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ALBUM REVIEW: Great Falls – Objects Without Pain

Posted on September 14, 2023 by Chris Tippell

 

Well into a decade now, Seattle, Washington’s Great Falls have perhaps been an underrated entity, but they certainly are a special one. Their sound embraces the arena around noise rock and post-hardcore, and they have proven to be a strongly emotive force. Some changes in personnel and a previous EP release in Funny What Survives created high expectations about a long-awaited follow-up album, if not quite preparing anyone for how quite distressing it would prove to be.

 

Narratively focused on the deterioration of a relationship and the painful realisation of the fact, Objects Without Pain (Neurot Recordings) is a surely relatable affair to many and all the more harrowing as a result. Lyrically, this is undoubtedly bearing wounds without metaphor or fantasy. Take the album opening of “Dragged Home Alive” with the refrain of “The last few years, waiting here, hoping for a sign” amongst its gradual build before a desperate plea of “There is no escape from this place, this is no mistake” signals a near-frenzied change of pace, one that feels more ominous than easing, matched by an equally defeatist vocal performance. 

 

With the narrative of an ending relationship, it is not portrayed as necessarily a victory but as a real necessity and equally invokes other challenges that come with it. Take the chaotic “Trap Feeding” which speaks of having to adapt to life alone again and the complications of finding your feet, as it matches this trial with sharp, angular guitar riffs and a punishing pace with its three-plus minute duration giving little in the way of reprieve. 

 

Objects Without Pain doesn’t rely on pure pace as it offer shifts throughout which are intentionally disorientating and fitting with the complex emotions such a tale provides, take the descent through “Born As An Argument” from its initial noise rock barrage to doomier soundscapes finally ending with delicate choral vocals which seep into “Old Words Worn Thin” which ultimately straddles the gloomy, doom and post-metal spectrums, and covers an air of confusion around change, as if struggling to move on from the partnership and familiarity.

 

Proceedings do not let up in the sheer close-to-home horrors that this narrative conveys, with the final blows of the thirteen-plus minute “Thrown Against The Waves” showcasing even further anguish with a tortured vocal performance and equally chaotic music and tempo changes, perhaps channelling the aspect of such a change that there is love still there, even if the separation is both vital and painful.

 

Great Falls have proven to be a powerful force of nature for some time now, but even with such expectation Objects Without Pain is one that requires bracing for, with its punishing tale that will surely hit everyone paying attention in some way, especially with how literal and open it is. Sonically, the album matches its lyrical content in purposefully jarring and nauseating fashion. This is an emotional and difficult listen, but one that cannot be recommended enough.

Buy the album here:

https://greatfalls.bandcamp.com/album/objects-without-pain

 

9 / 10

CHRIS TIPPELL

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This entry was posted in Reviews and tagged bands from Seattle, Chris Tippell, Ghost Cult Magazine, Great Falls, metal album reviews, music reviews, Neurot Recordings, Noise, Noise Rock, noise-rock album reviews, Noisecore, Objects Without Pain, Post Hardcore, post-metal, Punk, Sludgecore by Chris Tippell. Bookmark the permalink.
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