“The cold folds of ego eat glitter and moon.”
Emerging from the shadows since their last single in 2022, Sydney’s Above, Below have returned with the advent of their sophomore album, I Guess It Was Nowhere. The progressive metalcore band made a notable impact on the scene with their debut album, The Lotus Chapters. The band’s grand and cinematic sound created for a full-bodied and cohesive experience in storytelling. Since then, the band have continued to maintain the core aspects of their sound while continuing to innovate with new elements.
One of The Lotus Chapters’ strongest qualities is its immersive album experience. The album flows as one interconnected piece, utilising track transitions and interludes to combine each individual track. This quality has been brought over to I Guess It Was Nowhere, with the entire album presented once again as a complete piece. Conceptually, it seeks to explore the non-linear nature of this existence, brought about by the band’s own uncertainties and individual journeys in the years leading up to this album. Guitarist and primary lyricist Zac Adamson presents the theme of the album as being one of wandering and being lost, endlessly searching for meaning. This theme is reflected in the ebb-and-flow nature of the album’s flow which, while potentially confusing on first listen, ends up being an effective representation of the band’s journey to get to this point.
Intro track “A Spill Of Dreams” is a deceptively gentle introduction to this album. A hypnotic host of distorted synths forms a mysterious atmosphere that leads seamlessly into “Soothsayer”. The album’s first proper track continues the suspenseful build in its intro, as drummer Isaac Ross enters the fray with a set of skilful fills. Vocalist Jacob Wilkes lends his signature harsh vocals to the intro, although they are intentionally drowned out as they get lost in the synths and the intermittent, aggressive riffs from Adamson. The build finds release in a satisfying drop into an unmistakably groovy heavy section. The track is chock-full of twists as it drops into an airy, open section with Wilkes’ dramatically iconic cleans take centre stage to full effect. The track falls into yet another build, finding its conclusion in a powerful end-track breakdown. The non-linear structure of the track somehow progresses in a way that makes sense, and it creates for one of the most engaging progressive metalcore experiences in recent memory.
Following track “Heat” dials the intensity back with a more melodic opening verse. Wilkes’ gentle, smooth cleans contrast effectively against his gnarly harsh vocal delivery as the track starts to hit heavier strides. Adamson’s guitar work is put on full display, from immaculate tapping leads to djent rhythms that command a presence. Ross ushers in an atmospheric post-metal section with a flurry of blast beats that pair with Wilkes’ dreamy vocals layered over screams. Above, Below have always been a band that strays from the conventional, and this is exemplified in their unpredictable song structures. The track switches in time signature in its second half, contrasting the heavier first half in a more atmospherically led direction. The track’s ending sees Adamson bring thall-esque influences to the mix with his barrage of relentless riffs.
In keeping with the push-and-pull nature of this album, “An Orchestration of Carbon” begins on a gentle, synth-led ambient note, with subtle delay pedal leads sprinkled around the background layers. Adamson’s rhythmic grooving and Wilkes’ subdued screams contrast against the lush atmospheres while gradually building into a climax. The track takes a more conventional approach structure-wise with a definitive chorus anchoring the track, but the way their dynamics are varied nonetheless makes for a noteworthy and detailed experience.
Interludes can be a bane, but Above, Below know how to actually use them effectively. “Like Tears (Portal)” acts as a sort of scene change, using its distorted synths to lead into the next part of the album with intrigue. This leads us to “Starbreather”. The track wastes no time launching you into the iconic Above, Below riffing. Wilkes’ delivers the track’s anthemic chorus with an undeniable energy. While it follows a fairly standard modern metalcore structure, they don’t compromise by hinging on the chorus. The entire track, from the verses to the chorus, are all fully realised and full of detail. “Starbreather” is perhaps the band’s most accessible work, but it’s still presented in a way that’s cohesive to the rest of the album.
“Telos” drops the energy down yet again with a tranquill ballad, with Wilkes singing over a gentle backdrop of synths and drum rhythms. Bassist Dylan Malia gets a chance to shine with subtle grooves that add to the oddly relaxing vibe. The mood changes abruptly again with “Prism”, taking on a much darker, heavier tone. Wilkes demonstrates his crushing gutturals against the ominously downtuned guitars. Unexpectedly, the track takes a blackened twist. It shifts from the aggressive djenty approach of the first half of the track into a blast bed-led wall of sound. It paints a picture of denial and anger into acceptance, taking its angrier beginning and transitioning into a more reflective place before ending in a cathartic release with an airy, ambient breakdown. This is matched by the track’s lyrical content, expressing a desire to break free from the information overload of this life, “The burning of light from the ocean of screens // But I won’t accept this as our oppressive dream”.
The balance of intensities continues with “The Hands That Held Exploding Suns”, seeing Wilkes bring his unique style of clean vocals yet again to the table with its chorus. The album presents a good mix of unpredictable moments and more balanced tracks that still keep to the album’s core sound, and “The Hands That Held Exploding Suns” is a good example of the latter. Lyrically, it contrasts this direction with a rather nihilistic, yet calm outlook, “Glowing white as if cut from the moon, we did this. Me and you. // So they can score the shrieking of angels and keep us looking, for the source of the ache.“
The climax of this album’s second phase finds itself in “Collapsing Eden”. The 6-minute beast of a track has a gentle, proggy intro with Ross’ atypical rhythms and Malia’s bass work. Delay riffs from Adamson craft a floaty atmosphere as Wilkes’ sings pensively in lament. There’s a certain magic in the way that Above, Below builds atmosphere where I get lost in the vibrant soundscapes. Their use of space and more subdued moments is refreshing and captivating. The track’s cinematic build explodes into a gorgeous heavy soundscape, matching the lyrical themes of emerging from a dream.
Interestingly, the album continues onto its third phase. “Collapsing Eden” would have fit very well as a closer, but the album still has more to offer. “In Rain (Portal)” is a very different interlude from its sister, making use of weighty, downtuned chugs and dissonant chords that speeds up in urgency. This leads us into penultimate track “I Have Lost My Appetite For Spring”. The more melodic and anthemic side of the band is brought back yet again here. Thematically, there’s continuity with “Collapsing Eden” as Wilkes presents a desire to move beyond what he knows. It’s rather impressive how the band are able to sustain the momentum of the album at this stage.
This album, in its range of emotions, held a sort of hidden desperation and feeling of wandering. With closing track “A Dance in the Leaves”, the album chooses to conclude on a more melancholic, yet uplifting note. There’s a certain sanguine feeling attached to its shoegaze styled intro notes, launching into a flurry of uplifting blast beats. There’s a feeling of final acceptance that comes with the reflective nature of this track. In some sense, “Prism” alluded to this journey; this is just the fully realised conclusion that it was searching for all along. The track’s message summarises the message that Adamson wanted to bring across through the writing of this album, that perhaps all the yearning and chasing of life was actually nowhere to be found; the nothingness that brought about a sense of liberation – “but there is the most radiant dance in the leaves // falling from that autumn tree”. “A Dance in the Leaves” is ultimately the closer this album deserves, and it encapsulates the journey of not just the record, but also the band members themselves.
On first listen, I Guess It Was Nowhere may not make sense immediately. The way it goes back and forth may be confusing, but after multiple listens, I am assured that it is intentional. Above, Below have always been one to craft a narrative through their sound, and the intention is demonstrated clearly in the way the album flows. Above, Below display a level of craftsmanship with all aspects of their sound, demonstrating the true potential of progressive metalcore. It’s genuinely refreshing to hear such a purposefully crafted, fulfilling album experience, and I have no doubt that Above, Below will always deliver that.
9/10
I Guess It Was Nowhere release on the 20th of February via independent release. You can pre-order the album here.