Fall of Stasis – The Chronophagist
Release Date: 25th February 2022
Label: Self Released
Bandcamp
Genre: Progressive Black Metal, Death Metal.
FFO: Wolfheart, Old Man’s Child, Fleshgod Apocalypse, The Black Dahlia Murder.
Review By: Adam Schultz
February. It’s always February.
In February 2021, amidst the depressing throes of post-celebratory winter, I sat at my dining table staring out into the barren, blue-tinged wastes, trying to find something to give me the energy I needed to make it through yet another timeless winter (wink wink Into Eternity fans). That energy came in the form of Summoning the Lich’s United in Chaos. That album became my 2021 AOTY in a year absolutely bursting at the seams with greatness from many genre stalwarts. A debut album, becoming my AOTY? Surely a rare feat. Maybe…
Fast-forward to modern day. I’m once again mired in the throes of another winter, this one ravenous in its pursuit to rob me of any escape from its dark clutches. On the horizon, a cacophony of sound. It has the folksy Nordic charm of Wolfheart. The frenetic, classically epic atmosphere of Fleshgod Apocalypse, the pummelling groove of The Black Dahlia Murder, the bouncy pitch-black riffage of Old Man’s Child. Fall of Stasis’ The Chronophagist has arrived.
While the year is young, and I cannot pin the AOTY badge for another ten months, Fall of Stasis have definitely given me pause in a year I expect to be yet again swimming in must-buy albums from some of my favourite artists. Here I am ignoring the latest Shadow of Intent and Meshuggah tracks to keep listening to the title track on this record.
There’s a unique energy here, a dancing vibe that switches between blackened dirge and frantic death groove. Fall of Stasis do not rest long in any particular riff or influence. Their debut single, the fifth track from this album, titled The Cult, is a wonderful encapsulation of just about all that’s on offer from The Chronophagist. There’s an underlying keyed melody that’s straight out of a carnival, razor sharp blackened death riffs, rapid-fire machine gun blasts, even a breakdown and trill that’ll have you headbanging. The song begins with an enthusiastic and nasally “BREEEEEEE” and switches to a folksy Wolfheart-esque croon before returning the wild, demonic howls. There’s even a rousing “Hey! Hey! Hey!” transition between the verse and the bridge. There’s a LOT going on here.
If you enjoy The Cult, you’ll find the rest of the album just as enjoyable. The proceedings open up with a haunting instrumental, Wilted Forests, that helps set up the general feel for the rest of the album. Ethereal pads mix with sound effects and a mid-song calliope riff. Brass joins in. Strings join in. You’d be forgiven for thinking you’re hearing some odd carnival-themed Fleshgod Apocalypse intro.
The calliope trill gives way to Fall of Stasis, a track that reminds me of Old Man’s Child circa In Defiance of Existence. The band then channels their inner-Alestorm and gives us what I must admit is the first black metal sea shanty I’ve ever heard, fiddle and all. It’s a rousing pirate-y ballad with call-response and a raucous lead line. It may be the most random song on the entire record, and is the only song I found myself skipping after a few listens through.
This oddness is made up for with what is likely their most straight-forward song, titled Baal Arise. It’s a played-nearly-straight blackened death metal gem, with a crooned bridge and carnival-themed outro to keep it consistent with the tone of the rest of the album. The aforementioned The Cult follows, giving way to my second favourite track on the entire record.
Twilight Carnival opens with a haunting acoustic guitar riff, backed by a clean electric tone. A well-articulated bass underplays it all until finally, once again, the calliope riff comes back. What makes this section so interesting musically to me is that the bass starts using harmonic pulls to mimic crickets or frogs chirping underneath the acoustic bits. Brilliant use of it, using the actual instrument to build the atmosphere without having to resort to sound effects. Another BREEEEE pulls us fully into the song and is followed by a lead line I was looping over and over. It’s an epic walk-up in a major scale that reminds me of some of Buckethead’s work on the Last Action Hero soundtrack.
The Baron brings to mind what’d happen if you mashed up Fleshgod Apocalypse with The Black Dahlia Murder. Frenetic pace, classical sounding riffs, and groovy aggression. The Last Waltz reminds me more of a Wolfheart song than a song you’d hear at a ball. Not a bad thing. Intensely listenable with a melody that you can loop in perpetuity.
Fall of Stasis bust out the gothic attic organ for Swarm of Casualties and once again channel a little of that Black Dahlia meets Fleshgod energy while generally sticking to their carnival-infused progressive formula.
And finally, the title track. Midian-era Cradle of Filth meets Old Man’s Child. Absolutely my favourite track on the album, and one that I’ve 1-track looped through many long working days. It’s a long one and by the time the keys come in to underscore the amazing guitar work, I’m ready to hit repeat once again.
Outside of the sort-of-out-of-place sea shanty, The Chronophagist is a revelation for me. Another February, another debut album that’s going to likely stay in my Top 5 albums of the year. Yes, I say that even knowing what’s coming this year. Beyond impressed with what Fall of Stasis has produced here and cannot wait to hear what’s next.
(4.5 / 5)
