Category: Coldwave / Industrial / Rock
Album: Hail to the Liar’s Throne
Blurb: Seething with sociopolitical fervor and introspective venom, the latest full-length album from Deconbrio firmly and fervently marks the band’s territory in the American industrial/rock market.
Hailing from Knoxville, Tennessee, Deconbrio has been steadily building upon its strengths to become one of the country’s best kept industrial/rock secrets. With Hail to the Liar’s Throne being the band’s first full-length album since 2012’s Voyeur, Danny Rendo and company continue to forge the path of solid songwriting and tight production first exemplified on that release and more fully fleshed out on the 2014 The Art of Violation: Part One EP. Everything about this album shows Deconbrio upping the ante, with the guitars and the electronics achieving a greater unity amid carefully crafted rhythms, Rendo’s vocals hitting their melodic and aggressive strides in equal measure, making Hail to the Liar’s Throne a strong effort that may see Deconbrio finally achieving the wider audience the band deserves.
Starting with “The End,” Rendo shouts a manifesto of intent against hypocrisy and subjugation that serves as a perfect rallying cry for the rebellious American mindset, leading seamlessly into the anthemic “The Heart.” Throughout the album, the lyrics take on a decidedly sociopolitical bent while also bearing a more personal, introspective quality that is sure to resonate with listeners. For instance, lyrics like “You can play the system / you can play the victim / but the power’s only implied” on “The Monster” or “Tell me, what does truth taste of / Deceit is your divine affliction” on “The Relfection” are just as palpable as statements of political upheaval as they are of sexual or romantic scorn. On the other hand, “The Feeling Remains” evokes imagery reminiscent of the erotic undertones of Voyeur, while “The Liar’s Throne” could almost serve a theme song for tyranny itself with “You’re either on your knees or on your own” offering a defiant counterstatement to the “us or them” mentality so often espoused by corrupt authorities. “The Start” ends the album with a reprise of the melodic phrase from “The End,” Rendo infusing some irony with the lyrics to give the album a circuitous quality appropriate to the dark nature of its themes.
As stated, the production on Hail to the Liar’s Throne is rather top-notch, with the instrumental “The Silence” being a noteworthy high point with its light but effective marching beats underscoring layers of pensive piano and ambient synths, the guitars eventually entering to provide a powerful coda. If anything negative can be said of the album, it would be that even in the more melodic and quieter moments, Rendo’s voice still seethes with an abrasive edge that may not appeal to some; it does little to hurt the overall effect and at least demonstrates his consistency of emotional tone. Simply put, Hail to the Liar’s Throne may very well be Deconbrio’s strongest and most fully realized album, conceptually and sonically, marking the band’s territory in the American industrial/rock market with confidence and fervor.
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Digital World Audio
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Ilker Yücel (Ilker81x)