“FFO/For Fans Of” as an opening salvo for ANY band can be a death knell. On the one hand, if you get compared to an established band that you sound nothing like then you’re immediately written off but on the other hand if the shoe fits then you’re forever “the band that sound like”.
However, there’s a third alternative.
In the case of Knoxville, Tennessee’s Deconbrio, a throwaway defunct band of yesteryear is actually the band that might pull new listeners in. Sure, the NIN and Manson comparisons are valid but who compares themselves to Gravity Kills? Genius marketing for a band that deliver all that and more with their latest opus, Hail to the Liar’s Throne.
Mixing industrial, metal, groove, and rawk into a unique amalgamation, Deconbrio sound defiantly triumphant on their latest full-length. From the opening call-to-arms of “The End”, Deconbrio immediately demand your attention and from here on out, shit gets even realer. Propelled by Danny Rendo’s voice that shifts like a chameleon throughout, the singer/guitarist/keyboardist/programmer is on point whether he’s spewing declarations all spoken-word like one moment, growling the next, or pushing octaves during a soaring chorus…sometimes all within the same song!
Rocker “The Monster” combines crisp, chugging riffs with Ashley Fantastic’s synthetic symphonies which swirl around the riffage, blanketing it in lush soundscapes while “The Mother Inferior” channels the aggression into a concise industrial juggernaut with guitarists Wolfegang and Richie Brannon providing apt shredding as Brad Williams switches from a cacophony of beats to a militaristic staccato behind the kit.
“The Reflection” turns the Snow White legend on its head by putting a Marilyn Manson spin on it. “The Silence”, on the other hand, is built on driving synths and a gorgeous piano line at its electronic center (A little reminiscent of the UK’s Vex Red at times even. Anyone remember Vex Red?) until “The Feeling Remains” slinks its way in detailing a D/S dynamic.
Throughout the rest of Hail to the Liar’s Throne, Deconbrio pummel listeners with defiant anthems (“The Change”), vicious social justice diatribes (“The Division”), and songs that just slay (“The Innocence”) to make their third long player their best.