Review: earthtone9 ‘In Resonance Nexus’

Recently my colleague David opened a review expressing that he largely chooses to stay clear of albums he has an emotional investment in. Conversely, I became invested in most of my reviews, and when I got offered the chance to review the new, unexpected album from my long-time favourites earthtone9 it was too much of an opportunity to refuse. Investment? This is possibly the most invested I have been in my fifteen years throwing words into the ether. Simply put, without the existence of the Nottingham-based crew I’m not writing for The Shaman.

earthtone9 'In Resonance Nexus' Artwork
earthtone9 ‘In Resonance Nexus’ Artwork

In the age where the poisoned chalice of nostalgia offers big paydays to bands of yesteryear reforming, it can produce a hesitancy to truly be objective when trying to critique an album or live show. For a band like earthtone9 where the critical plaudits outweighed the commercial successes (even the bump generated by a return after many years), to re-enter the fray after a decade since their last album smacks of unfinished business and a chance to show a world far more appreciative of the sophistication and skills they brought to the scene some 26 years ago.

Opening with the bullish The Polyphony Of Animals, the album crunches with trademark hard riffing, studio drummer Jason Bowld (Bullet For My Valentine) sounding out a frantic up-tempo patter whilst Karl Middleton roars with his distinct style in a manner that gives a speed injection to the Off Kilter Enhancement era feel. This choppy start then opens up into a lush chorus that sees the band channel some of the more accessible but far from simple hooks of the latter-day IV style of writing they had hinted at. Walking the line between feral brutality and soaring melody, In Resonance Nexus immediately feels fresh and revitalised, brimming with energy.

Following up with the equally heavy Navison Record which features some deft tech metal guitar runs, the likes that were being thrown about in their original run by the likes of the underrated Johnny Truant and an infant Architects, before they drop into more thick harmonies and huge hooks that counterbalance the charging verses and jackhammer drums. Underpinned by the pulse of new bassist Neil Kingsby, the music combines all the eras of the band, retaining the rawness and savagery of their early work with the dynamics of their first comeback to prove that writing an accessible song is not a compromise.

Slowing the pace with thoughtful, almost eastern-flavoured guitar, Under The Snake is a brooding track built around an insistent riff and a stripped-down dropout for the verses. When the band ramp up the intensity, they break into a swaying anthem which, ably captured by production master Lewis Johns at The Ranch in Southampton, seemingly fired the creative synapses and makes the whole record shine.

Lead single Oceanic Drift is a hardcore sugar rush with duelling vocals and lyrics that are typically full of nodding winks to modern life, the band’s own career and reflection on the time past. Full of energy and high-octane riffing, it marries this new-found confidence to create something artistically pure and give a snapshot of where earthtone9 is in 2024. Unafraid to throw their ideas out, making urgent music that feels important and can satisfy the headbangers and yet wrap you in silky smooth harmonies.

Double bass drumming, the nagging, stabbing riffs and Middleton scraping his throat raw…

Black Swan Roulette might already be my song of the year. Dark, menacing and reminding me of Arc’Tan’Gent’s highlight Yellow Fever, it smoulders and builds to the towering chorus through snaking verses, almost spoken word lyrics, seismic drumming and epic catharsis. This serenity is shattered by Lash Of The Tongues which is one of several candidates for the heaviest track on the album. Double bass drumming, the nagging, stabbing riffs and Middleton scraping his throat raw in the hardcore charge to another insanely singable groove.

Etiquette Of Distortion however takes the prize for that title with almost death metal bellows, thrashing chords and frantically picked notes that make the shining chorus a merciful relief after the tumbling mania that the band whips up and deserves to inspire pits in venues all over the place. Complete with a classic swirling earthtone9 post-metal section, they emerge with a stomp and hammering beats to go for the jugular on the climax.

This feral attack continues on Observe Your Course in what may be Middleton’s most stunning vocal performance to date which goes toe-to-toe with anyone you want to pick from the deathcore genre. The band rages around him, asserting the claim that they don’t want to be a heritage act for those in their forties and proving that just because they have added a sheen of accessibility, they are far from compromising their ability to melt your face off.

Third Mutuality starts with plinking electronics and delicate melody, effect-laden vocals echo with high drama as the band bring it down for a moment of introspection. Reflective and sombre after the bombast of the last few songs, this is the closest thing to an earthtone9 ballad and when they build to the more robust and hard-hitting sections, it is done with a flourish of musicians who have been trying to perfect this for 25 years and they pull it off in style.

Finishing in strong style with the slower, powerful Strength Is My Weakness, the band pour everything into the longest entry. Summing up everything that has gone before, the band sign off in fine style with the pounding mid-paced groove and earworm chorus to finish off an album that has me questioning whether I need to politely ask Arc’Tan’Gent to move over as my favourite album by the band.

The truth is that In Resonance Nexus is waaaaay better than I hoped it would be with enough raw, grit under the nails to satisfy the hardcore OGs, enough shine to appeal to fans who came later and enough current progression to reach a new audience and creatively slake the band member’s artistic growth. You shouldn’t listen to this album because a self-confessed fan got to write this review. You should listen to it because it’s fucking great.

Label: Candlelight Records
Band Links: Official | Facebook | Bandcamp | Spotify | Instagram

Scribed by: Mark Hunt-Bryden