Napalm Records
July 28, 2023
Sevendust are a band who have played a massive part in my metal listening experience.
From the moment I first listened to their self-titled debut in 1997 and the follow-up Home I was hooked, the musical ferocity laced with the melodic mastery of frontman Lajon Witherspoon forever changing my stance on melody in metal.
I have to admit to being one of “those” people who enjoyed Sevendust’s earlier material much more than subsequent offerings, but they are still a band who has always maintained a high standard in their music without ever compromising their principles.
From the moment whispers of a new album started circulating earlier this year I have been waiting impatiently for the release of this – their 14th album – and after hearing lead single Fence that excitement ramped up even more.
Another interesting point from the inevitable new album talk the media always gathers is that for the first time in a long time I can’t recall seeing any quotes saying this album was going to sound or feel any particular way.
It was almost as if Sevendust were teasing fans with their relative quiet on the sonic direction of Truth Killer, which is all too rare in a modern age where many bands promise the world and fall flat of often insurmountable public expectation fuelled by the band themselves.
So when Truth Killer arrived in my inbox earlier today I cleared everything on my schedule to sit and listen with unexpectant enthusiasm.
Opener I Might Let The Devil Win presents the first surprise in the form of a stripped-back vocal track that sees Witherspoon soothing over a steady and measured piece of music that is nothing like what would be expected.
Even when Witherspoon’s voice trails off for a short moment you expect it to return full of anger and spite – as is Sevendust’s way – but it’s not to be.
While most albums start with an up-tempo track at the very least to draw listeners in, Sevendust here have elected to turn expectation on their head. Perhaps to make a statement that they won’t be bullied into making music or perhaps just because they thought this would make an interesting opening salvo, who knows?
What I do know is that after the initial shock and every musical inch of my being wanting to scream out WTF subsides I find myself becoming strangely entranced by what is perhaps the most unexpected first song from an album I have ever experienced.
Not only is it brave, but it actually WORKS. Kudos to Sevendust for a massive show of strength.
The title track swirls to life next with Witherspoon sounding fully warmed up as the familiar strains of Sevendust’s distinctive sound start to surface.
Morgan Rose re-acquaints himself with his eclectic drum patterns that are offset beautifully by the intimidating guitar play between Clint Lowery and John Connolly and bass wizardry of Vince Hornsby.
Sevendust could do Sevendust in their sleep but already on Truth Kills they have displayed a musical disparity that suggests they are ready to break the shackles of expectation and play music for themselves first and foremost.
This track has throwbacks to everything you love about Sevendust. Harsh and clean vocals, timing and tempo changes and moments of pure madness, but it still manages to sound like a band searching for something more in their music.
Won’t Stop The Bleeding has an almost industrial opening interplay before the guitars take over the exchange and stutter their way into the foreground. Witherspoon seems to have reached even further into his soulful inner self as he caresses different vocal layers and moments of urgency offset by serenity.
This has always been a feature of Sevendust’s music. The contrasting clean and harsh vocals of Witherspoon accompanied by the four-part harmonies and screaming of Rose have typified their sound for almost three decades but so far on Truth Killer all five seem to have found another gear.
There’s even a small yet noticeable guitar solo towards the end of Won’t Stop The Bleeding, which, all fans of Sevendust will know, is somewhat of a rarity in their music.
Everything has an ominous passage of music to introduce the track before the guitars again leap to the surface and take center stage.
As the title suggests this is a slower track – not so much a ballad – but still has moments of anguish as personified by the intermittent harshness inherent in Witherspoon’s voice.
One thing Sevendust know how to do is build a song and Everything is no different. A definite radio-friendly song if ever I’ve heard one.
No Revolution again has a spaced-out electronic fuelled opening passage before denigrating into a destructive and aggressive guitar war between Lowery and Connolly that forces Witherspoon to step in and take the reins.
Even the imminent threat of a revolution sounds like a walk in the park when delivered by Witherspoon as the stuttering guitars suggest something more sinister is at play.
A nice vocal breakdown midway through accentuates the harmonious side to Sevendust before the anger returns amid a tirade of guitars that are again perilously close to bordering on a guitar solo before a crushingly heavy breakdown steers the track to an awesome finale that sets the bar pretty high for the remainder of the album.
Challenge accepted Sevendust say.
Sick Mouth eases to life with an underlying sense of menace that shows considerable restraint as it lay simmering just below the surface.
Even when the song pulls back to allow Witherspoon to work his sonic magic you just know the rest of Sevendust are just biding their time in preparation for an all-out assault.
And then it comes, right on cue.
Witherspoon begins chanting “No prayer for the guilty” with increasing menace that opens the floodgates momentarily before they ease shut in what would normally induce a touch of disappointment but in this instance more evokes a feeling of respect at their restraint.
Holy Water kicks into fifth gear immediately and threatens to pull back the layers of oppression before Witherspoon once more soothes the tension in an attempt to maintain the status quo.
But his bandmates have had a taste of blood and gradually intensify their output without yet letting it dominate.
It is a masterclass of repressed musical aggression that serves Sevendust well.
Again, not what is expected, and all the more better for it.
Leave Hell Behind tracks like something that may have just escaped from purgatory until Witherspoon’s softly measured voice quells any notion of intent despite the suggestive nature of the title.
That’s not to say this song isn’t another ball tearer from Sevendust. They have all been so far but overall the ebbs, flows and sudden thrusts of animosity from the lungs of Witherspoon have held the majority of center stage with great effect.
Maybe it has on most Sevendust albums but on this one, for some reason, I am more in tune with and/or accepting of the passion and beauty inherent in his voice. Maybe I’m just getting older? Whatever it is, the undeniable fact here is that Witherspoon is a master of emotion – be it anger, despair, love, loss or triumph.
An awesomely aggressive breakdown snaps Leave Hell Behind to a halt before Superficial Drug breathes life thanks to a soothing electronic passage that is perfectly consumed by an introspective-sounding rhythm section with overlapping keys.
This track has a boppy undertone thanks to a steady beat provided by Rose that is beautifully restrained and poignant.
Another radio-friendly number that still has enough metal in its DNA to not be considered a sell-out.
Messenger kicks off next with an interesting musical score that leads into another piece of musical tranquillity from Witherspoon whose voice is sounding better than ever.
It is almost impossible to predict which direction he will take things vocally on all of the tracks which is a powerful tool to have at your disposal. It is also one which he uses well, controlling each song with the precision of an orchestral conductor but with more power.
A hauntingly beautiful guitar solo threatens to break the status quo but ultimately acts more as a brief interlude to the sonic tale being woven.
Love And Hate could go either way, depending on your standing, but promises at least 50/50 of each emotion.
Instead, it fires up with a measured yet aggressive interplay of guitars that suggests this relationship was driven or finished more on a bed of anger than love.
Musically this track is heavy as fuck despite the hypnotic beauty employed in certain junctures and the contrasting emotions that provide the backbone of Sevendust’s music are still at the cornerstone of each musical offering.
The song winds itself up into a ferocious but momentary attack before hoisting the white flag just as quickly in search for inner peace. As such it is difficult to tell if this track – or any of them for that matter – have a message of hope or despair, but one thing that is certain is that each will leave you either breathless with beauty or seething with rage, often more than once of each emotion within the one song.
Lead single Fence is also the album closer, with its threatening intro amid a swirling maelstrom of guitars quickly turning cyclonic and dripping with venom.
Witherspoon channels all of his anger into this one song as he vents his frustrations in what is by far the closest track to anything released in the early days of Sevendust.
Which again points out the band’s mindset going into this record.
It would have been easy – perhaps even logical – to open Truth Killer with this song to excite Sevendust Old Heads, but this album isn’t about making promises or catering to expectations.
It is an album of strength and unity from a band who only get better with each passing year. Bless their cotton socks.
*All reviews in HEAVY are just one person’s opinion of the album. We encourage honesty in reviews but just because our reviewer may or may not like/appreciate an album, that doesn’t mean their opinion is right! We encourage you to have a listen for yourself and make up your own minds!*
