genres: progressive post-hardcore + swancore
Eidola is a fascinating band on multiple levels, yet they haven’t always been the most accessible band. Earlier albums leaned very heavily into the progressive end of post-hardcore, while the immediately previous album To Speak, To Listen often opted for a slightly softer sound that while easier to get in to, led to some pretty uneven energy levels at times. Despite the critical acclaim, I never felt compelled to invest the energy needed to really immerse myself in any of their previous albums. This album however, changes all of that. Musically, this is the most focused the band has ever sounded, without abandoning any of the experimentation or progression that gave intellectual weight to earlier compositions. The influence of the swancore genre is apparent on all elements of the song writing, which is to be expected now that almost every member has been heavily involved in other prominent acts in that subgenre since the previous release, highlighted by vocalist Andrew Wells now with genre originators Dance Gavin Dance as well.
So what does that look like on a song by song basis? Most of The Mars Volta-esque jazzy/jam band passages have been entirely cut and replaced by more dynamics and fast cuts between riffs and melodies. Take “Mutual Fear”, which features Dance Gavin Dance vocalist Jon Mess, and is almost indistinguishable from a DGD song. That’s not to say they’ve become a clone band– “Counterfeit Shrines” and “Elephant Bones” are perfect examples of them taking this more immediate approach, but fusing it with their own progressive tendencies. Andrew’s voice really shines throughout, and the vocal melodies oftentimes recall both classic progressive rock and more contemporary styles. Even homages to the influence of more obscure bands continue appear, with “Perennial Philosophy” opening very similarly to Artifex Pereo’s “Apeiron”.
Lyrically, there’s more that could be covered than I possibly have space for. Eidola’s previous works have been largely focused on telling the same story, though sprinkling personal elements as well. This album continues down that path, one focused on spiritual questioning and realization, though without a clear conclusion. The direct allusions on The Architect are largely rooted in Christian language (unlike past releases that have bounced between obvious Buddhist, Jewish, Gnostic, and other references), but it would be a mistake to call this directly a religiously devotional album. A degree in religious studies would be required to catch all of the references at play here, even with a layer of seeming focus, and the band has been clear that everything stated is either fictitious narrative or metaphoric for their own journeys. With that in mind, the personal – and temporal – nature of many of the songs becomes more apparent, if still cryptic. Like the very best writers in the genre, this album offers something rewarding to all listeners, regardless of how deep they decide to dig into the songs’ meanings.
After following the singles for this album I was cautiously optimistic for a solid album, but this result is yet another September release that should be contending for many end of year lists.
Listen Here
www-reviews 