Now THIS is the record I wanted as Beastmilk dissolved and Grave Pleasures rose from the ashes. Motherblood is one hell of an album as it is but knowing it shares DNA with Climax makes it that much more enjoyable. As a Century Media Records debut, it’s amazing. As the follow up to Dreamcrash, Motherblood is unrivaled in its’ excellence.
Spooky yet sexy with a massive production behind it, Motherblood is hands down the album that needed to happen following Beastmilk’s demise. The production is beyond epic throughout (Thanks to Jaime Gomez Arellano) as is Mat McNerney’s vocals on each and every track. Also epic? Rainer Tuomikanto’s drumming throughout.
But I digress.
Sure, “Infatuation Overkill” is the song that NEEDS to open this album with McNerney’s smooth delivery seducing listeners into the proceedings but it’s really “Doomsday Rainbows” that’ll reel everyone in. Handclaps! Bombastic drumming! Masterful riffing! The second track on Grave Pleasure’s second album is definitely the shit as Valtteri Arino’s bass rumble paired with those drums and Juho Vanhanen’s lead guitars crescendo towards a moving chorus.
“Joy Through Death” has these start/stop beats that will compel listeners to either headbang or dance. Or both! “Mind Intruder” is another memorable banger with Tuomikanto’s drums and Arino’s bass creating a true synchronistic rhythmic hum. “Falling For An Atom Bomb” is an instant post-punk classic with riffs that Paul Banks wishes he’d written first. Yep, we’re talking about a heavier Interpol here.
“Atomic Christ” is just haunting from start to finish with McNerney sounding positively possessed while “Deadenders”, which was teased some time back, sounds even better within the sonic walls of Motherblood.
Closing with “Haunted Afterlife”, Grave Pleasures let it all hang out on this track with its’ go for broke attitude and general badass swagger heading full speed with screaming riffs towards the conclusion of Motherblood.