Run – Come Taste The Misery (reviewed by Dave Franklin)

I have to confess that when I saw the band name I was expecting something slightly different from what I found inside this 8-track album. Often, music pushing this far out in this direction, music made in the extreme ends of the rock and metal music spectrum tends to be all about excess. Fast and technical drum patterns, intricate and unnecessarily complex guitar riffs, booming, depth-charge bass lines and demonic vocal howls. Come Taste The Misery is smarter than all of that showboating style over substance, instead creating the same cavernous sounds and dark otherworldly salvos but doing so from a more tempered and considered approach.

The music seems to loom menacingly rather than go for the obvious frontal assault, its riffs hang heavy in the air, methodical and measured rather than just trying to win some sort of notes-per-second award and the whole is far more effective than the speed-kings and technical-rockers that I might have been expecting.

Although there are tracks such as Scars and the title track where the vocals do opt for that B-movie horror vibe from time to time, by and large things remain in a more bruised and brooding mortal realm. Opening salvo Rabbit Hole sounds as much the product of a drifting gothic-shoegaze environment, akin to The Telescopes or Tombstones in Their Eyes as the extreme metalcore which you might expect.

Sweet Blade Jane exists at a point where low-slung garage rock grooves mesh with horrific metallic soundscapes and Visions is a strange mix of the blasted and the beatific, dark droning deviltry and disembodied angelic voices. The album is rounded off by two instrumentals which seem to lend themselves to the film world, their dark cinematics and tumbling sonics, shimmering, raw edged sounds and claustrophobic intensity perfect for credit rolls and incidental music in everything from supernatural tales to dystopian sci-fi to alternative film-noirs.

Music being made at the extreme ends of the sonic spectrum is always interesting. And in the same way that the best ambient musicians realise that the most gossamer and drifting of music still needs form and structure, beat and body, Come Taste The Misery understands that such vast creations can also be conjured through the deft and determined use of sonics rather than merely throwing everything you have into the mix.

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