“Cut the strings of my fate and curse the Norns.”
For the purposes of this review, I will seize the opportunity to coin the term “sludgegaze”, as this is the most fitting dichotomy one could use when referring to noise metal veterans Will Haven. This Californian act has remained a stealthy enigma in the scene since their post-hiatus period in the mid 2000s, taking considerable breaks between full-length releases. Even now, in 2023, as the band shifts into gear for the release of their titular seventh studio record VII, the eleven track affair comes as a surprise after founding frontman Grady Avenell revealed the possibility that the band’s 2018 effort Muerte would be their last. Evidently enough, this is not the case, and fortunately so, as VII is not only the band’s strongest offering to date, but also a fitting one to end things on should Avenell decide that time has finally arrived.
VII’s pre-release phase has been accompanied by singles such as “5 of Fire” and “Wings of Mariposa”. These are fitting samplers, as “5 of Fire” demonstrates the quintet’s sludge-driven ferocity remains intact, while “Wings of Mariposa” showcases an expansive sonic palette representative of the group’s many influences. Splashes of punk music can be felt with its galloping percussion, shoegaze elements decorate the track’s back scape, and a duet of soul-crushing down-tuned guitars serves as a reminder the band has no cause to sacrifice their heaviness. The momentum of these tracks persist into the album’s full release; the complete package is bursting at the seams with creativity, conciseness, and a veteran proficiency listeners will find with few artists.
Deep cuts such as “For All Future Time” and “Evolution of a Man” are successful and fruitful attempts at the band’s signature noise/sludge/gaze trifold. With that said, they aren’t quite as memorable as some of the cuts that appear later on. With such a dense sonic palette that’s easy to get lost in, it can be difficult to discern between some of these tracks at times. This minor issue is mostly rectified by the fact that VII is not an overly lengthy affair, as many of its tracks just barely manage to breach the three-minute mark, and interestingly enough, the two tracks that do happen to be, in my opinion, the strongest.
Indeed, “No Stars to Guide Me” and “Feeding the Soil” are the most noteworthy and standout songs on VII. This is largely due to the fact that they somehow manage to simultaneously be the heaviest yet most ethereal cuts on the record, especially when juxtaposed with the aforementioned four tracks. The band’s trademark sound lays comfortably atop a dreamy set of keys in the former, elevating the song to the high heavens even as the crushing skull-cracking sounds of hellish sludge metal try to drag it back down to Earth. VII’s production works to the benefit of this track as well; the mix is well-balanced and every single facet shines beautifully. While certain members are certainly louder than others (as per the noise metal standard), nothing is left out, and everything is as it should be.
Backtracking a little, “Paloma’s Blessing” is absolutely beautiful. Taking a “less is more” approach, this soundscape simply just works. Its modest tempo and subtle key changes will ring true in the minds of Deftones fans, as well as anyone else who truly appreciates the lighter side of things. This is a track that, when compared to the more aggressive cuts on the record, might appear boring to some, but I firmly believe it is a mid-album highlight that does wonders in shaking up the record’s formula long enough for the listener to stay invested.
The penultimate track “Feeding the Soil” is without a doubt the heaviest and most activity-inducing song on the record. A downright disgusting downtempo breakdown graces the one-minute mark, and the noise elements present in the track convey a bipolarity between beautiful and haunting. While this praise can certainly be broadly redirected toward the remainder of the album, it would be criminal not to give this song the attention it deserves, as it is a masterful representation of everything that makes this group and their sound so damn enjoyable. It is both physically and spiritually moving, and it is this level of professionalism and attention to detail that elevates Will Haven beyond just a surface-level sludgegaze group.
Avenell’s vocal performances on VII are also worth mentioning. His fry scream in particular is one that is genuine and powerful; it certainly doesn’t require much in the way of post-processing. For a man that turned 50 just last Christmas, he seemingly has no intention of letting age get the better of him, as his vocal abilities sound more youthful than ever before. His cleaner style of singing fills a backseat position on the record, which is honestly a little disappointing, as a few tracks such as “5 of Fire” could’ve used a special something to cut through the dense soundscape and add some memorable moments. Reminiscent of vocal styles from renowned gaze-driven vocalists such as Chino Moreno, Avenell’s singing is more than competent, and I can only hope this is something that gets incorporated further into the band’s next release (assuming there is one).
As a collective, Will Haven have reached a peak with VII. The titular seventh studio album serves as their magnum opus, and it is one that was certainly worth the five-year wait. VII is a concise listen that doesn’t overstay its welcome, yet it accomplishes so much. It is a record that demands many start-to-finish listens, and listeners will be blessed with something new each time. If you were on board before, don’t go anywhere now, as Avenell and company have crafted a fantastic follow-up that could very well be one of their lasts.
9/10
VII is out this Friday, July 7th, via Minus Head Records.