1. White Silence 2. Serpents 3. Sing My Loves 4. Vicious Circles 5. Centered 6. Summit Fever 7. Heartbreaks, Earthquakes 8. Iron Decibels 9. Reanimation2011 Hydra Head Records
From the legendary abrasiveness of Until Your Heart Stops, to the sky scraping Jupiter and the major label Antenna, Cave In certainly has a back catalog more diverse than most bands. While White Silence might not be the comeback early fans anticipated, it does offer something for every Cave In devotee, from the late 90's HC crowd, to the starry-eyed shoegazers and Beatles worshipping coffeehouse kids. For something that's supposed to be white and silent, Cave In's newest offering kicks off dark and noisy. The fuzz of the title track intros the albums in a wonderfully confusing way, setting the table for the scorcher "Serpents." This foray into the demon's mouth is old school simplicity at its best, a relentless hardcore dirge. It blends beautifully into the epic "Sing My Loves." The 8-minute opus starts in a nodding stoner metal vein. Steve Brodsky's vocals carry the weight as heavy chords transform into spacey patterns and the anthem morphs into a swirling psychedelic jam. Not one to repeat themselves, they hammer it home on the follow up "Vicious Circles." The prophetic growling chorus of "dead rise like ascending angels" is by far the most brutal on the record. Advocates of this blistering version of Cave In might not be into the rest of the album. While the distortion is still thick on the tunes "Centered" and "Summit Fever," they are more tuneful, leaning towards the space rock side of the band's heritage. The latter portion of White Silence never gets back to the earlier breaking points. Rather they settle for ripples of melody and thoughtful chord changes. "Heartbreaks, Earthquakes" features gull-like guitar scrapes over an acoustic verse and a chorus of constantly thumping bass. The entire song feels very Lennon/McCartney. "Iron Decibels" builds anticipation by teasing a heavy rock feel, but falls a short of expectations, never living up to its metal title. The closer, "Reanimation" conjures the alt-rock of Cave In's major label days. It's a suitable dénouement, but a complete 180 from the viscera of the opening tracks. Bottom Line: Cave In is still in excellent form with fantastic musicianship and Brodsky's voice sounding as good as ever. However, while most of the songs stand on their own, fans of their metal material might be disappointed with the mere pittance provided.
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