“We’ll live forever within the everlasting flames.”
In the ever-expanding scene of progressive metalcore bands, Lost In Separation is one of the most exciting bands to occupy the space. The quintet from Texas released their debut album, Sister Moon, in 2018. Driven heavily by an ethereal ambience juxtaposed with crushing heavy moments, it displayed a cohesiveness that was remarkable for a new band. The band continued to develop this sound with their 2022 EP, The Secrets We Keep, bringing a groove-oriented, modern edge to their established style. Constantly reinvigorating and evolving their sound, their sophomore record Sabertooth brings us to the next stage of their journey.
Many of the song titles on the album make reference to places or things of historical and cultural significance. There is a certain sense of intrigue with this setting for the album, and it is reflected sonically as the whole album connects as one piece. Themes of despair at humanity and frustration at divinity are also consistent through the record. There seems to be a continuation to The Secrets We Keep, displaying an increased intensity to the emotions explored on the EP.
This intensity is most certainly reflected in the sound of this album; these are some of the heaviest tracks I’ve heard from Lost In Separation. The band pucks up where they left off previously but introduces an element of elevated aggression. Album opener “No Kings” launches the album in this direction from the get go. Guitarists Andrew Hickman and Joshua Luke waste no time in driving the momentum, balancing melody and aggression perfectly while still keeping the heaviness of the track going.
The album’s title track could be one of the band’s angriest tracks, with an almost primal-sounding electronic intro taking a sharp turn into menacing, djenty riffs layered over an ominous ambience. Lamenting over the fallen state of humanity, vocalist Milad Parsa screams the entire track, delivering a ferocity charged with genuine emotion. There’s a bitterness to the track that’s absolutely felt in its cathartic release. This and follow-up track “Dakhma” form the heaviest part of the album. With the song being named after the Tower of Silence, a funerary structure of Zoroastrian significance, the track is appropriately bleak in its lyricism. Contrasted with a floaty, spacey chorus, the aggressiveness of the heavier moments shatter the ground. The mid-track breakdown features a flurry of kicks delivered by drummer Josh Fernandez, paired with eerie tremolos in a lethal crush. Parsa is absolutely pissed off, with a brutality to his vocals that elevates his range.
The record balances out with more melodic offerings as well. “Persepolis” demonstrates Parsa’s penchant for earworm chorus hooks excellently, as he cynically addresses war and the apathy of major powers towards it. There’s a poignant relevance to current events presented in the sharp lyricism.
“Gone are the days of greater men. No end in sight as long as we bear sons that fight.”
This theme carries on into “Ice Age”, invoking the feelings of loss experienced by the victims of war. There’s a bitter sadness on display, delivered via an energetically groovy sound by contrast. Aaron Gillespie of Underoath makes an appearance towards the end of the track, delivering the emotional and sonic climax to the track. Amidst a cinematic, atmospheric backing, Gillespie sings of the fading slivers of hope left.
“So burn a little brighter for me. If heaven awaits then hell is what surrounds me every day.”
The album takes a callback to the band’s roots with “Wintersleep II”, bringing back the Invent Animate-inspired style of progressive metalcore present on Sister Moon. Haunting clean guitar notes give way to a flurry of blast beats to begin the track, with Fernandez laying down on the kit with precision. Its melancholic chorus builds on the themes of loss explored previously, detailing the disillusionment experience by a victim of war as they continue to search for hope. A mid-track solo break gives Hickman and Luke yet another chance to shine with a tasteful injection of melody amidst the djent-heavy sound. The ambience on this track is masterfully crafted, accurately portraying the despondent nature of the lyrics in its hauntingly heartbreaking atmosphere permeating even into the heavy moments of the track. Transitioning straight into album closer “Eden or Emptiness”, the somber ambience carries into the track as Parsa mourns for the condition of the casualties of war. Concluding that their fate is divine punishment, the album ends on a bleak, helpless note.
There’s a purposeful impact delivered by Sabertooth, approaching its significant subject matter with intentionality and creativity. The cohesiveness and interconnected nature of this album in all its aspects is a highly admirable feat, and it feels whole. Sonically, there is a marked progression in sound for the band as they introduce a new dimension of aggression while keeping the essence of their sound. At just slightly under 30 minutes, I only wish the album could have been just slightly longer. Lost In Separation have successfully refined their calibre, producing an album doesn’t pull its punches, whether it be its composition or its tackling of pertinent issues.
8/10
Sabertooth releases on the 23rd of February via self-release. Merch and pre-orders for the album can be found here.