s Soft Kill, ripped through 2016 with their first release on Profound Lore Records “Choke”. Once more bringing their unique blend of guitar driven sad rock, they are laced with a pop sensibility and flawless songwriting that seamlessly transcends post punk. Soft Kill have matured into a powerhouse, having released what is considered a new classic in the genre An Open Door in 2010, they are now effortlessly redefining it. As always with frontman Tobias Grave’s powerful, raw emotional storytelling, and guitar work by Conrad Vollmer, along with Owen Glendower on bass. Soft Kill write songs about loss, battles with drug addiction, the many tragedies that come from that life and the empty space suspended between mourning and celebration