“The only holy book is the one inside your heart.”
If you rattled around DIY-type music blogs twelve years ago, you’ll likely have come across State Faults’ debut LP Desolate Peaks, and at least have been hypnotised by its double exposure cover. If you went on to explore it, you’ll have found a gem of early 2010s screamo. Resonate/Desperate and Clairvoyant have found them even greater fame (well, screamo fame – the only cool kind). They reformed for Clairvoyant as a three piece and have remained together since, simply taking the time as required to craft their next work. Children Of The Moon which proves to be another strong step in their saga.
Since Resonate/Desperate, State Faults have had strong studio production (though the home recording of Desolate Peaks will hold a special place in many hearts). Arguably, State Faults are one of the defining screamo bands to have brought an unforgiving form of its style into high fidelity-territory. Children Of The Moon is their best sounding record yet, carefully balancing their need for violence with the additional sounds that are thrown into the mix. Back to being a four piece, having two guitars full time fills out their sound, and they’ve allowed themselves to add extra instrumentation where it helps. Thematically, Jared Wallace (drums) has commented that the band are ‘spiritual hardcore’, which continues to ring true: their lyrical lean towards the natural, occult, and existential has never been stronger than on Children Of The Moon.
The record starts on strong footing. The first ‘proper’ song is “Blood Moon”, a micro-sized State Faults banger, sending it to the heavens from the first moment to the last. “Palo Santo” takes the tempo back a notch and provides the album’s first hooks, and the title drop (“I hear the song of mother moon / I feel her hands inside my heart pulling the strings / Feel the glow grow inside you We’re all the children of the moon”).State Faults are incredibly practised songwriters, and there are no missteps when it comes to constructing these songs. “Leviathan” confidently clinches the desperate and emotive full-band screaming segments as well as the “70%” volume moments; still screaming, but a guitar has fallen away, and the other plays out an earworm of a lead, ready to take us back to a full intensity when appropriate.
Ten minute epic “No Gospel” is really unique in State Faults’ discography. Despite the title and the use of rock organ, the song has nothing to do with Gospel, the band. They channel The Mars Volta with the shimmer pedals and driving rhythms, but it’s by no means a frigid jazz odyssey, as they reach the record’s first emotional peak, weighing meaning and mortality as Jonny Andrew’s voice falters (“I’ll hold you if you hold me“). The following track “Transfiguration” is a necessary come-down, boasting a very pretty guitar riff, but that doesn’t stop the band going off for its mid section. Wallace adds tambourine to the beat, juxtaposing the desperation in the vocals with instrumental levity. Later on the record “Divination” makes for a strong yet slow single, showcasing State Faults as if they were a doom band.
In a State Faults-first, the record is cohesively connected by sampled soundscapes, which can be heard on opener “Fragile Light”, “Looming”, and the close of many tracks. These soundscapes give the record the atmosphere of a fever dream: waves on the shore, church bells, crowd chants, and instructional 1950s recordings attempting to guide a woman in existential crisis. On the grand scheme of post-music samples, I have to say it’s not the most compelling mix of sounds – particularly the voice samples don’t scratch the itch, taking me right out of it. Having said this, it’s still a net-gain for Children Of The Moon, as these pauses give the hour long record a steady pace. “Wind Song” works with the samples to weave a spacious, heart-bleeding track. It’s so good that it could have easily closed out the record. That duty goes to the following song, “Bodega Head”, a ten minute chance for State Faults to re-write all their rules. They throw in acoustic guitars, their most stunning clean vocals and chorals, a string quartet for the dramatic conclusion, and a final dose of the Children Of The Moon soundscape.
Children Of The Moon is a change from State Faults’ previous records, not in the band’s actual style, but in the entire presentation. It’s so much more atmospheric, yet a good balance has been struck between screamo-rampage moments and mature playing. The rhythm section is tight and controlled, pulling out little embellishments that wouldn’t fit in hardcore environments. Children Of The Moon deserves its length, and it’s not just for long-time fans, as even casual listeners will be gripped by its singles, and find many delights across the track list.
8/10
Children Of The Moon releases through Dog Knights Productions and Deathwish Inc. and can be pre-ordered here: UK, EU, US.