Alchemy Records
Out Now
Words by Greg Walker
Fortune favours the brave. American alt-metallers Chevelle have subjected themselves to a period of upheaval of late: 30 years in and they’ve changed stables, now on independent label Alchemy Records, and choosing to produce new album Bright As Blasphemy themselves, albeit with some guidance from long-term producer Joe Barresi. This upheaval has not affected their mission; despite the machinations behind the scenes, Chevelle’s honesty and conviction obviously remain focused.
Almost flying under the radar their entire career, brothers Pete & Sam Loeffler are arguably one of the most underrated heavy music success stories of the century; racking up 7 #1s and 17 top 10s, culminating in more than 6 million worldwide sales, these aren’t figures to be scoffed at. Following a string of quality efforts late in their career, Bright As Blasphemy could be accused of being more of the same, yet that’s exactly what we time-honoured fans came looking for – mammoth chorus hooks that you can actively sing along to, bass guitar that you can actually hear, groove for days, riffs that’ll have you looking like a dork in your car when you’re absent-mindedly punching the air, and a voice that’s only improved with age and not deteriorated with use. Did we find all that? Well, mostly…
This collection starts with vigour, Pale Horse, a suitably volatile opener by Chevelle’s standards, tense verses combined with a dreamy chorus, chopped up by a patterned driving bounce. Lead single Rabbit Hole – Cowards, Pt. 1 is the definitive standout, channelling old-school Chevelle while championing their modern strengths, bolstered by an ultra-catchy chorus hook, which is something that hasn’t been as compelling for me in recent outings. Decrying the modern-day compulsion of falling in with internet-driven societal neuroticism, the topic’s intent is clear in the final statement, “Don’t accept what you’ve heard, conspiracy addicts“.
Jim Jones – Cowards Pt. 2 is a cracking rocker taking aim at the hypocrisy of authority, spitting “When the leaders don’t drink it first, the brainwashed have lost”, accusing society at large of following blindly like a population-wide 21st century Jim Jonesian tragedy. Musically, this second single is also superb heavy rock. The following Hallucinations is a stirring, fantastically layered, atmospheric composition.
Highlighting Pete Loeffler’s enviable vocal prowess, a formidable emotional vibrato, a strength in delivery, and his powerful control are all an integral part of Chevelle, but Pete’s natural instrument is just a mesmeric force to be subjected to here. Hallucinations itself is a dark and brooding track, a broiling build with a truly subtle payoff.
After a consistently incredible opening 18 minutes, the album takes a noticeable dip with a string of songs that can be described as good but not effectively memorable, Wolves (Love & Light) a particular offender. The intro riffage feels like the start to a below-average modern out-of-ideas 2020s Metallica.
There is a groove in the chug, so it’s not a total loss; however, the chorus leaves a lot to be desired. Karma Goddess and AI Phobias have received a lot of love in online chats, but I can’t connect with them even after a number of listens. Give them a go yourself; I could very well be in the wrong here. Blood Out In The Fields is a tense outing that almost revives the mid-album slump, but ultimately comes off like it’s trying too hard to be a dark arty piece, failing to deliver a much-deserved climactic reward for the time the listener has invested.
Shocked At The End Of The World is a pulsating groover that harnesses the Chevelle of old with a gargantuan fuzz punch, a brilliant, strong finish that tries its best to redeem the unremarkable guts of this record.
Production-wise, Bright As Blasphemy is much better than previous full-length NIRATIAS, especially the mix, and the polished sound shines when listening to it on quality headgear. Full credit to Pete and Sam for their in-house efforts; this is not an easy mountain to conquer, and conquer this monumental aspect they have.
The album feels very short, even when I don’t skip what I still believe are unfortunately skippable tracks. Revisiting Chevelle’s back catalogue in the lead-up to Bright As Blasphemy, I realise now in my excitement I’d built this album up to be more than it is, which is my own fault. I’m not angry, I’m just disappointed, but five great songs out of nine is better than average overall, right? At the end of the day, we have another handful of excellent Chevelle tracks to add to my playlist, and that’ll do me.
