Album Review: Crystal Lake - The Weight of Sound
Reviewed by Dan Barnes
After an eight year wait, Tokyo metalcore survivors, Crystal Lake, unleash album number seven this month: The Weight of Sound, through the prestigious Century Media Records, and the first to feature new vocalist, John Robert Centorrino, who joined the band in 2022. Perhaps not the first name on the Metalcore team sheet, Crystal Lake have been plying their trade since their formation back in 2002 and are ready to be embraced globally as purveyors of some of the most forward-thinking and hard-hitting music of the genre.
To underscore that statement, Crystal Lake have recruited some of metalcore’s biggest names to add their talents to this new record. Without wasting a second on introductions, The Weight of Sound explodes into the killer riff and ripping vocals of Everblack; destructive drumming and thundering bass add to the overall effectiveness of the track, sliding in the faintest hint of classical keys low in the mix – something that will rear its head throughout the album. Mr Centorrino is assisted by Signs of the Swarm growler, David Simonich, combining screams and barks. The breakdowns are almost seismic, which is possibly what comes from living under constant threat of Godzilla attack!
Both Blüdgod - featuring Taylor Barber of Left to Suffer – and Neversleep, which includes a contribution from Volumes’ Myke Terry – combine Crystal Lake’s rampant metalcore with electronic elements, creating the former into a brutally effective face-ripping experience, while leaning into whirlwind percussion and rapid riffing on the latter; Misery Signs’ Karl Schubach is present on the post hardcore-infused The Undertow, along with jangling guitars and Mitsuru’s throbbing bass. The final contributor is Jesse Leach of Killswitch Engage, who lends his voice to the swelling orchestrations of Dystopia.
Not that Crystal Lake need the presence of recognisable names to bludgeon and berate, as they can manage this with aplomb on their own. King Down is built from edgy, angular riffs, courtesy of guitar duo YD and TJ; drummer Gaku leads the rampant charge on Don’t Breathe and the whole of the musical element comes together on the bouncing riffs of Crossing Nails.
As The Weight of Sound enters it second half, the title track reveals another side to Crystal Lake, one where a slower, more considered approach is taken. Written by John about the pressures of being away from home for long periods of time, it blends an intensity, with lush, layered vocals and hints of Japanese music to create a heart-rending composition. Sinner opens with choral voices and utilised ambient sections, which allow the hard and abrasive moments to land with even more ferocity; the closing Coma Wave’s first half is played out with piano and John’s wistfully melancholic vocals, before exploding at the mid-point and bringing The Weight of Sound to an interesting conclusion.
Production on the record is crisp and clean, letting the edgy dirt through when the art calls for it. My previous interactions with Crystal Lake – beyond the Friday the 13th fan in me tipping my hat to the name – was on the 2019 Never Say Die tour which they headlined and were mightily impressive in Manchester on that November night, even though – in the spirit of full disclosure – I was really only there for King 810. Didn’t stop me quickly getting my hands on their early Dimension, Into the Great Beyond and Cubes recording immediately after.
It's good to have such diverse voices back and especially when they produce such a strong collection as Crystal Lake have on The Weight of Sound. They’ll be hitting the European road in the Spring, with dates in Cardiff, Birmingham and Southampton, as well as the usual city stop offs. Hopefully I will be able to catch them again when they return to Manchester’s Club Academy. We’ll keep you posted!
