“I can’t speak, it’s all phonetic.”
Polyphia – you either love them or hate them. I, for one, cannot get enough. This is a long-awaited record, and it’s fair to say the end product is not one I would have expected back in 2018 when the band exploded with “G.O.A.T.” Polyphia albums have never been short of diversity, with Henson’s distinctive songwriting and the casual elegance of the band’s guitar tone tying it all together, but Remember That You Will Die (RTYWD) takes that one step further. Their fourth studio album continues exploring the trap percussion and hip-hop stylings displayed by The Most Hated and New Levels New Devils (NLND) whilst incorporating other unexpected and seemingly incompatible genres.
Comprised of guitarists Tim Henson and Scott LePage, bassist Clay Gober, and drummer Clay Aeschliman, Polyphia sit alongside bands like Periphery and ERRA as a group of certified virtuosos. Henson’s composition of melodic structures and exhibition legato runs is stellar, and the phrasings of both guitarists are consistently phenomenal. Their image is one of calculated braggadocio and unapologetic decadence, from the gold accents on their signature guitars to their whimsical personas, and the record reflects that in all its glory. It’s hard to place the Texan quartet in a neat box. Progressive metal? They’ve moved far beyond the djenty and flashy riffing of their early works, Inspire and Muse. Math rock? Beneath the complexity of the playing itself, most of their songs are in 4/4. In many ways, it’s this lack of classification that has catapulted them to the top of the instrumental metal scene; there is no one quite like Polyphia. And with Remember That You Will Die, they reinvent themselves once again.
Perhaps the most immediate difference is the artists featured compared to their previous work: there are five guest vocalists and only a solitary guitar feature from the legendary Steve Vai, whereas the inverse was true of NLND. Plucked from across the musical spectrum, the first of these appears on opening track “Genesis”, ascending slides in the verses lending it a gospel aesthetic. Trumpets strewn throughout come courtesy of experimental hip-hop duo Brasstracks, expanding the soundscape and providing a focal point for the listener’s attention as Polyphia’s guitarists deliver some of their most rhythmically satisfying guitarwork to date. Jubilant and triumphant, RTYWD kicks off on an angelic note that so clearly juxtaposes the gloomy, demonic undertones of the previous record. This vibe persists until the penultimate track, “Bloodbath”.
Another notable shift is the addition of nylon strings, which the guitarists experiment with across a handful of tracks. These introduce a certain warmth to Polyphia’s soundscape, often accompanied by a rich Latin accent on tracks such as “Chimera” and lead single “Playing God”. The latter is a perfect teaser for this new sound. Alive with the bossa nova flavour and mellow, textured timbre of its nylon guitars, it sings like an elegant and intensely progressive rendition of elevator music, the whistle-melody somewhat reminiscent of the ‘exam music’ in the later Persona games. There is even a translation of some Wes Haunch-style shred to LePage’s soloing.
“The Audacity” and “Reverie” follow on, the former an erratic yet dreamy piece which deftly incorporates the textured synths and ambient electronic tones of guest Anomalie. Aeschliman’s kicks throughout are stupidly fast, muted to avoid overpowering the more forward and delicate elements of the mix. At first appearing haphazard and experimental, it is a deceptively dense track with a toe-tapping beat that becomes increasingly soothing the more you listen to it. “Reverie”, as well as having a name straight from the band’s 2016 release, Renaissance, feels like classic Polyphia. It’s a funky ode to hip hop, math rock, and progressive metal alike. Towards the end, the tempo drops off a cliff, which sees the track become even more infectious. Aided by niche and focused production, the solo’s transition into this slower section is nothing short of genius.
Polyphia’s production has always been exemplary, and Remember That You Will Die is no exception, sporting a mix that feels alive with its tight mids and crisp highs. Gober’s bass continues the springy and bold, trebly tones of New Levels New Devils. One of the small criticisms levelled at NLND was its lack of cohesion and flow – a collection of isolated classics thrown together. That ‘issue’ persists with its successor, but the heterogeneity of its tracks is purposeful and charming, with the seamless transition of “Memento Mori” into “Fuck Around and Find Out” serving as a timely mid-album anchor point. As a whole, it manages to flow incredibly well considering the apparent impossibility of connecting tracks such as “Playing God” and the audacious “ABC”.
Long-time fans in it for the flashy and distorted guitars of the band’s earlier works will likely be disappointed by the latter; it is a polished, sashaying, and intentionally puerile immersion into bubblegum pop and hyperpop. While the guitarwork retains its complexity, it sits further back in the composition, Henson’s series of sixteenth notes complementing Sophia Black’s unique delivery. The Ariana Grande influence in the vocal melodies throughout is unmistakeable, leaving “ABC” feeling like Polyphia’s take on a song from her most recent release, Positions.
If there’s any doubt it was a product of fun in the studio, “ABC” is centred lyrically around intercourse, interspersed with Japanese culinary principles and an impressive rapid-fire delivery of both the English alphabet and Japanese hiragana – a cutesy song about getting railed so hard you need medical attention, with a funky bassline to match. Thus, one of the boldest and most polarising singles of the year. Sassy, infectious – exactly as bubblegum pop should be. Expert handling of genres Polyphia should have no right to is the recurring theme of this record.
The sweep picking, harmonics, and tapping riffs Henson and LePage effortlessly weave form a rich and vibrant tapestry. Perpetually dazzling, and not simply due to the sheer technicality; the incessant groove and flow of the tracks make rather dizzying instrumentals digestible. I do not think there is anyone at the moment who produces so consistently captivating guitarwork across the spectrum as Henson – extravagant leads, groovy and bouncy rhythms, with the odd hypnotic solo thrown in, all topped off by Polyphia’s super silky guitar tone.
Mid-album trio “ABC”, “Memento Mori”, and “Fuck Around and Find Out” are by far the most vocally dominated tracks of not just the record but the band’s entire discography. The latter two are a complementary pair of beat-driven hip-hop tracks. “Memento Mori”, in spite of its name, is an upbeat song replete with some glorious drum fills from Aeschliman and vocal melodies from guest vocalist Killstation. Each member delivers an understated masterclass, with a bridge straight from NLND showing off the band’s rhythm section (which is extremely solid despite being made entirely of Clay). “Fuck Around and Find Out” is particularly inspired by modern rap. Punchy 808s, complex yet catchy rhythms, and some rather pleasant, versatile flows from rapper $not all make for a feel-good track that will get the car shaking when cranked up.
With a runtime of 1:20, “All Falls Apart” is a gorgeous interlude, though it certainly feels ready to open up; it is a shame, though understandable, that we might never see the full version featuring Trippie Redd and Dance Gavin Dance’s Tilian Pearson. Nevertheless, the restrained and horn-driven skeleton left behind is a new look for the band and a wonderful segue from the cocky, hip-hop swagger of the two previous, beat-driven tracks to the shreddy yet groovy polyrhythms of “Neurotica”.
“Neurotica” strikes me as a Renaissance song accented by NLND percussion. Whilst messier than “Playing God”, which feels akin to a three-act theatre performance, it’s a compelling track that merges the classic and new styles of Polyphia. The aforementioned “Chimera” is certainly a weaker cut, with Lil West’s verse feeling incredibly safe. Where most of the features add a hooking element to otherwise intricate instrumentals, Lil West largely replaces them, thus feeling somewhat of a regression for a group who so effortlessly fuse genres. Furthermore, the song tails off after, never really reaching a satisfying conclusion, and neither the distorted or nylon leads mixed throughout are strong enough to carry the track. Whilst I believe it will grow on any fan willing to give it time, the lasting impression is a demo rather than the polished Polyphia we have come to expect.
The last two tracks, however, are some of the strongest on offer, reinvigorated with the energy afforded by their metal influences. The most impressive cameo on the record might well be that of Chino Moreno on “Bloodbath”, which stands out as by far the moodiest cut. “I felt you leaving, your eyes deceived me. You left me bleeding in the Garden of Eden,” the Deftones vocalist croons. I appreciate the irony of including lyrics in a Polyphia review, but they masterfully set the tone for the dark and gritty turn the track takes. Henson also offers some aggressive, pitched down backing vocals which provide an extra layer of edge. The guitars are incredibly versatile, from gentle and ethereal strumming to chunky riffage, even functioning in a creative, jagged beat-box fashion. Then it gets heavy, devolving into classic distorted, reverb-laden metal guitarwork. Prog Deftones in many ways, complete with gloomy tone.
That ominous vibe is immediately stymied by closer “Ego Death”. As with Moreno, Steve Vai is a veritable legend of the metal scene, and his integration is handled with equal aptitude. Where “All Falls Apart” is the shortest song the band has penned to date, “Ego Death” is the longest– and it warrants every single second. As with previous closer “G.O.A.T.”, every instrument is given apt opportunity to shine. However, the overall complexion of the track is far more grandiose. It sounds extravagant. Alternating between gentle plucking and intricate leads, with Vai’s solo a mournful yet impassioned addition to Polyphia’s chromatic instrumentation, this is one of the band’s most mature songs, managing to avoid the label of self-indulgence that is so often thrown at them. Jazzy and shreddy, with drums that sound huge, “Ego Death” is the culmination of the sounds explored across RTYWD’s 40-minute runtime, given a fresh and metallic sheen. Trumpets refrain the central melody, closing out the record the way it opened.
Despite delving into new genres, there are moments of metallic roots strewn throughout RTYWD; the herta kick pattern in “ABC” pays tribute to Meshuggah’s oft-memed “Bleed”, LePage cuts some welcome shred on “Ego Death”, and the last minute of “Bloodbath” is without a doubt the heaviest Polyphia have been since 2014. Touches of the many hands that worked on the record can be felt throughout – from the percussive collaboration with Luke Holland to the group’s many producers. Thus, it has more personality but has sacrificed some of the captivating runs that made their recent material so instantly impressive. Far more diverse, but not as tight. Where NLND was an instant classic for me, RTYWD is a slow burn that is ultimately one of the strongest albums of the year. As if it needed saying, there is not a bad track on here, even the ‘underwhelming’ “Chimera” merely a casualty of the band’s lofty standards. To echo Periphery’s Misha Mansoor, “It sounds very Polyphia, which is some of the highest praise you can give to a band.”
In an era where even progressive subgenres are rife with stagnation, Polyphia are a bastion of originality. Adventurous and playful, with stellar production, Remember That You Will Die is the band’s latest evolution and a must-listen for math rock, instrumental metal, and hip-hop connoisseurs. Not the dark punchiness of NLND, nor the understated grace of Renaissance, but eclectic and refreshing, and something entirely new for both the band and the music landscape. As with their previous release, Polyphia continue to reach new levels. Will there ever be a time when the Texan quartet are not the incontrovertible pioneers of the progressive metal scene? Can they do any wrong? Hopefully we don’t have to wait another four years to find out.
Remember That You Will Die will be released next Friday, October 28th, via Rise Records, and you can pre-order it here.
9/10