![]() ![]() While longer cuts utilize their runtime to embellish their soundscapes and ruminate on dark head spaces. Those two cuts allow Black Sheep Wall to flex more musicality without forsaking blunt impact. The former aspect finds the spotlight in “Ballad of a Flawed Animal,” where psychotic wailing and battering noisecore send the song’s abject heaviness into the bowels of a mental hell. Black Sheep Wall knows when to descend into claustrophobic cacophony, and when to gun the prog-sludge throttle-like a sludgecore take on Mastodon. This keeps the odd time signatures and complex chord progressions of “Concrete God” rooted in visceral hate, and gives the gargantuan breakdowns an extra dose of menace. ” This album’s palpable, haunting sense of suffering informs vulnerable meditations as effectively as it does chest-caving brutality. The song’s eight-minute mark gets particularly harrowing as Gillichbauer’s anguished screams cut through dreary chords and ethereal percussion “ I hope you keep me a secret/ I hope you’re ashamed… I hope you’ll always hate me. His words give longer cuts like “New Measures of Failure” a gripping emotional through line, as Black Sheep Wall progresses from scronkey mathcore and bludgeoning one-note riffage to discordant ambiance. Themes of self-loathing, guilt and internal anguish permeate this album, apparently reflecting vocalist Brandon Gillichbauer’s arduous journey during the band's silence. Songs for the Enamel Queen maintains sludgecore heft as the quintet push themselves as songwriters. Guitarists Andrew Hulle and Scott Turner contrast lumbering monochromatic beatdowns with spiralling arpeggios, as Jackson Thompson comes through with some dexterous drum fills in addition to Black Sheep Wall ’s well-known caveman grooves. While it contains the crushing hatred of I Am God Songs and the emotive exploration within I’m Going to Kill Myself, “Human Shaped Hole” brings a technical flair yet unheard from Black Sheep Wall.
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