Infected Rain – Time
Release Date: 9th February 2024
Label: Napalm records
Bandcamp
Genre: Metalcore, Djent, Progressive Metal.
FFO: Spiritbox, Dying Wish, Jinjer.
Review By: Jeff Finch
Over the past couple of years, one segment of metal that I’ve really grown to absolutely love is the segment dominated by front-women; bands like Dying Wish, Jinjer, Venom Prison, and the level of viscera that emanates from the speakers when these bands play. Whether it’s because these bands sound better than their male-dominated counterparts, or that there’s simply an extra level of intensity, I’m not entirely sure, but I can say that there is something just captivating when listening. Narrow-minded though it may sound, maybe it’s because there are so many other genres where women dominate that I’m not terribly fond of, that to hear them continue to take on metal is just plain awesome to hear. Infected Rain, and stellar lead Lena Scissorhands, are an oft-forgotten member of this segment, which is just a shame, because what they bring to the table with their djenty riffs, bouncy beats, and the powerful range of their vocalist, is something that should be up there with Spiritbox in terms of popularity.
On their newest record, Time, Infected Rain continues what they’ve been bringing to the masses for years; riffs and Lena, and quite frankly, that’s all you need. What sets this band apart from their peers is Lena’s acerbic delivery that contrasts marvellously with her clean vocals. For the vast majority of tracks, we are treated to that harsh delivery that enhances the pummeling beats, Meshuggah-esque in their bounciness and heft. Look no further than Vivarium, where the bass punches through the speakers like any proper Nu-Metal band (think Korn), the riffs chug, and Lena captivates with her raspy, shrieking, unhinged vocals, at points high enough that any Black Metal band would happily recruit her, at other points, the complete opposite end of the spectrum, her cleans a perfect fit for a symphonic metal band ala Epica or Within Temptation. The range she possesses is incredible and manages to be the glue that holds any song together. When the cleans contrast with the harsh, it sounds like two completely different, equally excellent, songs, a welcome treat for anyone that likes to have a bit of variety in their music and not the same chugfest that lathers rinses and repeats.
Because I Let You is a perfect representation of what the band can do, again bringing those Meshuggah riffs and the bounce one would expect from a Spiritbox, the vocals the standout, as they dictate where the song goes: the harsh screams indicative of pain, wherein the riffs punch and the drums pummel, while the band takes a brief respite when her clean vocals shine, lyrics trying to paint a positive picture but all too real in recognizing the darkness beneath, all segueing brilliantly back into the main groove at the turn of phrase, so to speak, when those shrieks come roaring back. Later in the track, Lena tackles the main verses with her cleans in front, a modicum of harsh vocals layered underneath, a somewhat awe-inspiring shift in tone allowing listeners to get a long listen at the immense talent she brings to the table.
Pandemonium possesses elements of synth throughout to contrast the heaviness that has permeated the speakers so far; the track hits like a Mac truck, every instrument pushing out its highest intensity, a breakdown a bit past the halfway point a chest caver, undoubtedly a song that the band aims to bring to a live setting, the synth creating an epic soundscape as the track closes out, possibly the perfect amalgamation of sounds that shows what Infected Rain is all about.
If there is one item about this record that needs to be brought up, it has more to do with the genre and the expectations than the band themselves: when going through a marathon listen, straight through, there are moments of ‘same-y’ sounds, which has been one of the critiques of bands like Meshuggah at times: sometimes, the music and the thick oppression of the riffs is just too much, the sounds too similar, that a break is needed. I’m not one for filler tracks, but some sort of respite, akin to instrumental closer A Second or Thousand Years, may have proven beneficial in a different part of the album, resetting the listeners ears and giving us a place to logically start ‘part two’ of the album.
But don’t let that deter you from listening, this could simply be just a me problem. Sometimes my attention span zones in and out, so hearing an album as punishing as this one (and believe me, it is punishing), as acerbic and vitriolic as it is, can be a tad exhausting. Taken in small sprints, maybe breaking it up, giving oneself time to absorb everything that has been consumed, allows a listener to focus on just how sensational Infected Rain is, each song brimming with undeniable proof that these folks are anything but “a part of the pack.” If you’re already a fan of Infected Rain, you’re going to love this. If you’ve never listened to them but want to give them a shot, there’s no better place to start than here: the Time is now.
(4 / 5)
