Out Now
Melbourne based metalcore outfit Vault Hill have unleashed their latest EP Modern Way, seven juicy tracks of goodness, inspired by vocalist Morgan O’Brien‘s experiences living and working in the Northern Territory.
Opening with Broken Promise/Sands of Time amid a calm backdrop of noises and light instrumentalization, Vault Hill don’t rush into things on Modern Way, instead building a sense of apprehension with an increasingly busy sonic landscape that sounds just as those voices inside most of our heads do when they are clamouring for recognition. It’s almost intense in parts before Morgan screams his way into proceedings with the swirling mass of confusion still dominating the landscape. It’s a clever use of distractions that combine to lay the platform for a bleak but ultimately satisfying foray into the musical psyche of Vault Hill.
Launching straight into the title track, Morgan enlists the help of Furious Jake as the two set about dismantling the existing calmness briefly laid bare and set about adding layers of extremities onto the rapidly filling sonic canvas. This is a fast paced, aggressive track that is unrelenting from start to finish and nicely does the job of wanting more.
Wadeye, which features Mark Ninnal, continues the annihilation, with Frankie Demaru working himself to exhaustion behind the kit. It’s an impressive display of musicianship that acts as the driving force behind Wadeye and triggers a plethora of mini breakdowns and subtle timing changes that create a stagnated effect without disrupting the song’s continuity. When Ninnal’s vocals enter the track just over half way through they add yet another dimension, briefly offering a moment of respite before Vault Hill resume hostilities.
WILT follows and ups the anti even more, channelling the rage and anger into a seething mass of sonic destruction that is as beautiful as it is brutal. Another shift in tact for the mid chorus showcases a more vulnerable side to Vault Hill before Demaru upsets the status quo with some well places bashes of the skins that in turn urges guitarist Adrian O’Brien into action for a quick solo that acts as a natural seguey back into whatever Morgan is barking orders against. This is a cool, well structured song that ebbs and flows with enough intent to ensure we still don’t know if Vault Hill consider us friend or foe.
The familiar strains of the Curlew introduce the song of the same name before Vault Hill send it screeching into the scrub in fear of its life. This is another track built on aggression, although the music itself leans more in the hard rock, almost industrial lane in yet another display of the band’s versatility. While every song fights its own demons not one leaves the same feeling when it finishes.
Guest vocalist Ricky McCandlish offers another focal point before Vault Hill close the track out courtesy of a multitude of breakdowns within breakdowns that double down on themselves before The Pain We Keep Alive takes its place to continue the carnage. This is faster again in tempo and bursts out of the gate with a snarling apathy that only seems more intimidating by a chorus of cleans and semi cleans that act as an opposing force of nature.
A wicked breakdown overshadows both of them which only seems to spur Morgan on further as he launches into a vengeful sonic tirade that puts things back into more perspective. Vault Hill have really managed to capture the best versions of themselves on Modern Way, and as Adrian launches another assault on his guitar I find myself a touch disappointed to be coming to the end of the EP.
Which arrives courtesy of The New Way which starts slightly restrained before plunging into another fast paced banger that is only fitting to complete what is a highly impressive and irrepressive body of work from Vault Hill.
