What comes next for a twice-Grammy-nominated Band that has defied falling in line with expectations? Exactly that: another record that will most likely infuriate some while speaking to new audiences. Way back when the Pittsburgh powerhouse was still crafting its own type of hardcore under the moniker Code Orange Kids, nobody would have expected the band to end up where they are now. After dropping the "Kids" from their name, the exhilarating streak of chaotic hardcore started undergoing several metamorphoses, which culminated in the glitchy horror soundtrack of 2020, Underneath. On their fourth LP to date, the now sextet presents its most diverse album and takes a deep dive into left-field territory that can't possibly be strictly assigned to a single genre.
Code Orange - The Above (artwork by Autumn Morgan)
Foreshadowed by the juxtaposition of the titles Underneath and The Above, it would be easy to assume that the two releases are mere mirror images of one another. Instead, Code Orange once again throw the listener an unimaginably large curveball: Disguised by the two singles The Game and Grooming My Replacement, the metallic hardcore roots prevalent here serve as a smokescreen, according to singer / drummer Jami Morgan's explanation in our recent interview with him in Frankfurt.
In fact, these singles only unveil one of about seven musical styles present on The Above. The opening track Never Far Apart, albeit jarring in its placement as an intro to the thematics explored on the record, does a decent job of giving the listener an idea of how genre-packed this LP really is. From haunting spoken word sections and tinges of industrial to a chorus glistening with melody, it feels like a nearly-healed wound is torn open over and over if you make yourself too comfortable here. Unexpected breakdowns are scattered across the record to counter serenity with uneasiness, leaving room to explore new details upon further listening. Take Shape takes the position as the catchiest one of the bunch, with Smashing Pumpkin's Billy Corgan making a movie-like appearance that reaffirms the band's dedication to taking leaps of faith.
In its best moments, the record pushes the envelope of what modern heavy music is able to do by juxtaposing almost painfully different genres and making use of various textures akin to Nine Inch Nails or, oddly enough, Radiohead’s Kid A. Somehow, this comparison doesn’t seem too far-fetched since The Above is truly a transition record which embraces the band’s roots whilst providing a glimpse of what’s to come. This is tied together by easter eggs and references to previous releases without being too on the nose or kitschy. The title track, for example, rounds things off with a callback to the eery noise sample used in I Am King and closes the band’s current quadrilogy of records.
Even though the artistic creativity there is unquestionable, this venture sometimes also comes at the expense of a proper flow and structure in the tracklist. When viewed individually, there is not a single bad song to be found, but the grungier tracks towards the second half unfortunately pale in comparison to the heavier cuts: A Drone Opting Out Of The Hive can be considered the heaviest song overall, laced with discomfort and the filthiest, venomous vocal delivery the band has ever put out. Max Portnoy shines throughout with a versatile performance on drums that never overshadows all the other bips and bleeps swirling in the mix. In contrast, I Fly and Splinter The Soul seemingly bleed into each other without adding a whole lot of depth to what’s happening sonically. Compared to the many gems to be found on this LP, this duo becomes part of the filler tracks by default.
A surprising exception is the trip-hop jam Mirror, which puts Reba Meyers to the forefront and does not feature Morgan on vocal duties at all. Precisely due to its daring jump towards pop sensibilities, it is also one of the key tracks to understanding that Code Orange are not a project doomed to ever stagnate. However, for people that are more keen to pick out songs they like the most, The Above can be subdivided into different moods, making it the most diverse offering to date. Those who are looking for a more stringent approach to songwriting will strongly dislike this, but the challenging listening experience ultimately makes for a demanding and multi-layered LP.
Once again, Code Orange are way ahead of the curve and filling the gap of innovation in heavy music; some just aren’t ready for it yet. But in several years time, The Above will undoubtedly be considered as a record that captures not just extreme turning points for the group, but also the sentiment of genre-fluidity currently shared in the entire scene. Whereas Underneath sucked you into hellish soundscapes, this LP spits you back out into the unknown - uncertainty was seldomly so exciting.
Rating: 4/5 feathers
The Above is out on September 29, 2023 via Blue Grape Music.
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