Let’s face it: most instrumental bands are usually unable to match the stimulation of an actual vocalist. A lot of post-rock outfits get wrapped up with layers of atmospherics, none of which have lasting melodies that match the emotional response that a good vocal passage can. The amount of post-whatever groups that are able to do this are few and far between, but when found, are a delightful treat. Metallic fusion trio Skeletonbreath are an entirely instrumental band, but what makes them different from any other vocal-less act, is that they utilize a violin as their “vocal” output. Other than violinist Robert Pycior (whom you may recognize from folk act O’Death), the group is made up of bassist Andrew Platt and drummer Tris Palazzolo – surprising, considering how big their sound is throughout Eagle’s Nest, Devil’s Cave.
So, right off the bat, we have learned that not only Skeletonbreath a breath (heh) of fresh air in the instrumetal scene, but they have a big sound for a trio. Good start. In addition to the prominent role the violin plays, the rhythm section deserves major props; Platt’s bass playing is often haunting, perfectly complimenting the violin phrases, while Palazzolo’s drumming rotates from metal beats to some straight-up dance sections. These musicians know their shit. The unique combination results in an epic blend of metal and classical music, which is not surprising when their two big influences are Bartok and The Melvins.
Some of you may think this review could be copy and pasted from a past Apocalyptica work (switching violins for cellos, of course), but there is a huge difference between the two; Apocalyptica is a gimmick – cool at first, but that effect wears off, while Skeletonbreath feel like a natural fit – they are not playing covers, but original music that could only be played by such an oddly put together group of instruments. While the violin is the instrument they need for the front and centre, it is used as much more; not only do melodies develop, but Pycior has some shred in him as well (and he utilizes both, almost like a guitarist). Album climax “The Combustible Man” is perfect evidence; off-time drumming, catchy and ridiculously tight bass work (that borders on surf music some of the time), and that violin – that damned violin – breezes through melodies and shred like it is nothing, often matching the bass note-for-goddamned-note.
But while everything on Eagle’s Nest is well put together, you can’t help but wonder how much replay value it will actually have. But still, based on the pure quality of this release, it is easy to say that Skeletonbreath are a trio that are worth at least a few spins. You will not find a more original release this year.
(8.0/10)
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