“You won’t find another life when death is knocking at your door.”
In the realm of pop-influenced heavy music, Sydney’s Inertia is perhaps one of the most underrated standouts. Having released music since 2017, their 2022 EP Memoria saw them landing on the radars of many, drawn to their earworm pop hooks blended seamlessly with much heavier instrumentals. The band has always found a way to balance these two elements while still committing fully to them, establishing a unique identity for themselves and a sound that is accessible, yet never contrived. The long journey to their debut full-length finally sees its conclusion with the release of Second Shadow.
The previously mentioned Memoria caught my attention with the way it approached modern, djent-infused metalcore with mostly clean vocals. Vocalist Julian Latouche has a flair for writing convincingly catchy hooks that fit into the band’s heavier instrumentals. With a plethora of bands trying this approach in our current scene, Inertia’s take on the style stood out, never giving into the tired, tropey outputs of most of their contemporaries and instead creating something that felt natural and intentional. I was very much curious to see how Inertia would translate that into a full-length album.
Opening number “Counterfeit” greets the listener with a dark pop opening, reminiscent of Bad Omens’ newer work. The familiar djent-leaning guitar work kicks in soon after the first verse, with guitarist Mark Williamson laying down massive riffs with a presence. Against a synth-laden atmosphere, Inertia haven’t lost their touch as they deliver on their strong suits. The track twists into heavier moments with ease, resulting in a captivating performance and an excellent start to the album.
Following track “Leviathan” hits the ground running with a weighty chugged riff. Latouche’s sleek vocals lead the verses, with bass tones from Oliver Smith providing a backing for a subtler verse. As it opens up into the chorus, the soaring vocal melodies are infectiously catchy, feeling like a natural continuation of Memoria’s sound. Breaking into a floaty ambience, Jacob Thornhill of Thornhill makes an appearance, with his dreamy vocals creating a momentary lull before the track launches into a weighty breakdown that sees his vocal dynamics working in harmony with Latouche’s.
“Dying to Let You Go” continues this streak of strong opening tracks, opting for a heavier first verse that gets right into the action before swerving back into the vibes on the chorus. The mid-track breakdown hits with just the right amount of destructiveness to create contrast without feeling forced, its undeniable grooves making it impossible to stifle a headbang. Fellow Australian heavy-hitters Northlane have definitely influenced Inertia’s style, with the guitar work and tones having a similarly satisfying punch.
Delay pedalled tapping riffs on the verses of “Static” continue to display Williamson’s skills, with these subtle nuances displaying an attention to detail. The level of technicality gives a lot of depth to the sound, with a lot more to discover under the band’s pop-focused direction. The track’s chorus is a contender for one of the strongest on the album, an inescapable earworm that is just so damn smooth.
Despite their heavy emphasis on a vibey, more accessible sound, Inertia are no strangers to laying down some proper heavies. “Dominion” brings the aggression up high in the middle of the album with a faster-paced, heavier sound. Latouche brings his unclean vocal range to the forefront, screaming almost the entire track. Drummer Sebastian Schaber takes to the kit and drives the impact of the track with a steady hold on the grooves. Inertia’s ability to bring out the dynamics of their sound prove their multifaceted talent, with their tasteful but controlled injection of more aggressive moments giving them a more pronounced presence. My only gripe with this track is with how abruptly it ends, sounding like it got cut off prematurely. It’s a rather confusing choice, considering it doesn’t even transition to the next track.
“Replicant” takes the album in a different direction, marking itself as the most melodic track on the album. It flows between punchy grooves and open, spacey synth sections, with its regret-laced lyrics painting a rather melancholic painting. Its ethereal ambience brings a nice contrast from the heavier hits that the album brought in its first half and it displays the variety present on this album.
The album leans hardest into its pop sensibilities on its title track, with a bouncy, more upbeat rhythm disguising its sadder lyrical themes. The electronic melodies used throughout the track are almost annoyingly catchy, with special mention to the main synth melody that follows the entire track that just sticks in your head. Even with the pop-heavy direction, the nuances in the guitar work are far from lost, maintaining just the right amount of technicality.
The tasteful use of electronics follows into “The Seeds That You Never Sow”, taking a darker twist from the title track. The proggy riffing never seems to lose its steam as Inertia take their own spin on a current genre staple. The track’s chorus is undoubtedly neck and neck with “Static” for the catchiest on the album, and it’s impressive just how many effective chorus hooks this band is able to craft. Its momentum and level of detail make this a standout track, making its standard song structure feel much more substantial. Less can absolutely be more if you know how to balance unpredictability with the right amount of repetition.
This sentiment is definitely felt with “Too Far Gone”, somehow managing to make an uncharacteristically heavy breakdown fit into an otherwise tamer sounding composition. This party trick move is often botched quite terribly by other bands that create too jarring of a switch in trying to create and entertaining twist. With “Too Far Gone”, the slide into the breakdown is so natural that you’re already there without even realising it. It’s this fluidity that Inertia has that continues to mark their niche.
The album concludes with “Lament”, taking a slow build approach with its first half. Its minimalistic intro presents a subtle, atmospheric synth soundscape, bringing Schaber into the mix gradually to build the tension on the kit. The whole band comes in towards the end, opening up the sound beautifully into a floaty ambience. The decision to end the album on a more dialled back note works to its favour, slowing the pace down the right amount while still making it cinematic.
There’s hardly a dull moment on Second Shadow. Its blend of its various elements is near perfectly measured, and the result is satisfying on the whole. There are a lot of misses you can make with this style, where pop influences can feel overdone and forced, and vice versa with the heavier moments, but that was never felt on this album. There’s a clear intention in every choice, and it translates into how smoothly the album’s sonic direction flows. Inertia have crafted an effective album experience, one that, despite its many repeated motifs, still feels exciting and engaging at every point.
8.5/10
Second Shadow releases on the 9th of August via Independent Release. Pre-orders for the album can be found here, and the band’s merch can be found here.