Blighted Eye “Agony’s Bespoke”
Agony’s Bespoke will be released September 20th on Beyond The Top Records
Embodying the darkness and isolation of the band’s pacific northwest home, Blighted Eye take progressive death metal into the unknown and the miasma of depression and hopelessness. Formed in 2019, the band would release their debut E.P. Wretched in 2020. Building off that hype and with the return of live shows following the pandemic, the band would be signed to Beyond The Top Records and begin work on their debut album. Now, with four years passed since their debut, the band is set to release their debut album Agony’s Bespoke. With the moodiness and dark aura of the northwest’s bleak and overcast nature, does the band take what they have done with Wretched and create a debut that fully embodies the heavy brutality and complexity in the band’s sound?
Tranquil and reverb-heavy guitars and rising strings open “Tragoedia”. Guitarist Christopher Jones & Kyle Chapman channels that post-black metal aesthetic you’d get from bands like Alcest, with the folk elements of Agalloch. John Devos’ chill drumming and bassist Ben Gassman’s groove create a almost hypnotic feeling, before the pacing of the song picks up. Chapman’s vocals kick in, with a gritty and phlegmy growl into deep gutturals amidst the macabre elements and atmosphere of the band’s performance. Creating unease and unknowing in the chorus, which I dug a lot and really embodies the progressive elements that the band was aiming for. I love the chugging palm-muted riff, with the leads behind it, filling the space of the mix right before Devos gives a quick drum flurry. Then, the song picks up pacing again. Chapman sounds so unhinged and grimey in his vocals near the closing section. A heavy and enticing opening track, making me want to hear where the band goes from here on the album. Next is “The Wounding”. With a ringing doom sounding opening guitar and drums, the song opens with the feeling of all hope is lost. The chugging guitar, into guttural vocals, was a nice transition while keeping the aura of the opening riff heavy and slow. With a switch up into a faster riff, the song instantly made me headbang along to it as the double bass kicks in. With synth atmosphere and layered vocals intensifying the song. The riff almost has a melodic death metal play-style before the halfway mark, compounded with the driving double bass and drum strikes by Devos. The dueling harmonies right before the halfway mark, and the velocity and complexity of the solo, was just so good as it transitions back to the main verses riff. With progressive black/death metal elements similar to Ihsahn, Blighted Eye are really good at combining the brutality and complexity of death metal, while incorporating the emotional elements musically with synths and strings in the background, especially near the close of the track.
“In Enmity” opens with gritty rising distorted guitars, accompanied by pounding double bass. With atmospheric lead guitars, the song picks up with double bass/guitar combo into the verses. Jones & Chapman are just unmitigated heaviness in their guitar playing. Delivering a sonic attack of fast-paced playing, all while delivering chugging brutality throughout. Devos‘ double bass during the chorus is almost like a machine gun, combined with all over the place drum strikes. Gassman’s bass playing really fills out the bottom end of the song, adding more heft to the double bass and chugs. The far-in-the-distance guitar lead at the halfway mark was a nice element. To be present, but be more of a background player compared to being front and center. Chapman’s layered vocals are mixed so well. With black metal highs, death metal lows and solid mid-range screams throughout the track. The tempo change after the halfway mark really conjures up a black metal feel to the song. Creating an uneasiness as the riff begins to form again but in a new direction. As it heads into the progressive waters with the guitar and drums. Especially with that killer solo near the closing moments. Plus, the clean vocals amidst the layered growls was such an epic conclusion to the piece.
On “Howls From Beyond The Mist”, an opening guitar effect creates an almost electric violin, before rough distorted guitars rise beneath it as the drums come into the piece. I totally got some Deafheaven vibes when the double bass kicked in, but then the riff almost contains a thrash element to the guitar playing. Making the song the band’s own and a hybrid of death/doom which has seen a huge resurgence in the last year or two. Devos is again a beast on the kit, blasting all the way through the entire chorus section while Chapman tries to go even lower in his vocals, even sounding like Mikael Åkerfeldt of Opeth at some points. I love the feeling of dread and aggression in the music, creating an emotional journey throughout the vocals and music. The acoustic guitar break after the halfway mark is also a nice touch, especially going into the clean vocals. That section gave me goosebumps when it hit and I love Chapman’s clean vocals. With the band coming from the heavens and crashing into an unholy hell to round out the track with blasts and growls. “A Feast For Worms” just hits the ground running with tremolo guitars and blast beats right out the gate. With the guitars, which I think are layered, create an almost orchestral effect to it which I adore. Continuing the faster pacing, the song is almost more straight-forward death metal. Crushing drumming and riffage, with random elements of intricate guitars and pacing changes, the song has those peaks and valleys-esque moments you would get with the genre of progressive death metal. I can imagine the pit going crazy for this song, with how it is just over six minutes of blast beats and unrelenting aggression. An ominous and anxiety-inducing build opens “Pallid”. VERY black metal sounding opening section, from the tremolo guitars and pounding drums, before slamming on the brakes to a crawl and a drum build of a doom metal song you’d hear from Insomnium. I LOVE the sludgy-sounding riff and drums, showcasing the band can be brutal at a slower pace. The guitar tone is just nasty and dirty, especially on the bends and palm-muted sections. Then, the ethereal feeling of the guitars calling to the heavens amongst the tribal-thumping drums, creates a good counter-effect to the majesty the guitars create. Chapman’s scream just hits like a ton of bricks right before the halfway mark as it has that ear-piercing high, while also delivering that troll-like black metal shrieking. Very tough to do, while also still be intelligible as well as switching to deep growls after. A clean guitar section follows that, creating a surreal and confusing feeling of “where is the song going?” and excites me. Then, the onslaught of double bass, tremolo guitars and troll-shrieks come back with a vengeance. Jones & Chapman really know how to tease and toy with the listener with their guitar playing. Many times, not letting the listener get an idea of where the song is going, or are we going brutal or peaceful? Making the listener more excited to anticipate what direction the song will go.
Photo by John Malley
“Nightingale” is a nice, short instrumental piece. Creating a beautiful and peaceful feeling with bird noises, minimalism and echo-like soundscapes to give the listener some reprieve from the sonic heaviness the album has delivered. That feeling of calm and relaxation begins to turn evil on “A Reverant Stillness”. Opening with the same feeling, the guitars and drums kick in the door and that calming space falls beneath the listener as we return to the bleak. Punishingly heavy, aggressive drumming and more visceral lyrics, the song definitely obliterates the peaceful nature. I like the nice bass lead Gassman gets on the track, going from a lead into a nice, bouncy groove before the song heads into a shred-tastic guitar solo. The album’s title track closes the album, and buckle up, its gonna be a long one at over eleven minutes long. With a beautiful acoustic guitar opening, into a sludge/doom metal ringing riff, the song instantly embodies isolation and loss. I was instantly banging my head along with the riff. A nice piano interlude is a beautiful touch, especially with the studio effects it has on it, adding that eerie feeling to it. The true pinnacle of the track for me is the guitar solo around the eight minute mark, into the blast beat section and the closing two minutes of the track. With the band just throwing everything they got in the final moments to end the album on a high.
Photo by John Malley
Agony’s Bespoke is a true gem from the band. The album channels everything from progressive death metal, to melodic death/doom, to black metal and a little of other elements like groove and traditional death metal. The elements are delivered so well in the record, with the band orchestrating a emotional symphony of dread, loss and the darkness we encounter in the darkest reaches of our mind. The band delivered one hell of a punch with their debut and I am dying to hear what they do for a follow up if this was just the start of the band’s foray into their own brand of progressive death metal.
SCORE: 5 / 5
You can preorder the album through the band’s page on Beyond The Top Records Bandcamp HERE. If you want to stream the album or check out the rest of the band’s music, you can check out their Spotify page HERE.
