There are certain guitar tones that recall another era, and Chained Bliss are rooted in one of them.
When I hear the angular riffs and repetitive structures on the band’s self-titled debut full-length, I’m immediately taken back in time to the glory days of Wire or Gang Of Four. But while Chained Bliss shares some similarities with the British post-punk pioneers, there is a modern urgency that’s somewhere between anarchopunk, The Wipers, and modern DIY like Dirt Cult catalog. It’s thoughtful music with a certain moodiness, but there’s also a forceful, blunt element that challenges the listen to take action. The music sets a mood, then the powerful vocals of Devin Graham contradict and challenge you. I think of the best post-punk as having a dystopian, inhuman element that is offset by nuanced human emotion. Chained Bliss has this down, albeit a little more forcefully. Just look at their name.
While post-punk influence is at the forefront, the general sound is more minimal and stripped to its core. The bass often gives subtle rhythmic shifts, playing a major role in songs like “Inner Citadel,” as Graham shouts over the anxious, repetitive hooks. The lyrics are somewhat barked, letting that bass give subtle direction while layered underneath the guitar in the mix. While tonal repetition is a big part of this sound, it’s never fully predictable -- which is what makes it work. Take “Ominous Life. This song features both some vocal and musical changeups to feel more like an echo chamber where each progression takes a similar but altered direction. This song nicely highlights their ability to delivery strong and comforting melodies, but also a knockout punch here and there. “Mirrors” is a good example of classic throwback punk that expels pent-up energy, spewing shrapnel in every direction.
I’ve mentioned Graham twice already, but the band does alternate vocalists a little. I’m less a fan of “Stained Red,” but the new voice gives some needed variety as they often sing in a common pitch that could get repetitive over time. I also think ending on a song with a secondary vocalist adds a sense of intrigue that keeps you wanting more. It’s a nice touch that fits the anxious tone: instead of wrapping things up with an epic closer like to many other bands try to do, it almost begs a question.
My favorites on here are “Creative Seizure,” “Ominous Life,” and “Lighten Up.” But it’s all very good, as well sequenced to play as a complete album. While the band did release an EP in 2019, this sounds extremely polished for a relatively new band, capturing the right balance of raw emotion with thoughtful composition.
