Death Alley, Superbia: How Hungry the Lions
Space punk, proto-metal, heavy progressive glam and enough hooks to get you from here to Alpha Centauri — it can only be the return of Amsterdam’s Death Alley, whose 2015 Tee Pee Records debut LP, Black Magick Boogieland (review here), was a lesson in the fine art of making “heavy” sound like a party you really want to go to. The four-piece toured consistently enough after the release that they wound up trading out their rhythm section — Sander Bus for Dennis Duijnhouwer on bass and the seems-to-be-everywhere-these-days Uno Bruniusson (also Black Salvation and Procession, ex-In Solitude) for Ming Boyer — a move that left vocalist Douwe Truijens and guitarist Oeds Beydals as the remaining founders. It is no small feat for a band to trade out half its lineup from one record to the next, but, now signed to Century Media, Death Alley‘s second collection, Superbia, shows they’ve done nothing but move forward as a result of the work they’ve put in the last three years.
With the creative percussiveness of Bruniusson propelling a telltale hook like “Feeding the Lions” and Bus adding low-end complement, Beydals and Truijens both absolutely shine in a number of contexts. Whether it’s the shimmer brought to the guitar in “Headlights in the Dark” or the rawer-but-still-melodic command of Truijens‘ vocals in the three-minute “Murder Your Dreams” (video premiere here), the pair find themselves in the forward position throughout the Pieter Kloos-helmed eight-track/50-minute effort, which is as powerful in its hooks as one could possibly hope on cuts like “The Chain,” “Feeding the Lions” and the aforementioned “Headlights in the Dark,” while retaining some experimentalist edge in the progressive melodies of the penultimate “Pilgrim” and a purposeful sense of exploration in extended opener “Daemon” (9:10) and closer “The Sewage” (11:37).
It’s nearly impossible to guess how much of any sonic shift has been brought on through personnel change as opposed to naturalist or purposeful growth of Death Alley‘s songwriting, but it’s palpable when one sits Superbia alongside anything prior in Death Alley‘s catalog, whether it’s last year’s Live at Roadburn (review here), which by its very nature would be more about capturing a raw performance, or Black Magick Boogieland, or their initial 2014 single, Over Under b/w Dead Man’s Bones (review here). Strength in songwriting remains firm and makes highlights of “Headlights in the Dark,” “Shake the Coil,” nine-minute opener “Daemon” and others, and the sense of energy that’s driven them since their beginning hasn’t diminished in the slightest, as “The Chain,” “Feeding the Lions” and “Murder Your Dreams” demonstrate plainly, but even on the latter track, which is as hard-edged as Death Alley get on Superbia, one can hear their focus has changed from raw impact to more deeper melodic arrangements and a deeper sense of atmosphere on the whole, as manifest in the lush chorus of “Pilgrim” and the all-consuming summary of “The Sewage” at the finale of the record — which finds Truijens singing about “psychic sewage”; about as clever a euphemism as I’ve heard for “shit for brains.”
The central question is does it work, and the central answer is yes, but it means Death Alley are more complex in their intentions than even those who dug deep into Black Magick Boogieland‘s spacious closer, “Supernatural Predator,” might have suspected, because the purposeful sense they give from “Daemon” is that they’re not just picking up where they left off, but using their past as a launchpad to push even further out. That they get there is what ultimately makes Superbia such a success, never mind the band’s ability to tie together disparate ideas like the jammy build of “Daemon,” the straight-ahead thrust of “The Chain” and the near-gothic strum and keys of “Shake the Coil” — lest one forget that Pieter Kloos also produced fellow Netherlanders Dool, among many others — into one complete, flowing entirety. So not only are Death Alley more complex, but they’re more realized.
Given their time on the road, this isn’t necessarily surprising, but they’re also half a new band. Still, listen to the twisting first 40 seconds of “Pilgrim,” or the weirdo break that starts 5:10 into “Feeding the Lions,” or really every single second of “The Sewage,” which stomps and struts as much as it reaches into the cosmic ether — almost an answer to “Supernatural Predator,” but not quite aiming for the same goal. To wit, the progressive harmonies circa the three-minute mark are something I simply don’t think Death Alley would’ve attempted their last time out, and it’s worth noting that as they shift into the open midsection of the track via Bruniusson‘s crashes, residual noise and foreboding riffing from Beydals and Bus, it’s the guitar that comes to lead the charge through the “21st Century Schizoid Man”-esque chase, and into the jazzy movement that follows (though that’s not to take away from the snare work there, which is fantastic), and as “The Sewage” heads toward and past the eight-minute mark, it’s Beydals‘ solo that really seems to be doing the work of summarizing the album; extended, echoing, coated in effects, poised in a way but still delivered with vitality, it puts the emphasis on just how special a player he’s emerged here as being.
Truijens returns for repeated final lines and the closer more or less works its way toward a fading oblivion. To those who heard Black Magick Boogieland, no doubt Superbia will offer more than a few surprises, and it’s plain to see that was the band’s goal all along. What they’ve managed to do is put themselves on a trajectory of progression that’s both unexpected — not to say one didn’t anticipate evolution in their approach from their first to their second album, but there are a few genuine leaps here in Truijens‘ and Beydals‘ performances and in the depth of their craft overall — and richly satisfying, especially on well-earned repeat listens. If this growth was born of touring and the tumult the band has been through in the last couple years, they’ve emerged from same sounding stronger than ever and on their way to a maturity that one finds it easy to imagine will surprise even the band in terms of its breadth and sonic impact. When Death Alley gets where they’re going, watch your ass. Superbia is another crucial forward step along their way.
Death Alley, “Murder Your Dreams” official video premiere
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Tags: Amsterdam, Century Media Records, Death Alley, Death Alley Superbia, Superbia, The Netherlands
