Alpha Wolf - Half Living Things (Album Review)
Alpha Wolf - Half Living Things
Released: April 5th, 2024
Line-Up:
Lochie Keogh | Vocals
Mitch Fogarty | Drums
Sabian Lynch | Rhythm Guitar
Scott Simpson | Lead Guitar
John Arnold | Bass & Backing Vocals
Online:
From humble beginnings in Burnie, Tasmania to becoming one of the metalcore's most promising acts on a worldwide scale, Alpha Wolf seemingly have the world in the palms of their hands as we eagerly await the release of their third full length album, Half Living Things.
It has now been almost four years since the release of their second LP, A Quiet Place To Die. Since then, we have observed this class act become a household name as they created their very own boutique music festival - CVLTFEST, toured with some of the genres most well-respected acts such as Motionless In White, Fit For A King and The Amity Affliction, just to name a few, and attain daytime radio play on mainstream stations like Triple j.
Can Half Living Things live up to the high standards set by A Quiet Place To Die to further push this five-piece on their path of an upwards trajectory as they set out for world domination? Let's assess.
As the album begins with nu-metal fan favourite 'Bring Back The Noise' which was premiered on stages across the US last year. The two minute long party starter incorporates an abundance of mid-2000's styled nu-metal DJ scratches which platforms Lochie Keogh's energetic vocals as he questions "Can you believe it? We're sick and the hands still feeding. Thin the herd, Trim the fat. It's the big bad, Where my dogs at?" Uplifting and dynamic instrumentals make it impossible for me to refrain from bopping my head until this track comes to completion. Continuing on this trend, 'Double-Edge Demise' spares no moment to up the ante with beefy guitars and pounding drum fills that hold me on the edge of my seat as Keogh's opening lines of 'tick tock, tick tock, I wake up everyday like BOOM' mentally prepares me to come out of mosh retirement. The ongoing dynamics between vocalist Keogh, as he quickly paces through lyrics such as "nothing's ever good anymore, watching bodies sink through the floor", and backing vocalist John Arnold provides a vocal contrast that I will never tire of, while lyrics consisting of lines such as "I don't care how low I'm stooping, making you look fucking stupid" and "I'm going to make you hate me" exhibit the tracks true meaning of passionately resenting someone. As the song edges towards completion, we are introduced to a new synth element which seemed out of place on my first few listens, but has continued to grow on me as time passes by.
Premiered live on stage at the most recent edition of CVLTFEST, 'Haunter' is introduced by eerily haunting synths before Keogh pushes the tempo into top gear, with the instrumentals to follow suit, as he belts out the opening line "A little more fucked up than I'd care to admit". This offering quickly cements itself as less a party anthem than the previous two tracks, and more as a chaotic, mosh fueled assault on the senses. Drummer Mitch Fogarty leaves no second to spare, showing off his drumming skills with fast-paced double-kicks and fills as the chuggy guitars follow suit from start to finish. The recurring phrases "I can hear myself drown" and "Don't wake me up" add the final flourish to this belter.
Popular single 'Sucks 2 Suck' is up next and after countless listens, I continue to find myself completely underwhelmed. This song has its moments where my interest is gained, for example, throughout the instrumentally powerful introduction, however, my interest quickly drops off as the instrumentals are scaled back and Keogh begins harshly rapping. The chorus offers more of a radio-friendly, pop-centered approach than we have ever seen before and as much as I want to enjoy it, it just doesn't satisfy my heavy music loving heart. I'm aware this isn't a popular opinion, however, this song would have gone a lot further without Ice T's feature. He fails to display any kind of flair as a musician by singing or rapping, but rather, he simply talks about how "You mother fuckers are weak" and if "You're coming for me, you'll have to come better than that". In my eyes, this is a wasted opportunity to show off some real talent.
Recently released 'Whenever You're Ready' shows us a side of the band that we haven't seen before, but unlike the previous track, this time the change is positive. Dialed back instrumentals provide Keogh with a moment in the spotlight, as his usual aggressive 'in-your-face' styled vocals shift to come from a place of vulnerability. Clean vocals from bassist John Arnold throughout the chorus provides a dynamic from this quintet that is previously unseen. The former frontman manages to fulfil the highest of expectations as he steps into the role of clean vocalist, proving to the world that he is nothing short of a well-rounded musician. 'Pretty Boy' sees the album return to the fast-paced tempo that we love this act for. Low tuned instrumentals create a fury of organised chaos which is bound to be a moshers wet dream. Keogh goes on to display his vocal talents with drawn out screams fused into the lyricism of "You know where I'll beeeeee, you know what I know. You know what I meeeaaann, you know where to go", which manages to thrill me to the depths of my soul. Arnold continues to flaunt his new found abilities as a clean vocalist throughout the chorus with, "I'd spit in your face, but I know that you like that". This offering goes without a breakdown throughout the outro, but more often than not 'less is more', which proves to be true in this instance.
Similarly named to frontman Keogh's Instagram handle, 'Mangekyō' seemingly begins where the previous track left off, with thumping instrumentals and well-placed synths coinciding with one another to offer a sound that is uniquely AW's. A smile from ear to ear appears on my face as the track progresses - instrumentals that are tuned lower than hell reverberate throughout my ear drums while Keogh competently spits venom into the mic, without holding back in any way while leading up to the album's heaviest breakdown yet, consisting with the lyrics "Stay close to your silver bullets sweetheart. Let's show these blood suckers some sunshine" which will make even the mildest of moshers lose their mind when this is performed on stages throughout the world. This offering is a nod to the band's earlier years, however offers more of a well-rounded, mature sound that is far less abrasive and gritty than the group's earliest work.
With a title that references anime show Full Metal Alchemist, 'A Terrible Day For Rain' takes things full metal(core) in every interpretation possible. It kicks off with lightning-fast drum fills courtesy of the incredibly talented Fogarty, setting a blistering pace complemented by synth accompaniment. Keogh, known for his memorable one-liners, delivers another gem with, "I'll see you on the other side," before layered guitar riffs blend seamlessly with ongoing synth melodies. While the riffs occasionally verge on repetition, the energy remains relentless. Throughout 'Fiegn', the tempo shifts are abundant, with riffs darting in unexpected directions, keeping listeners on the edge of their seats. Behind Keogh's powerful vocals, the repeated lyricism "You cannot hate me more than I used to" heightens anticipation for the impending breakdown. Culminating in a heavy finale, Keogh's delivery of the lines "We are at fault, you are responsible, I am to blame and you are the same" takes the instrumentals on yet another thrilling turn, leaving the song to conclude on a satisfying note.
'Garden Of Eyes' continues to deliver a heavy sound, distinguished by frequent tempo changes and the consistent use of synthesizers. Keogh's ability to effortlessly match the shifting pace of the impressively talented instrumentalists places him as one of the most versatile vocalists in modern metalcore. With graphic lyricism, such as "face down in the mud," coupled with machine gun-styled riffs, contributes to a highly satisfying listening experience. The seamless integration of these elements creates a dynamic and immersive sonic landscape that captivates listeners from start to finish. The final two tracks, 'Half Living Things' and 'Ambivalence' inject revitalized energy into the album by seamlessly integrating several key elements introduced throughout its duration. From the dynamic and conspicuous tempo shifts to Keogh's rap-influenced unclean vocals and the pervasive use of backing synths, along with the ever so impressive clean and unclean vocals of bassist Arnold, these offerings serve as a cohesive representation of the album's variety of styles. They encapsulate the soul of the album, embodying its fusion of musical elements and encompassing themes.
Half Living Things is an immensely diverse album that showcases many different sides of Alpha Wolf. The first half of the album offers more diverse and experimental elements such as clean vocals and radio friendly tracks, while the second half of the album explores the quintets roots, with the balls-to-the-wall heaviness that we all know and adore this band for. While it didn't hit the mark every single time, I applaud this act for exploring new avenues while remaining faithful to their origins in style and sound, they have seemingly achieved a flawless blend of both.
Alpha Wolf - Half Living Things tracklisting:
1. Bring Back The Noise
2. Double-Edge Demise
3. Haunter
4. Sucks 2 Suck (feat. Ice T)
5. Whenever You're Ready
6. Pretty Boy
7. Mangekyō
8. A Terrible Day For Rain
9. Feign
10. Garden of Eyes
11. Half Living Things
12. Ambivalence
Rating: 8.5/10
Half Living Things is out this Friday via Greyscale Records and SharpTone Records.
Pre-Order here.
Review by Adam Rice
