Album Review: Defects – Artificial Icons
Reviewed by Matthew Williams
My first introduction to metalcore band Defects was when I was doing some research into them ahead of their support slot on the recent Allegaeon/Gorod tour. My initial impression was a bit “meh, their ok” however, that changed to “I really like these” after seeing them live, as they were very impressive that night in Manchester, so I decided to dig deeper and review their latest album.
That evening they played several songs from “Artificial Icons” and it was the variety of soaring melodies juxtaposed with aggressive rhythms, allowing frontman Tony Maue to display his vocal range, which impressed me most. The album explodes into life with the album title track, and introduces the listener to subjects such as “homelessness, addiction and broken connections.”
It’s a powerful start with new drummer Rowan Jack giving his kit one hell of a thumping with a stinging guitar tone from James Threadwell punctuating the rhythm throughout. The socio-political commentary continues through “Heresy” with a deep throaty scream of “let’s go” as they pummel you into submission. Maue explains that these songs are about not giving up as he’s “given up before, I know what it looks like and I’m not doing that again”.
Their transfixing sound purrs even louder during the excellent “Where Did I Go Wrong” which sees his vocals come to life ahead of the hard hitting “Signs” featuring Matt Heafy from Trivium. Maue says that he “wants to write songs that matter” and this places the listener in a war-torn setting and it demonstrates their expansive guitar riffs with another new recruit, Orlando Morris-Winmill, facing off against Threadwell in a twin guitar assault, whilst being controlled and carefully crafted.
After a brief futuristic song called “Interlude”, which, in my opinion should have been expanded upon further they come back with the thunderous “Critic”. This was one of the songs that I really liked when I heard it live as its stacked with powerful notes and vocals that pack a punch. In contrast, there’s a softer edge to “State of Mind” as the band demonstrate how they’ve grown and evolved as a band, with a gentler solo adding to the sombre narrative.
“Hollow” is just straight up aggressive with a sinister, slower mid-section, before “The Other Side” and “Afterglow” reflect on the storm clouds that lurked over the band, with Maue reflecting on suicidal thoughts as life complications piled up on him, and he accepted that “he was flawed” but “I’m fine now”. Both are meaningful and personal songs, whilst sandwiched between the two is “All For Nothing” another that sees the vocalist look inwards as “when I was younger, overthinking led me to drugs” and “I nearly died”.
I for one am glad that the frontman appears in a much better place now, as without him, this album probably doesn’t exist and that would be the real tragedy, as it’s damn fine piece of music.
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