A reunion album well worth the decade-long wait

Alas, looking back at a decade and some change, the niche, dark and sorta-smelly wormhole of underground metalcore could never really keep up with the progressive nature of a band like New York’s Genghis Tron.

Albeit on the same playing field as some incredible contemporaries, such as Horse The Band and An Albatross (who have also recently gotten back together and released new music), Genghis Tron was always seemingly one step ahead of where the scene was headed. Regardless, putting out a follow up to Board Up The House (2008), a much-cherished timestamp of the late 2000s cybergrind/mathcore scene, is an extremely burgeoning task not many bands would be willing to take, especially after an 11-year hiatus. 

Yet what Genghis Tron do on Dream Weapon is seemingly the best step in their career thus far, rejecting “Nintendocore-breakdowns and blast-beats,” as put by Michael Sochynsky, their keyboard player. 

To support their brand-new, highly developed and mature-but-not-pretentious stylings, Genghis Tron, made up of original guitarist Hamilton Jordan and keyboardist Michael Sochynsky, have also recruited two fresh faces. However, they aren’t all that fresh, as one might recognize drummer Nick Yacyshyn from SUMAC and Baptists, in addition to The Armed’s Tony Wolski on vocals, replacing original member Mookie Singerman.

With two veterans filling in and a head full of new ideas, Genghis Tron absolutely make Dream Weapon deliver. And it really, really delivers. Following a brief arpeggiated synth introduction, their latest single “Pyrocene” sets a very firm mission statement for the album, showcasing a driving, modern sound that builds up and out. This is especially true through Yacyshyn’s impressive, technical and almost krautrock-esque Motorik drumming, Sochynsky’s lush pads and arranging and Jordan’s backseat yet present dreamy chordal playing.

However, that mission statement remains firm only in its intention, as the intensity skyrockets on the title track, “Dream Weapon,” yet again perpetuated by Yacyshyn’s cardio-workout of a drum beat. Interweaving heavier riffage between a calmer middle section, Genghis Tron really make efficient use of band dynamics, as none of the instruments, even Wolski’s lead vocals, necessarily command the center of attention.

Wolski does take on more of a frontman role on “Alone In The Heart Of The Light,” bearing similarities to darker electronic/industrial champions like Nine Inch Nails or even Depeche Mode. The pop sensibilities, which are not obvious but still present, are contrasted by the patient, monolithic middle single “Ritual Circle,” casually reaching a 10-plus minute runtime. The haunting, shimmering ambiance that builds up doesn’t become tired in the slightest, as the ambient keys and atmospheric guitar pads strongly support the driving, forward motion of the song.

Okay, sure, one could proooobably head-bang to “Single Black Point,” which incorporates a 7/8 chugging riff, drum beat and glitchy sound effects. But make no mistake, the instrumental nature of the song, along with the dramatic key note articulation, suffices as an interlude more so than anything, akin to the beautiful “Desert Stairs” from earlier, bearing little to no similarities to their work on something like Dead Mountain Mouth (2006).

The final cut, “Great Mother,” brings about an amalgamation of all of the above, melding heavy-ish guitar riffs, intense drumming and more laid-back keys and vocal parts into a nine-minute epic. Working around more chill, atmospheric, key-driven parts, the heaviest material is probably found on here, although a very, very long way from the more dissonant, harsh stylings that 2000s Genghis Tron had to offer.

2020s Genghis Tron, however, is a far superior band, as Dream Weapon shows a group that has slowly but surely matured despite a decade-long hiatus from playing together and releasing new music. More importantly, Dream Weapon shows a band that isn’t dated, reserved or even close to their artistic peak. Much like the significant Daughters release, You Won’t Get What You Want (2018), there are bound to be endless critiques that the heaviness, and arguably the integrity, took the backseat for a band that wanted to sell out and be more accessible. But, there are no two ways around it, Dream Weapon still ultimately sounds like a Genghis Tron album.

Those expecting screaming, chiptune-style breakdowns, intense guitar riffs and metallic drumming, look away. Those looking for well-crafted, modern psychedelic rock, look no further.