Things are moving fast at ten56..
Barely back from touring to promote their debut album, Aaron Matts (vocals, ex-Betraying the Martyrs), Quentin Godet (guitar, Kadinja, ex-Zuul Fx), Luka Rozaka (guitar/vocals), Arnaud Verrier (drums, Uneven Structure, ex-Kadinja), and Steeves Hostin (bass, ex-Betraying the Martyrs) are already unveiling IO, their second album, via Out Of Line Music.
We get straight to the point with Doormat, the first track that already announces its modern aggression with oppressive noise, but the jerky riffs and Aaron‘s roars quickly follow, while remaining in an oppressive atmosphere. The chaotic final finally leads to PiG, which explores Trap influences to create a rather dark hybrid track that knows exactly when and how to strike for maximum effect with a discourse on intrusive thoughts, then we move on to Snapped Neck, which shows us just how versatile the band can be. The moments of clear singing make the track as dreamy as you could wish for without detracting from its aggressiveness, but the track eventually gives way to the strange LIFEISACHORE.MOV, a sampled voice over an overly cheerful instrumental that leads into I Know Where You Sleep, a fairly short track where pure violence makes its big comeback. We continue with Good Morning, which has already proven itself live and will once again make us bang our heads while incorporating disturbing samples into its mosh parts, then Earwig takes the same recipe and strikes back with simple but explosive riffs that are almost constant. The noisy final is perfectly suited for live performances, as is the catchy ICU, which also already has its place on the band’s setlists and develops a powerful rhythm before returning to dark saturation thanks to bass on Pty Fck, creating a rather heavy hybrid mix. The groove of the track and the vocalist’s screams make it very catchy, and there is a real contrast with the introduction to Friends, a sampled excerpt from a heated discussion that eventually turns into a rap touch before crushing us with its unexpected heaviness. Banshee takes over and floods us with noisy samples while the musicians maintain a simple and effective rhythm to support the vocals, then the majestic and disturbing finale leads us to IO, the eponymous track where the clear rapped voice offers us a rather different universe, allowing the singer to exorcise his demons to close the album.
Modernity sometimes has its good points, and even if some riffs are extremely simple, ten56. has mastered its subject perfectly. All the tracks are catchy, and the band already has live experience with most of them, which makes IO a very good album.
85/100