Following up the flawed work on Mesmer, Northlane’s goal wasn’t just to bring a genesis to the metalcore genre as they did with Node (the debut of Marcus Bridges on vocals). But create an effective but shortened rebound to the earlier-mentioned Mesmer. Henceforth, the creation of Alien, a new take on the genre, is achieved by combining their well-mastered metalcore chops with EDM and dance beats. However, the true mastery of this album and its darkened groove can only be fully appreciated by examining the nuances of each track and assessing their greatness within the context of Alien.
“Details Matter”: 3
The record starts with a rough application to the dynamic mastery of Northlane. Details Matter feels more like a B-side to Mesmer, while also applying only a minuscule amount of their approach to metalcore. By no means is it horrible, but in comparison to the avenues we see throughout the top half of the LP, it only gets better.
“Bloodline”: 5
The meat and potatoes of this album are shown here within the first few minutes of the verses and choruses, and we see this new face of Northlane. “Bloodline” presents a darker soundscape with layered electronics alongside Bassist Alex Milovic’s heavily distorted riffs. The track is groove-laden while also exhuming a dissonance that reflects Deftones at times. It also lays out the inception of the themes within the track list; as such, “Bloodline” illustrates the recovery of an individual who grew up in a home destroyed by substance abuse and neglect. I really liked this one in particular, since it doesn’t just focus on Marcus’ Experiences ( like so many do) but the recovery of said trauma. I honestly wish this were the opener.
“4D”: 5
Continuing on with the dynamo of their new sound, “4D” approaches their use of electronics. In comparison to “Bloodline”, it’s a little more driven into the metalcore foundation. But between the angelic voice of Marcus and the sonic trouncing from Nic Petterson. It just has so much energy, and really shows the craftsmanship of Northlane, and how much this new restructuring of their approach to songwriting has breathed a breath of life through the band. It’s a strong follow-up to “Bloodlines”, while also having its own identity. The song signifies the loss of Marcus’ parents due to an overdose. The constant grappling of grief and guilt due to that loss, but also reminding the listener of how hostile his relationship with his parents and childhood household was. This duality of emotions and processing, coupled with the beauty of how explicit but poetic Marcus can get, makes this the best track, lyrically and musically.
“Talking Heads”: 4
We move away from the traditional sound of their take on metalcore, “Talking Heads” switches back to the darker sound of the record. However, Northlane doesn’t necessarily utilize their dissonant feeling of “Bloodline”. The main variable in comparison is forced more on Deily and Smith’s approach to a more deathcore-oriented play style. Nevertheless, they find a way to dynamically approach any commonalities with that style by replacing them with EDM-esque soundscapes. For instance, they apparently said “beats” behind scooped mids and the grind-based chugging. Doing this adds another dimension of that heaviness, and at times provides a groovier basis for flatter-feeling riffs. Between the gruffer vocals, it’s a super unique take on a (at times) overdone genre.
“Freefall”: 4
Moving on, Northlane continues with deathcore application while pulling back a lot of the synthwork. It feels super raw within the means of their overall spin on the playstyle from the previous track. “Freefall” chronicles a memory from Marcus Bridge’s childhood, where a gunman broke into the motel room where he and his family were staying and pointed a gun at his father.
“Jinn”: 5
Northlane approaches “Jinn” with a heavy orientation of groovier riffs, especially bass that sort of replaces the synths in the mix. However, toward the end of the track, it sort of previews their take on the following track by using their usual breakdown point for a groove-based riff-off, but instead of guitars, it’s force bass and samples. “Jinn” describes feelings of being trapped by circumstances, which, in inference of the established themes, is more than likely generational substance abuse. It also narrates the internal conflict between what brings comfort and what confronts one, ultimately portraying how one’s intentionality may be a choice to fight for a path to breathe and escape.
“Eclipse”: 4
Think of the stylizations used by Northlane in the previous track’s ending and then lengthen it out into a full-length track. This is the basis of “Eclipse,” and I absolutely love it. It kind of has a nu-metal aesthetic, with more of a focus on the already foundationalized deathcore instrumentalization. It’s just super unique, but it feels like it fits in the track listing. Something most bands have trouble with. It highlights the difficulties of growing up with an abusive and neglectful father, exploring the motivations behind his father’s actions while also asserting a promise to break the generational destruction.
“Rift”: 4
“Rift” takes a completely new approach, with a heavier use of melodies and ambient soundscapes. It’s sort of a post-rock application, with a couple of creative feeling breakdowns towards the end of the track. It’s honestly a listen, but it doesn’t have a whole lot to look out for in comparison to the singles on the record.
“Paradigm”: 4
The listener is brought to another variation of the atmospheric of Northlane with a heavier inclusion of metalcore style. The drumwork reminds me a lot of “4D” with a tribal feeling constituency, paired with the very shoegazey floatiness of the previous track. I like the fact that it never halts the listeners’ momentum (since most lower halves of records imply more melodic ballads) but keeps that same traditional framework. “Paradigm” elucidates Marcus Bridge’s journey to recording his relationship with his father. It serves a bilateral study on both their families’ dynamics and way of life (henceforth the word “Paradigm”), but also a persuasive case for reconnecting. It’s a full circle, especially in comparison to the beginning tracks of Alien.
“Vultures”: 3
Unfortunately, we hit a small speed bump, but other Listeners may vary on the decision to put this track on the lower end of the record. For me, “Vultures” was the first single to be released of which was a mysterious release and sort of armageddon timer for the media. However, I’ve never liked the idea of pre-release singles. But it’s an industry standard and should do one thing… establish the framework of the album. It should convey the entire album before it’s ever released. “Vultures” do NOT do that. Other than its incompetent placement, it also has a lack of hooks, and the immersiveness of the track doesn’t fit with any other song. By which, making it a black sheep.
“Sleepless”: 5
Luckily, listeners end off with a bang; “Sleepless” combines all elements within the album into a power ballad filled with emotion. It’s a great reflection of Northlane’s emotion, and masterful approaches to music, since none of these instrumentations between the atmosphere, electronics, and soft rock never feel tacked on. It all flows very beautifully into an epic ending, befitting this seemingly depressed album. Lyrically, it’s an ending to the album’s themes of negligence and addiction, but a statement of awareness.
Overall, Alien is a journey through the mind of Marcus Bridge’s struggles while also reinventing the way Northlane’s image is shown. Now, not just as a metal band, but more importantly, their willingness to step outside the box.
