ALBUM REVIEW: Good Tiger – Raised In A Doomsday Cult

Release Date: August 7th 2020
Label: Unsigned
Website: www.goodtiger.co
Facebook: www.facebook.com/goodtigerofficial
Twitter: www.twitter.com/goodtiger

Rating:

Elliot Coleman is an immensely talented individual, and that should be stated from the outset. His work with Sky Eats Airplane, as well as his short-lived tenure as vocalist for TesseracT are testament to not only his ability, but range and uniquely confident cadence.

His current project, Good Tiger, consisting of former members of both The Faceless and The Safety Fire, shook any preconceived notions on their 2015 debut, ‘A Head Full Of Moonlight’, showcasing themselves as a wholly different beast to any members’ past projects.

Now while that album and its 2018 successor, ‘We Will All Be Gone’, built a strong base, neither seemed to exude that one pulsing factor, that intangible presence of something truly special. Rather, they struggled to find footing in a confident sound.

‘Raised In A Doomsday Cult’ doesn’t struggle, nor stumble, nor even question itself for a second. Free from growing pains or identity issues, this third full-length is a flawless, genre-less, emotionally resonant meander through ourselves. Groovy and layered, each track does its utmost to avoid definition. By blending elements of alternative metal, prog-rock, post-hardcore, and even some healthy doses of math rock, a precise fluidity and lush, nuanced technicality weaves itself around Coleman‘s phenomenal performance.

Sounding like if Jeff Buckley fronted Chevelle, the juxtaposition of saccharine opener ‘Kimbal’ next to the balls out swagger of ‘Ghost Vomit’ immediately makes it known that there will be little to no identifiable points of reference to cling to for the duration. Cuts can switch in a split second from guitar-centric intricate, metallic tampering to balls out anthemic choruses that could fill a stadium, such is the case on highlight, ‘Whatever Happened To Man’s Best Friend?’.

More fully restrained tracks such as ‘1252’ and ‘Sunthrower Flower’ evoke expert use of pacing, melody, and atmosphere, with the latter resembling Incubus at their most delicate but with the bouncing rhythm of Polyphia. It’s a tremendous lot to take in, yet not for one second does any aspect of the material feel over-stuffed or unnecessary.

What’s easily their biggest strength is the total lack of self-indulgence on display. Approached with almost a pop-sensibility, this whirlwind of emotions and ideas are presented in a warm, welcoming, digestible, and vastly rewarding form.

Few albums ever manage to strike such an expertly precise, meticulous balance between intricate, layered technicality and instantly memorable earworm hooks. ‘Raised In A Doomsday Cult’ is a commendable work, and easily the finest project to date from all involved.

Be the first to comment

Leave a Reply

Your email address will not be published.


*


Solve : *
30 + 7 =


This site uses Akismet to reduce spam. Learn how your comment data is processed.