An Attack on the Senses
Being attacked from any angle isn’t pleasant, usually. Unsettling, off-putting and adrenaline producing, one’s “fight or flight” stance is fully activated and sustained throughout the duration of the assault. Be it physically or verbally, the violation is one that people usually want to end quickly. Yet, depending on someone’s tolerance level for chaotic onslaughts, attacks of sound can have the totally opposite effect. That’s pretty much how Philadelphia’s Cleric developed their career. From their extremely metalcore 2003 debut EP The Underling to the seven year later follow up Regressions, Cleric have gone even further with the extremity of their production with Retrocausal.
“The Treme” swiftly opens up Retrocausal with a storm of sharp riffs, brewing bass, jazz beats and somewhat strident piano lines are accented by piercing screams. There’s a lot going on not only with “The Treme,” but with the entire album itself. Cleric doesn’t seem to care about what sonic ingredients bode well on paper — the recipe they follow seems to be one of free handed measured pinches and dollops that feel natural at the time.
All of the songs on Retrocausal push the limits of sound, but many of them go even further at pushing the limits of what listeners can handle in one sitting. Running at a total on nearly 80 minutes long is one thing, but having the longest song lasting over 13 minutes is another. “Resumption” weaves discordant approaches between Matt Hollenberg’s riffs, Larry Kwartowitz syncopated drumming and the sonorous foundation of new bassist Daniel Kennedy. Nick Shellenberger’s scream brings shrill highs to the song. As the longest song “Resumption” touches on all the chaos of the album wrapped into one, but even Retrocausal’s shorter songs offer much to be appreciated in a smaller package.
Chunked in the middle of the nine songs are the shortest (closer “Grey Lodge” barely skirts by), but by no means lack. “Lowell (Beef)” has some of the more conventional grooves on the record, while still maintaining Cleric’s typical lack of structure. It differs from the other more short-lived tracks with its rhythm, as “Lunger” blends even more experimental jazz and math metal and “Soroboruo” leans closer to eclectic noise.
Though Cleric don’t have very much under their belt, Retrocausal is their most extensive work yet. It’s a lot to take in and most certainly isn’t for the faint of ear, but the level of musicianship put into it is worth recognition.
Leave a Comment