genres: post-hardcore + pop + experimental
Few bands can be expected to do the unexpected like The Plot In You. After three musically straightforward releases in First Born, Wife Beater, and Could You Watch Your Children Burn, they seemed to have settled on a formula of brutal metalcore that didn’t hesitate to tackle dark and repulsive themes, highlighting issues of sexual abuse and domestic violence at a time few bands in the scene were willing to do so (and with the constant reveals of sandals involving bands of that era, their pointed vitriol has never felt more timely). Then came 2015’s Happiness in Self Destruction. Though switching to a more introspective focus, the result was one of the most emotionally devastating post-hardcore releases of all time. The brutal hardcore was still there, but now contrasted with sweeping atmospheric passages and even some indie rock leanings at times. In the hands of a lesser band, the album could’ve felt vulgar or exploitative, but the sincerity and commitment truly made it a work of art – albeit one that can be difficult to listen to on multiple levels. It would be a hard album to follow up, and indeed DISPOSE is to date their least compelling album. Although all the major elements of HiSD remain, everything has been softened to a more palatable level (and often sounding a bit too much like Sempiternal era Bring Me The Horizon) that leaves a collection of some of their best individual songs, but an album without much overarching cohesion. Now comes Swan Songs, which seeks to throw out just about everything that they – or anyone else for that matter – has ever recorded before.
Musically, Swan Songs is all over the map in the best way possible. The sounds are either grungy and industrial or quaintly acoustic (sometimes switching in the same song), but the songwriting screams pop (but with exceedingly weird melody choices). Songs might be metallic and dancey, but in a way that noticeably clashes. And it is G R E A T. “Paradigm” might be the best individual example, with a pulsing electro-rock intro that disappears into weak acoustic guitar chords for the verse, an anthemic chorus, and a huge breakdown. None of this should work at all. All of it works amazingly. It’s a much heavier release than DISPOSE, with tracks like “Fall Again” ripping with aggression for their entire length. But the band is also smart enough not to try and reproduce everything from earlier in their catalog. Without the same dark subject matter, it wouldn’t make sense to use the same sonic templates. There’s still plenty of anger and confusion fueling the music, but it’s the type that comes with growing up and realizing things still don’t make perfect sense and fall into place.
The album will likely take a few listens to fully connect, as the pacing and sequencing is very unorthodox. Take opener “Letters To A Dead Friend”. The first half is a mid-tempo pop song, which sets exactly the wrong expectations for what’s to come. The second half is chugging distorted breakdowns, which also isn’t quite right. Together though, it’s an apt trailer for the coming chaos. Musically there’s no need to listen in order, but the lyrics form a more coherent narrative of stress and emotional turmoil, with the music serving as a reminder that such things are rarely linear struggles resolved in a neat package. Album closer “Freed” is a devastating final reminder of this. It’s an epic musical build into one of the most enveloping moments on the album…and then it ends. It’s a bit of a let down, but that’s the point as conveyed by the final line: “My mother’s prayed for my peace but it’s been years and she waits”. There’s no final catharsis here for either listeners or the band, and it’s a challengingly honest conclusion to one of the most satisfyingly experimental releases of the year.
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