Reviewed: Cane Hill 'Too Far Gone'

New Orleans quartet Cane Hill begin 2018 with a bang as they unleash their second record 'Too Far Gone' via Rise Records.

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If you enjoyed their brilliant debut album 'Smile' then there is plenty to like on the new one, as the band continue to progress with their mix of unhinged and pummelling metal and moments of more refined power that adds some great melody into the fray.

The crunching rhythm section on the title track opens up for Witt's dememented vocal range to take over, while a blistering chorus powers through a cacophony of distorted noise; and 'Lord of Flies' incorporates a grungey middle section into a groove-laden number. Probably more than any other on the album, this one has a feeling that it could have easily fitted into the 'Smile' track list, as from the very opening seconds you know that this is Cane Hill on top form.

The other two tracks released so far are '10¢' and the meaty alt metal stomp of 'It Follows', but what about the new tracks, which the band promised would include some slower and more melodic moments?

Simply put, Cane Hill step up their game in these instances, starting with 'Singing in the Swamp' which contains a heavy bass line from Ryan Henriquez and crushing guitars in the verses. A refined chorus is led by Witt's swooning vocals that also contain some great harmonies, and there's a bit of punk rock energy which shows strong progression in the band's sound.

'Erased' is an absolute stunner where a Tool-esque guitar rhythm from James Barnett drives the verses along into a standout chorus which is both morose and cathartic, yet extremely melodic. The off-time guitar structures and a huge drum section- courtesy of Devin Clark, also work majestically together, and with the lyrics documenting human decline after being diagnosed with Alzheimers- this is the most emotional we have ever heard Cane Hill.

'Why?' opens with a little trap beat like 'St. Veronica' did on the last record and latterly reminds of Alice in Chains, and the closing 'The End' is slow-building before a second half of colossal instrumentation rounds the record off nicely.

There's still plenty of new chaos amongst the track list also, like the two-minute rager 'Scumbag' and the Slipknot-esque 'Hateful'- both or which sound twisted as fuck; but 'Too Far Gone'; just like 'Smile', comes and goes in no time at all.

This is a great follow-up record which cement's Cane Hill's place at the forefront of a bustling alternative metal scene, where moments of ugliness, brutality and beauty are evenly spread out. There are also more hooks than in a slaughterhouse, so it makes for one of the most groovy and catchy records to come out in the first part of the year. There is an addition of many great guitar solos and a live drum feel courtesy of the production- and the sound Cane Hill has will only be amplified the louder you play it (which deserves to be dialled up to 11).

Are Cane Hill too far gone? Nah, these boys are still only getting started, and they are one of the most vibrant bands to come out in a long time. Simply put- this is a great sophomore album.

 Cane Hill- back to destroy ears once again

Cane Hill- back to destroy ears once again

'Too Far Gone' is out January, 19th via Rise Records.

For more information, visit wearecanehill.com or the band's official Facebook page.