2023-07-29 19:18:58
Signs and wonders still happen – although (or rather because!) this return has been teased for so long: 17 years after their second studio album A Desperate Man’s Diary, the technical deathcore combo finds itself Glass Casket back together with a self-titled EP.
Why it took so long can also be explained by looking at the staff: guitarist Dustie Waring and drummer Blake Richardson are also on board Between the Buried and Me busy – a platform that demands time and dedication.
Waring: „We never really went anywhere. Everyone just kind of had their own lives and plans. Most of the guys were in college at the time and I just wanted to tour and play as much as possible, so Blake and I ended up in BTBAM for the last 19 years. When Desperate Man’s Diary was recorded, we’d already released Alaska with BTBAM and had a pretty non-stop touring schedule so there were only a few shows played during that period.“
And further: “Back in 2014, Wes Hauch came and stayed with me for about a month and we put together some material with Blake and demo’d out a few things. I guess it just wasn’t the right time so we just sat on it for a while and stored riffs and parts away for when things lined up. Fast forward to about a year ago… Blake started working on some stuff and emailed us ideas. Everything kind of took shape from there and I started demoing guitars just to see where we were at, how the songs made us feel. Everyone was pretty stoked on the material so, Blake tracked his drums at home, I went in and tracked guitars and bass with Jamie King, Adam came in and did his vocals with Jamie, and Wes tracked his solos at home. Very fast, very easy process for us at this point and it came out better than expected. It was time.“
It’s that simple. And while you probably never really waited for a new output from the band from Winston-Salem, North Carolina, because of the other playgrounds, actually even with the chapter Glass Casket finalized, it’s all the more gratifying to see how the celebrity duo, which includes its two original partners Adam Cody and Sid Menon alongside neo-member Wes Hauch (ex-The Faceless, Black Crown Initiate) now opens the time tunnel.
Merrymaker acts as a sluggish motive to the technically adept Deathcore (rather: Metalcore students live out their love for Death Metal?) sluggishly hissing and roaring as a musty intro before Let Them Go galloping on the Math has arrived at operating temperature (but without – quite representative – actually quite the level of We Are Gathered Here Today… to reach) intricately structured rages as if Cannibal Corpse with Every Time I Die and Norma John climbed into the wide-legged mixer – including epic soloing – the old school attitude optionally produced a little too cleanly staging.
Prison of Empathy hooks the staccato manically furiously, Dillinger touching with Black Dahlia Murder-Ride the pit until the sirens wail and guttural growl finds the epic edge in the dissonance. For the Living hurls its riffs (taking up almost half of the almost 14 minutes total playing time) even more psychotically, presses more progressively and mutates as a fat monolith, as the zenith of an EP that has been beautifully increased in terms of suspense, the sacred finale of which is carried from thousands of throats in a just world should be – so practically there next, where Glass Casket paused over a decade and a half ago.
„The lyrics on this release are the completion of a circle for me‘ says Cody correctly in this respect. “I’ve waited a long time to release another album with Glass Casket. Our first two albums were full of despair and heartache. The lyrics on this release are full of drive and determination. They focus on dealing with mental illness and overcoming obstacles one day at a time. It also deals with letting go of past tragedies. The ongoing fight we all deal with on a daily basis. No one is above it. As far as influences, I think we stayed true to the integrity of the band’s sound, we’re just grown up and more seasoned players now.“
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