After three long years since their morose breakthrough album, An Ache for the Distance, The Atlas Moth have returned with a dilemma that so many bands face. How does a band with such a unique sound evolve while remaining true to their roots?
In many ways The Old Believer is a direct continuation of their previous gem An Ache for the Distance.The band has a tight hold on what worked last time and only loosens their grip to allow more melody though their sludgy hands. While it has been a while since I listened to the previous record, it still seems like The Old Believer is showcasing the band's ability to sing and create memorable passages more. The album opener "Jet Black Passenger" has a tremendous vocal back and forth between lead screamer Stavros Giannopolos and clean vocalist David Kush, but Kush's voice becomes the star of the track where Giannopolos would have been years ago.
This track also presents interweaving, crushing Neurosis-esque guitars with light, but haunting, Coheed and Cambria-like keyboard work in a way the band hasn't done on this level prior. The album overall is really highlighting the band's ability to create auditory juxtapositions. The next track, "Collider", further exemplifies this dynamic with call-and-responses between the heavy/evil side of the band with subtle, beautiful melody and atmosphere. "Halcyon Blvd," which may be my new favorite by the band, perhaps does this to the greatest degree. The song opens with quiet keys and bass, then begins to grow with each piece of the band into a monster of a track. The beastly side of this band really stands out on this song as the melodic nature they started with is stifled by it's conclusion
By about this point in start-to-finish listen of this album, my attention begins to get drawn elsewhere. For as much as I love this band, and have enjoyed seeing them a handful of times, they certainly have a comfort zone. There are so many points in the record where I think they are about to go some place completely foreign to the band, which could be really exciting, but they revert to what works. For example, the title track opens on a riff that sounds like it could be from any fairly modern Mastodon release, then falls into what the band is known for. I was really curious about where that drastically different sound was going to lead and was left hanging. This track does end with some interesting guitar work as each guitarist meanders in and out of their own musical sphere occasionally converging. I would still put this song in the win category, but the meat of it isn't that different than any other songs.
The band did surprise me with the album's conclusion. This record is desolation and despair incarnate, and "Blood Will Tell" feels oddly triumphant. Compared to much of the album, this song has a little more energy and it feels positive in a way. This is a really strong way to end the record, and could be a strong way to end a live set.
I actually like every song on the record, just all of them in a row is a bit much. My commentary on the band sticking to what works is only meant as minor criticism to this record. They do this in the same way most Opeth records have the same feel to them, or how despite being progressive and all over the place, the last decade of Between the Buried and Me all has a similar vibe. The body of the record is what makes The Atlas Moth the band I enjoy, and pseudo-new appendages surrounding the body really makes the album great. The band teases the idea of new adventures and I'd like to hear them follow through more next time.
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