Alternative metal rockers, Chevelle release their eighth album with The North Corridor making a heavy head space that weaves through their signature brand of metal. Lumped somewhere between post grunge and nu metal from riding a wave of similar bands at their inception, the trio have stood the test of time with a constant output of releases everywhere few years. Touted as a return to something heavier, The North Corridor does not disappoint in that regard in the slightest.
The opening of “Door to Door Cannibals” chugs through with all the band’s metal elements to draw you in, still unmistakably Chevelle in even their newest opener. The clinching “Enemies” shells out the sort of intensity that the band only seem to give in small doses over time, fully awash with stop-start guitar chugging and guttural yells over frantic drum beats. For having released so many tracks over the years their consistency of quality has yet to diminish, however same-sounding it gets.
Distorted bass lines lead through the “Joyride” before matching guitar and vocal squawks take over; by the time the drum pummeling breakdown sets in the ride feels like vocalist Pete Loeffler’s ambition to lay down the intensity even harder. Even with “Rivers” subtle introductions, the track runs like an excessive breakdown, shifting a melody largely centered around only a couple of notes in a sort of single churning moment that swirls about. A heavy corridor this may be, but predictably so.
Just following the “Last Days” track focuses in, on and under, around and through a driving note in a flurry of riffs that blares more intensely than ever before fading out slowly. In a shifting change of pace “Young Wicked” pummels through in near pop-like precision, echoing guitar riffs drowned by the battle cries of children before breaking out into solo. While notably containing the cutting precision of the Loeffler brothers and bassist Bernardini, it’s nice to see them experimenting more.
“Warhol’s Showbiz” takes pause before churning through melodic guitar and bass pairings, repeating cries of “that’s showbiz” relentlessly. Then out of nowhere the surprising “Punchline” boasts haunting synthetic eeriness with matching drums, acoustic guitar plucks and slow going echoes filling the void before fuzzing out again – by far the most excitingly daring piece to grace The North Corridor. If Chevelle would incorporate more experimentalism to this degree, they’d far surpass themselves.
“Got Burned” gets groovy between light southern metal flavors and head bobbing marching drum force in a near ending album backdrop, as Chevelle often thematically introduces. “Shot From A Cannon” rumbles through slow offbeat bass chugs as guitar leads vocals, an extensive 8 minute epic closer that echoes and squeals ever so slowly. Though notably not much can be said from Pete Loeffler’s words, the band’s craftsmanship, or anything really that hasn’t been said before; therein lies the problem.
Make no mistake that what the Chicago boys are putting out is a palatable set of darkened alternative rock that kicks you in the teeth. They are a likable bunch who have been developing and growing their sounds for over two decades. Yet The North Corridor could have been released a decade ago and none would have been the wiser. There are some epic moments of brilliance peeking above the surface, refer to the “Punchline” above, yet as an old fan these guys could do so much more than that.