Crowfeeder - No Flowers

Crowfeeder – No Flowers

            Crowfeeder’s first full length No Flowers brings forth a feeling of spine-bending rhythm while at the same time lulling you into a dark vortex of serene anger-filled bliss that when brought together pack the perfect punch of freakin’ heavy. This Massachusetts 2-piece has been around since 2010 and while their first few years only brought about a single EP, the wait has been well worth it. Between their 2014 EP and now, the pair seems to be well on their way to perfecting their sound with this new record that spans a multitude of diverse roots and already has me eager for their next release.

            “Setting the Features” is an instrumental intro to the album that immediately pulls you in with its vast dynamic range, flawlessly setting the listener up for “Every Joy” - Drummer Adam Norton hits-the-ground-running with a tom beat reminiscent of Boston hardcore giants Have Heart that quickly gives away to a more solemn guitar break before jumping back into its original groove. These guys have a huge sound that is truly shocking for a 2-piece to possess; this record has such a diverse set of influences yet somehow remains constant in its overall style and only slows the pace once and awhile to give you a chance to breathe.

(Image courtesy of Adam Testagrossa Photography)

             “Every Joy” comes to a conclusion while singer/guitarist Derek Paul accesses his inner John Dyer Baizley by belting out perfectly decipherable screams before launching into “Kingslayer,” which would also fit perfectly well alongside the aforementioned Baroness. Both members contribute vocally on this record and it truly shines through in terms of depth, what I’m impressed by most is the use of the two distinct vocal styles. Though definitely never coming close to whiney, the clean vocal parts add an anthemic feel to Derek’s deep baritone guitar riffs that simply don’t quit throughout the entire album. The dynamics of their vocal approach is especially notable in the 8-minute title-track that goes through a series of different chapters even including a short piano break, before coming back in full-strength to conclude. I can’t pinpoint an exact section in the album that gives away the duo’s blues roots but you can definitely tell that they’re buried somewhere in “Devil’s Name,” which starts off delightfully sludgy before giving away to a Sword-eqsue groove.

             “Pinebox” has been one of my favorites by Crowfeeder since I first heard it on their 2014 EP aptly named after the 3 songs contained on the release. Starting with a short call and response between the two members, the song quickly rolls into a series of chords that float along at a driving pace accented by soaring leads before screeching to a halt and escalating back to its original pace. A somber melody kicks off the album’s penultimate track, “Cavity,” again shows the group’s hardcore roots (though not quite at such a breakneck speed) and would fit in perfectly in a dank Boston basement. This is another song that goes through so many changes throughout its four minutes and 52 seconds that leaves me nothing short of impressed. “Chain of Dogs” wraps up Crowfeeder’s debut full-length clocking in at just over eight minutes (although the last few minutes is just silence until a seemingly drunken piano rant); packed with epic vocal melodies that deserve the gnarliest of pile-ups, simple yet effective guitar leads, & a message of sorrow that only those of us that have witnessed the deepest pits of despair could level with. No Flowers gives Crowfeeder the ability to share the stage with a plethora of other genres and I hope to see them take advantage of that by hitting the road sometime soon.