While the shorter tracks are solid in their own right, they feel like interludes for the true patience exhibited in the longer treks. Songs for the Enamel Queen by Black Sheep Wallīut where the true memorability lies is in Songs for the Enamel Queen‘s massive epics. Layers of melodies accented by mathy riffs and post-metal repetition greet the ears with a sense of post-rock dynamics, the sludge a mere reminder in the density of the riffs. Gone” revolve around the sprawling and menacing sludge riffs you can expect, tracks like “Human Shaped Hole” and “Concrete God” have more in common with The Fall of Troy rather than Eyehategod. While songs like “Ballad of a Flawed Animal” and “Mr. Lyrics depict somewhat generic concepts in failed relationships, sexual failure, mental health, and substance abuse, but the means revolve around violently abstract musings punctuated by memorable and explicit explosions-which is an accurate representation of the music. While former releases I Am Going to Kill Myself and No Matter Where It Ends were sludge-heavy post-y Neur-Isis worship and I Am God Songs recalled Admiral Angry or Kowloon Walled City in its noisy bass-heavy sludge hardcore beatdowns, Songs for the Enamel Queen utilizes a unique approach and sets out on a twisty path of its own.īlack Sheep Wall‘s new direction, for as many paths as it takes into the foothills of strangeness, is firmly summited upon the mount of vitriol and grit. The California quintet offers their fourth full-length Songs for the Enamel Queen, an expertly written and superbly executed mass of concrete-thick sludge metal injected with tumorous melodies and shifty rhythms. Kind of pedantic and nitpicky, but then again, their blend of sludge metal, post-metal, doom, and post-hardcore is bound to be divisive. I remember when Black Sheep Wall “qualified” for an Encyclopedia Metallum profile with sophomore effort No Matter Where It Ends.
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