Style: Heavy/Melodeath/Thrash (clean vocals)
Review by: Matt
Country: UK
Release date: November 27, 2020
I had high hopes for this, the follow-up to 2019’s The Downfall of Judith King. I love the surreal thriller theme this band has committed to, and despite some flaws, there was a latent genius peering through the cracks there, trying to be free. I still don’t think they’ve really nailed it, but at least you know that with The Spectre Beneath, interesting things will happen.
If you’re just hearing about them now, The Spectre Beneath are a band of contradictions. They exist in that modern, seven-string, not-quite-thrash mold popularized by Nevermore, but there’s something in the guitars that still suggests classic 80s metal. If there’s one great thing about this band, it’s that they bring the ruckus, riff-wise. They’re not the most complex or technical, but Pete Warrell simply has a great ear for classic riffs. Sadly, the power metal leanings from before are almost completely gone until the blazing last track, but in their place they’ve picked up a penchant for swingy grooves. A couple songs even, dare I say… boogie? Once again, they’ve found a nice spot between quirkiness and traditional metal that only sounds like themselves.
When I say “band of contradictions,” though, I’m actually thinking more of the weird uncanny valley of slop the album resides in. It’s a professional-sounding album, maturely written, but there’s some strange amateur moments that jump out suddenly. For instance, several riffs sound like the guitar’s intonation is out (e.g. “Voice in the Static” 3:25), and were the leads this awkward and messy before? I could’ve sworn this guy was a good player, but the solos on “20 Shillings a Town” or “The Premature Burial” are, well, bad. The latter goes on for almost two minutes in an attempt to channel David Gilmour, but David Gilmour can bend. On the other hand, some leads are so shreddy and precise, there’s no way it can possibly be the same player, yet no one else is credited. The only logical explanation is that they’re in the witness protection program… Maybe Sidney Stone is based on this mystery man.
And then, there’s the vocals. Once again, Warrell has enlisted the aid of “L. Lockser,” whose identity is also fairly obscure. I don’t know her musical background, but she doesn’t strike me as a metal singer. Her delivery is sultry, pop-like… incongruous. She can sing, and sounds great in some sections (“Voice in the Static” chorus,) but others like “The Premature Burial” are sort of excruciating. The little whines and moans really add up over time, and the delivery overall is quite loose. “The Exhumation” is basically ruined because she won’t sing on beat, to the point where you can’t tell what the part was supposed to be. She might be decent, but for whatever reason – performance, ill-fitting composition, poor editing – the vocals in this band have been frustrating. Solve that, and The Spectre Beneath will go from being a curiosity to true greatness.
While not a bad album by any means, I consider Sidney Stone a mild step down from the debut; you’ll like it if you liked the other one, but it’s still saddled with enough minor annoyances to put me off of an otherwise excellent band.
Recommended tracks: Voice in the Static, The Last Light in the House
Recommended for fans of: Nevermore, Soilwork
Final verdict: 7/10
Related links: Bandcamp| Spotify | Official Website | Facebook | Metal-Archives page
Label: Independent
The Spectre Beneath is:
– L. Lockser (vocals)
– Pete Warrell (guitars, bass, piano)
– Consta Taylor (drums)
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