Embracing both horror and rock, Davey Suicide blends film and music into his live performances to create a powerful experience. We now experience his latest full-length, ‘Rock Ain’t Dead’.
Kicking off with a smattering of power metal, opener ‘Rock Ain’t Dead’ is filled with energetic grooves and layered synths that add a feeling of goth rock to the whole experience. Bounding with extra force from Davey Suicide himself and an ensemble of chanting voices, it’s certainly attempting to get the audience following suit in a live setting.
Combining a child’s poem with a macabre sexual experience, ‘Medicate Me’ blends nu-metal choruses and riotous riffs from Niko Gemini, who manages an array of styles with great precision and effectiveness.
Turning to industrial metal, ‘Animal’ introduces retro low-fi synths and fuzzy rhythms that hark back to the days of electronic body music (EBM), which displays the dexterity the band has to inject different genres into their arsenal.
Taking on an instrumental approach, ‘Disappear’ lowers the tone to clean guitars and distant pianos that give way to another assault of rhythmic choruses that, with Suicide‘s style, could be likened to Avenged Sevenfold‘s own M. Shadows.
Spiralling into metalcore realms, ‘Riot’ ups the ante with straight up aggressive riffs and pounding rhythms from Marton Veress, who maintains a strong heavy edge of impact rather than relying on straight out speed that comes out in the breakdown to push the boundaries out further.
‘Rock Ain’t Dead’ is a solid record, despite it being a little bit dated in places. Still, it has a nice blend that rides the lines of cheesy goth and nu-metal.