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Review: Chevelle-Bright as Blasphemy

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Words by Anselm Anderson


American rock veterans Chevelle return after a four-year hiatus with their ambitious tenth studio album, "Bright as Blasphemy." The nine Tracker explores the complexities of the human mind as the band self-produces their first release for Alchemy Recordings, marking a promising label debut.

The band joined an independent label last year to collaborate in a positive, musician-centred environment. This move has led them to adopt a heavier sound. Their songs explore the human psyche and the emotional challenges that accompany it. Self-produced by the Loeffler brothers, "Bright as Blasphemy" delivers a gritty, dark, and thunderous sound that is both addictive and enjoyable. The follow-up to 2021's 'Niratias' celebrates the brothers' newfound independence, providing them with greater creative freedom.


The album begins with the dark, intense screams on 'Pale Horse,' a track that delves into gloomy atmospherics, accompanied by erratic vocals that resemble a narrator in conflict with themselves. 'Rabbit Holes-Cowards Part 1' is a heavy, guitar-driven track where the band explores their sound, blending a radio-friendly indie style with dark atmospherics that can sometimes feel contradictory. The second instalment about the crazed cult leader Jim Jones develops riffs with an infectious guitar sound that rattles the bones with its towering resonance. The album struggles to engage as the band attempts to find a dynamic that suits Peter Loefler's unusual vocal range and character. They can finally express themselves through the heavy, hook-laden sounds of "Wolves (Love and Light)" and "Karma Goddess," delivering punchy tracks with gut-wrenching riffs. The vocals adapt to this grunge-infused sound with machine-gun-like rhythms. The album concludes with the powerful rhythms of 'Shocked at the End of the World,' delivering an intense edge with energetic riffs that echo the sound of bands like Muse.

"Bright as Blasphemy" may not be the best entry in Chevelle's discography, but it includes enough commercial rock tracks to engage listeners. The production emphasises the band's strengths as songwriters, but there is a lack of innovative ideas when it comes to delivering powerful riffs.



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Copyright: Anselm Anderson ©

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