Synæsthesia is a neural rarity that can allow a person to see sound. Double-dipping in both aural and visual spectrums, there is an unfathomable connection between the two. A valid name for the debut album of kiwi act City Of Souls, whose long awaited seminal offering is a piece best experienced with eyes closed, and mind opened.
Nearly five years to the day since the debut single Sleep was first released, Synaesthesia has been through its fair share of choppy waters on the road to release, and it is safe to say that since that day, City Of Souls has already evolved and formed the crux of what could be considered their unique sound. Each member brings with them years of experience in various genres, in particular the heavy metal and hardcore scene, being members of the likes of 8 Foot Sativa, In Dread Response, Blindspott, New Way Home, and Solstate.
With an epic runtime of over 68 minutes, City Of Souls has become much more than the sum of their parts, transcending the aggressive and technical traits of its member’s histories. This is a mature and melodious release, with a focus on balancing a symphony of layers, rather than merely attempting to elicit an impassioned response from the listener with low tuning and djent.
The album itself does not waste any time on over-extended intros. Efficiently jumping straight into Life Blood with the deep sultry tones of vocalist Richie Simpson. Considering the band has three fulltime guitarists and a bassist, their ability to pull back and allowing melody to rise to the surface is a feat in itself. Chillingly passionate, and overwhelmingly layered, the track is one solid piece of music and yet also simultaneously a multitude of different musical strands that can all be heard with ease if the mind chooses to focuses on it.
From the natural heartbeat that began Life Blood, Ferryman begins with the formidable presence of the mechanical heartbeat that is Corey Friedlander’s kick drum. His controlled presence cements the rhythm of the track, with a simple time signature and tempo that makes the listener want to move; not because of aggression, but fortuitous energy and power. For those familiar with Richie Simpson’s prior repertoire with New Way Home, City of Souls brings less harshness and antagonism, instead the melodies originate from a place of love and pain.
Where too many instruments could easily because overblown, City Of Souls balances their four guitars exceptionally well. Dan Insley’s undulating and wide-ranging bass lines, Trajan Schwencke’s chunky rhythm, Marcus Powell’s riff-heavy style, and Steve Boag’s high harmonies (something that could be described as the falsetto of the guitar). Every guitar has its defined place, the arrangement forming a consistent sound that still allows a lot of room for variety. Every once in a while a riff, drum fill, or vocal fry will hit a sweet spot, such as the guitar riff in Shimmer, sending a sweet shiver of dopamine flowing down the spine.
With such a consistent sound and so many players involved, it would be easy for your tracks to become “samey” and right when you think Synaesthesia is going to fall into that trap, Cruelty breaks out with a dark and gritty, almost Korn-esque edge to the riff, before pulling everything back and creating tension and suspense with ease. There are no mathematically obscure time signatures here. Everything moves with a natural rhythm that ebbs and flows. Even in the quiet patches, the atmospheric keys and high lead create a cacophony of sound. Never a moment of true silence in the album, there is always something that continues to guide the listener. It does lead to a consistent sound across the tracks, but can reduce the impact of certain moments that could have benefited from a moment of silence and clarity to give the soundscape more poignancy.
From spoken words to full belting melodies into a fry, Richie Simpson is in his element. There is no sign that he is holding back, and it lifts each song with the timbre of his voice over such thick guitar riffing, so pleasing on the ears.
With an album that has been slowly releasing tracks over the last five years, there is an air of nostalgia and comfort that is hard to separate from the album. While many of these tracks are only just now officially seeing the light of day, there isn’t a shocking new quality to it. Instead, there is a sense of belonging and peace that is simply meant to be, especially with the likes of White Ghost. Melody and rhythm are key, and each member takes turns to reach the spotlight. Do not expect something hardcore, I wouldn’t even go as far as to call it prog. City Of Souls provide a full bodied, heavy melodic rock.
The early singles are the tracks that stand out the most from a compositional point of view. The mix has a light and airy nature, and swells with such emotion. The likes of Sleep, Water, and Long Gone have a cleaner ambiance, and are the tracks where Dan Insley’s throbbing bass, and Corey Friedlander’s technical accomplishments are on display the most.
Even for those that have been following the bands live performances, with a packed 16-song tracklist, the latter half ventures into the unknown. Regularly switching tone with daring vocal melodies that pay handsomely in the chorus, and finally some effective use of silence and instrumental arrangements, Tying Tongues and Brush Strokes stand out from the pack.
Synaesthesia is an album that requires your full attention. The composition is done in such a way that the music itself feels elemental; floating and suspended, like water barreling over rocks. The flow is well-executed, and the entire album has a great rhythm that fills you with energy. Fingers crossed it won’t be another five years before the next release.
Synaesthesia is available on all digital platforms from May 1st, 2020
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