The Work was one of the most anticipated metal records of the year. Let me start this review by curbing your enthusiasm and letting you know that this album is a bitter disappointment. It took me about sixteen listens (it was a fucking chore) to also find out that it’s ultimately not a legitimately bad album, but it isn’t legitimately good either. Is it a neutral album?
What happened? That’s a question that me and a lot of acquaintances have and with no kind of answer whatsoever in sight. If the band is looking to experiment with something new, I’m not seeing it, or it simply doesn’t make sense. I’m really at a loss as to what exactly happened with The Work.
Sure, the bar was set up pretty damn high by its predecessor, Where Owls Know My Name, which still stands proud as a fine example of progressive death metal. Although, I can see how it would be too mighty of a task to live up to said bar, but I don’t think anyone would’ve cared if the new album would’ve been something even just almost as good.
Something that I was puzzled with initially, before release, was the track listing. What even are those song titles? The question remains unanswered even as I write this review. They still make no semblance of sense, nor are they pleasing in any way. The same can be said about the lyrics which feel obnoxiously vague and cliché. The most I managed to draw from the lyrics is something that kind of hints to overthrowing/fighting against the capitalist system. I might be wrong, but that’s how it seemed to me and it made me wince a little.
Harsh? Well, it’s not like I’m given much to work with here and I also had pretty high expectations, which did not help in absolutely any way. I’ve seen quite a few reviews which praised the record to high heaven and beyond. That too, was puzzling, but, to each his own, I guess.
The album starts out in a fairly generic fashion and there’s not much to hold on to until we reach the seventh track. Yeah, seriously, there’s not one memorable moment, or even a creative riff, or solo, or anything for that matter until we reach the 33-minute mark. It’s pretty unsavory to have to bear with a record more than half an hour until anything cool happens, especially in this context.
Around this time, we’re met with “MORE?”, which is an absolute banger. It’s a relentless thing that feels like a cosmic jackhammer. Once it started playing, it felt like I was rudely awakened and plunged into some dark twisted thing. Its only drawback is that it’s a mere three and a half minutes long – a pity.
Following up, “Tower 2” and “Episode” give us more of the nothing-to-show-for routine, leading us up to the rest of what’s actually proper music on this record. “Maybe One Day” and “Terrestria IV: Work” follow suite with “MORE?” giving us some great action. While they ultimately don’t redeem the album, because let’s be honest, we’d need another half hour of that kind of stuff on top to even come close, they make up for the lackluster moments at least in part.
“Maybe One Day” starts out as something of a ballad, with a very lighthearted tone and serene atmosphere, progressing neatly towards something that’s soaring and bright, concluding with a ravishing finale that’s exactly as epic as it should be. A welcome change in tone overall and a very well executed song from basically all points of view.
The closer, “Terrestria IV: Work”, which also concludes the Terrestria ‘saga’ is easily the most compelling part of the record, and definitely the best part of it on all levels. This, coupled with the above, leaves me confused when looking at the other songs which leave me wanting. It’s clear that such a band, that has displayed technical and compositional prowess of a high degree in the past, as well as here too, wouldn’t have any reason to make such benign songs.
Anyway, “Terrestria IV: Work” is a sprawling epic which reminds us why we love Rivers of Nihil in the first place. It’s a song that quintessentially screams all their qualities at the top of its lungs. It’s as simple as that and I won’t even bother putting it any other way. I’m also giving the band points for closing the record like this – that’s a good move.
So, that pretty much sums it up. Maybe skip most of this if you want good prog death, or don’t if you’re fine with average songs with no particular qualities.
