Funeralbloom tackle progressive elements to decode the perplexities of relationships. Formerly known as “The Measure Of,” the newly named Funeralbloom have a fully developed, exploratory sound beaming across the dewy groundwork of their debut full-length, Petals. The album, conveying the idea of selfishness in sentimentality, gets to purging tranquil atmospherics while gnawing at the gristly stuffs of post-black metal and post-rock.
Opening the record is “Black Shoes”; here, Austin Curtis’ scratchy vocals dip in the potent mix, and a breathtaking ending is preserved. “Cherry Orchard” follows and exudes a toned down mood, as nostalgic tones ease out of the strumming; its foundation suddenly cracks to reveal the zestier percussion from Tyler Torres.
After the lyrical beginning of “Lust,” all awakens to a darker musical zone, turns bleak and is sent off with dreary singing. Those wishing for extra grit are to be mesmerized by what happens next. Things take a violent turn once “Naked” is announced and heavy riffs and drums act as a vacuum to seal off the past.
Petals picks up on the experimental signals of post-metal and post-rock. Thanks to the palatable guitar-work of Nick Ross and Jad Dandashi, the musical auras morph. Atmosphere is present, but inside the bitter debris of yesterday’s extreme metal moves from somewhere behind the scene.
Petals parts ways from your usual progressive styles by featuring Bryan Walters’ rather prominent bass, which is responsible for keeping the songs plump. Even though the release only dishes out four tracks, they exceed the average run-time. And the prized selection here is “Cherry Orchard,” demonstrating Funeralbloom’s flair for keeping their dreamy melodies steady among quaking settings. A final highlight is that Petals is one of the most mature products coming from today’s post-metal scene.
To learn more about Funeralbloom, read Metal Mellowdee’s interview with the band.