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Released on January 29, 2016 via Spinefarm Records
I probably irritate the crap out of my co-workers with my varying taste in music. My manager is a music nut, and because we talked about it during my interview, I find it highly likely that our common interest helped me get the job. His taste varies about as much as mine does, but his does not go towards the heavier side like mine. My supervisor on the other hand, whom I also share an office with, does not seem like a music guy at all. He probably thinks I am nuts flipping between hair metal, yacht rock, and instradjent as I am doing my reports. When an artist bounces around within what we think is their predetermined genre, we can wonder the same thing. Asbury Park, New Jersey’s Toothgrinder is a good example of this. their initial entrance into my music collection was through their Schizophrenic Jubilee EP. After listening to their latest offering, Nocturnal Masquerade, I am wondering if they should have saved the prior title for this album.
Nocturnal Masquerade was released on Spinefarm / Universal Records January 29, 2016, and it has taken me a bit to get into. Not because it is a bad record mind you, but I just was not sure what kind of opinion I wanted to form on it. I was anxious to hear it, and the first initial tracks I heard from it, ‘The House (That Fear Built)’, ‘Lace & Anchor’, ‘Diamonds For Gold’, and ‘Blue’, all hit me very well. Each track was aggressive, yet melodic, in their own unique way. But, as I dug deeper into the full album, the feeling of “Where are we going with this,” kept coming up.
The main thing that holds Nocturnal Masquerade together is Justin Matthews’ Mike Patton-like voice, as it fluctuates between unbridled fury, spoken word, and sweet melody. The other members (Jason Goss – guitar, Matt Arensdorf – bass, Wills Weller – drums) back up his whirlwind vocals with what I can only describe as progressive metalcore, landing somewhere in the middle of Between the Buried and Me and August Burns Red. There is actually a song on Nocturnal Masquerade entitled ‘Schizophrenic Jubilee’, as well as the original version of it on the also named EP. I think no other song encompasses the overall aesthetic of the album more. Starting out with a pounding groove, it slowly swoons through an easy melodic chorus and bridge, ever repeating “Save yourself.” Goss also lays down one of his more dynamic guitar solos on this track, showing he’s more than just a riff machine.
Nocturnal Masquerade is one of those albums that I think will not straddle a fence with many listeners. With its wonky flow, and odd shifts in dynamics, the beauty of Nocturnal Masquerade could be lost on them. However, if they do take the time to get into it, and not dismiss it after the first listen, they could be listening to one of the better albums to come out this year.
