Post Death Soundtrack’s ‘It Will Come Out of Nowhere’ packs plenty of emotions
New album from Vancouver-based duo drops on Feb. 15
Technically, Post Death Soundtrack is labeled as a “psychedelic industrial doom duo” which, unless you’ve got a feel for any of those descriptions might not mean much to you.
To me, they’re a cross between Ministry and Nine Inch Nails with some David Bowie tendencies in several tracks present, as well. In addition to that, at least on their upcoming album “It Will Come Out of Nowhere,” their best tracks are the ones where they let the emotion out and run with it. Whether that means screaming or whispering, the tracks stand out when you can tell they’ve run out of fucks to give.
According to the Vancouver-based duo, this album is “…11 unforgiving tracks (that) explore when calamity comes knocking unexpectedly on your door inspired by betrayal, divorce, personal loss and other blind-sided knocks to the ego.” The album drops on Feb. 15.
You’ll hear the similarities to NIN immediately, but don’t let that make you think that these guys are nothing more than a Trent Reznor tribute act because they’re much deeper than that. While they do borrow NIN’s style, particularly in the first few songs of the album, the longer you listen the more you’ll start to notice their own stamp that they put on the industrial genre, and that it’s pretty bad ass.
The sardonic trudge-hop of the lead single ‘Chosen Sons’ takes woozy mellotron strings and splices in cryptic samples, digital dive-bombs, a serene Arabian breakdown, and a punishing final statement amid the roars of beasts,” the official bio for the album explains. “‘Expect No Sympathy’ opens with a hoard descending on a village in a surreal wild west scene before launching into a tirade of cold justice. Trumpeting guitar leads and flurries of piano lead the traitor to the gallows. Hip-hop meets doom metal on this stomping hell ride.”
If I were to come up with any critique of the album, I’d say that I wish they experimented more than they already do. What would it sound like to add some classical instruments? What would a female vocalist sound like added in with them? What if they got someone to drop some hip hop down on one of the tracks? These are all questions I envisioned in my head upon finishing listening to “It Will Come Out of Nowhere.”
Which, to be clear, is a fantastic album created by just two men — Jon Jreson and Steve Moore, with Colin Everall filling in a few places, also. It’s heavy when it needs to be heavy, it’s slow when it needs to be slow, and I ended up listening to it over a few times after hearing it once and enjoying what I heard. My critique comes from more of a “wouldn’t it be cool if you also did THIS, too? What would that sound like?” more than a “this can only be considered excellent if these pieces are in place.”
If you’re a fan of Industrial music, if you’re a fan of David Bowie and Nine Inch Nails, give these guys a listen. You’ll be glad you did. Their debut album titled “Music as Weaponry” also was compared to Skinny Puppy and Ministry with the hypnotic trip-hop textures of Portishead and Massive Attack.