Spotlights - "Alchemy for the Dead"
A post-metallic soundscape for your spiritual vacation
Hailing from New York, Spotlights melds sounds from Post-Metal, Doom, and Sludge, and even a bit of Alt Metal (specifically in “Crawling Toward the Light”), along with the stylistic approach of Shoegaze. I’ve seen the term “Doomgaze” while looking through what little I could find on this album, and I think it fits.
The core of Spotlights is a married couple, and Alchemy for the Dead is their third album together. This is the first album with a dedicated drummer, though, making Spotlights a trio now. And with the amount of sound here, it really feels much larger than just three musicians.
The sound contained here is dark and moody and grungy. It leans heavily on distorted guitars and synth, giving it this dirty, atmospheric feel that is almost omnipresent throughout the 47-minute runtime. The Doom, Sludge, and Post-Metal elements all come together to create what, at times, feels like an environment - not just an atmosphere.
What does that mean?
Okay, so Sludge has this tendency to muddy elements together - I explained this in my last review, as well - which makes things really blend, especially at the song’s foundation (bassline). Doom frequently employs lower-tuned and distorted guitars, which add this weightiness to the genre’s sound. That heavier Doom foundation with the Sludge elements really solidifies the groundwork in just about every song. Then you have Post-Metal, which is typically the most atmospheric metal genre. The synth, the second guitar line, and the light vocals all seem to float well above the foundation throughout the album. The synth is often ambient, even. So there are these moments on the album where the song’s foundation is solid enough to stand on, the atmosphere is thick enough to breathe, and you can hear the world around you spring to life.
This is an album I have thoroughly enjoyed just losing myself in, especially as the band lets loose and hits their stride while jamming out.
On top of that, the melody is often groovy, and is sometimes incredible. “False Gods” employs a tenor sax and is easily the best track on the album.
This is easy listening metal. It’s still heavy, dark, and complex. But it’s something you can relax to at any time.
The album feels cohesive, and each track offers just enough diversity that nothing ever really feels repetitive. “The Alchemist” suggests that there might be a loose plot tying the songs together, as well - something like a Frankenstein plotline, though I confess I haven’t taken the time to read more into it yet.
I’m very please with this one, especially as a random pick-up.
Rating: Blue