“I tore a hole in the fabric of time just to bring you home.”
Deeply introspective lyricism, intriguing, layered soundscapes, and an unfiltered appreciation for their audience are just some reasons Silent Planet are so widely celebrated. The enigmatic quartet from California are set apart in their niches. They’ve long been unafraid of tackling issues head on with their music, from matters of politics to themes of mental health and grief, and even the spiritual. Frontman Garrett Russell is known for his poetic and profound lyrics with numerous references to classic literature. While Silent Planet’s sound is usually characterised by ambience-laden, progressive metalcore soundscapes, their exploration of new sounds on previous album Iridescent (2021) saw a new side of the band emerge, laying the foundation for SUPERBLOOM.
Adversity came the band’s way in November of 2022 in the form of a devastating tour van accident. While the incident claimed no lives, it left Russell with a fractured spine and a head wound. Presented head on with their mortality, this accident inspired the band to double down on their sonic experimentation, and is indeed the subject matter of “Antimatter“. Russell, together with guitarist Mitch Stark, bassist Nick Pocock, and drummer Alex Camarena, present their latest studio album, released on the very anniversary of this misfortune.
As evident with first single “:Signal:”, the band are doing things not done before; ethereal synths juxtaposed with crushingly high-tempo chugs, and some of Russell’s harshest vocals, it is a body of ordered chaos that shouldn’t feel as catchy as it is. Teaming up with both Dan Braunstein (Spiritbox, Invent Animate, Dayseeker) and Buster Odeholm (Humanity’s Last Breath, Vildhjarta), the result is a mix with an apocalyptic crush.
Really, all of the singles cover new territory for Silent Planet. Beginning with hypnotic electronic rhythms, “Antimatter” almost progresses into a club hit, right as syncopated chugs burst in, backed with an alluring synth melody. The track ebbs and flows in and out of these two elements while steadily building into a gorgeous explosion of post-metal soundscapes, making for one of the most captivating tracks of the year. Although present on “Antimatter”, follow-up single “Collider” sees Russell take the forefront on clean vocal duties. It is not an unfamiliar concept; Russell has experimented with singing on Iridescent. However, SUPERBLOOM sees him take over full vocal duties for the first time since the departure of previous clean singer and bassist, Thomas Freckleton. Russell’s performance is exceedingly excellent, delivering one of Silent Planet’s best hooks in the chorus. The track is possibly one of the band’s most accessible, but make no mistake; it is still one packed with nuance and detail.
With the bar that the singles set, it’s a valid concern that the album will not reach those same heights. Album opener “Offworlder” crushes my worries under its colossal entrance. Eerie, alien synths drive a sound of unknown territory, with Russell’s vocoded talk-scream voice contributing to the intrigue. The song explodes into destructive riffs, treading a line of uncomfortable unfamiliarity with a heaviness previously unexplored by Silent Planet. The result is an enthralling, impactful start to the album.
The momentum carries forward into “Euphoria”, taking the otherworldly sound of the album in a more vibe-orientated direction. Ethereal, floaty vocals take hold of the chorus, provided by singer Alejandro Aranda (Scarypoolparty), balancing the album’s heavier direction perfectly. “Dreamwalker” sees Russell resume singing duties, once again masterfully displaying his progress vocally. Stark’s innovative riff-writing shows itself in full display, managing to build suspense and add impact where needed. These two tracks present a side of the band teased on “Collider”, able to integrate these new concepts whilst maintaining authenticity. It’s a sound far-removed from the most well-known albums of Silent Planet, but it never feels like a cheapened product. If anything, it bears resemblance to the sound of their debut EP, Come Wind, Come Weather (2012), with its grittiness, albeit with a coat of thall paint.
The previously mentioned “:Signal:” is paired side-by-side with “Anunnaki”, notably some of Silent Planet’s heaviest songs to date. The latter is aggressive, infectiously groovy, and unrelentingly crushing. Stark also flexes his vocal abilities, providing background screams. There’s a certain unhinged quality to these two tracks that the band have never ventured into before, a lethal outpouring of intense emotion, which serves as a well-placed climax in the flow of the album. Camarena keeps up on the kit impressively, with flurries of fills and kicks matching the high tempo of the sonic aggression.
“The Overgrowth” is a track of high interest to me. Starting off quietly, with light ambience and electronics layered over a calm bassline, it almost sounds like something you might hear off When The End Began (2018). The track proceeds to morph and contort in three different phases, covering the bases of post-metal and thall-infused metalcore to create one of the most unique songs of the record.
Having voyaged through many new worlds during the record thus far, “Nexus” brings a sense of cohesion near the end, returning the listener to the sound introduced at the start of the album. For most of the album, SUPERBLOOM presents a dire, uneasy feeling of desperation, translating the potential apprehensions of the band going into the record accurately into the music. It is uncharted territory for Silent Planet, and it sounds phenomenal. Every detail, from the space-themed electronics to the abrasive guitar tones all create a harmony that is unmatched. This amplified intensity feels purposeful in creating more than the album’s soundscapes; it invites you to feel.
While they are no longer as academic in nature, the lyrics on this record are far from a regression. Taking the poetic approach to more personal topics, Russell takes on a more narrative-based approach which was first introduced with Iridescent and continues here, impactful as ever. On “Nexus”, a callback to Everything Was Sound (2016) appears in iconic Silent Planet fashion:
“We’re casualties to the moment, when everything was sound.”
The album concludes with its title track. A direct contrast to the rest of the tracklist, it feels comforting and melancholic, a place of solitude after the chaos. As Russell sings, “I’ll find you weightless, in the superbloom. This can’t be a dream if it’s not with you,” the words carry a wistfulness to them. As it builds, the song explodes into one of the most gorgeous ambient passages the band has ever crafted. While most of this album is characterised by a sound of turmoil and uncertainty, this closer represents closure in a journey. Normally, I would have wished for more of this sound on the album, but the powerfully cathartic impact of this closer would have been lost.
A superbloom is described as a rare desert phenomenon, where an unusually high amount of dormant wildflowers blossom simultaneously. SUPERBLOOM has surely lived up to its namesake, an experience that is unusual yet beautiful. Following their close brush with death, Russell remarked that the band went into this record with an increased willingness to take risks. The experimentation on this record is far beyond anything I could have imagined Silent Planet sounding like, and yet in hindsight is a perfect and natural development for the group. On the very surface, it may seem like the band have defaulted to the trends of modern metalcore, with its more aggressive nature and involvement of Odeholm, but the record is exceedingly more than that. Beyond its extraterrestrial motifs lies a deeply personal album, one that confronts the fleeting nature of life, while still embracing the beauty in it.
10/10
SUPERBLOOM releases on the 3rd of November via Solid State Records, and pre-order links for the album can be found here.