House Of Gold & Bones Part 2 by Stone Sour concludes the conceptual release started in Part 1, its twelve songs continuing and following the immersive, linear storyline set out in the eleven songs of the previous October released album. With also a four part comic book mini-series published by Dark Horse Comics videos and more, it is an extensive multi-media project and experience which captures and certainly provokes the imagination.
Exploring and moving on the tale of a protagonist called the Human who has awoken in a mysterious world, meeting numerous characters as he is compelled towards Red City before an event called the Conflagration, where he will find the House of Gold and Bones, Part 2 is a darker and arguably even more impacting album compared to its partner. The narrative and music is crafted in a heavier, deeper depth of shadow as it investigates further what was laid out previously whilst at the same time shares and refers with evolving sounds and elements the places unveiled on Part 1. It is a stunning piece of work which as shown by this album, can be taken alone or within the full experience of the concept, both ways bringing equally impressive pleasure and provocation to thoughts and emotions.
Opening song ‘Red City’ steps into view with just piano laying its emotive lament to the side of Corey Taylor’s ever irresistible vocals, their union a powerful call on mind and heart which recalls ‘Through Glass’ as potently as anything on the previous album. As it unveils its full weight and expanse of emotional revelation and musical intensity, the song expels beats which lumber and stroll through avenues of suffocating shadows as it heads towards a caustic climax as corrosive and debilitating as any emotional tempest. It is a stunning start to the album which for any other band would be had to back up.
Stone Sour is seemingly like no other band of course and continues to ignite all aspects of the listener through the likes of the hungry insatiable ‘Black John’, a track which rampages with unbridled invigorating aggression, ‘Sadist’ with its expertly sculpted intrigue, and the snarling ‘Peckinpah’. Only a few songs in and the album fully declares its diversity and flaming invention, whilst predictability and easy to be seduced by short cuts noticeable by their absence.
As the exhilarating confrontation of ‘Gravesend’ seeps into every pore and thought with its insidious venom and blazing melodic sun, there is the forceful notion that this is the band’s finest moment yet and as the like of smouldering ‘The Uncanny Valley’ and the startling ‘Do Me a Favor’ with its boulder strong rhythms, abrasive riffs, and ridiculously contagious chorus locked in with equally viral grooves, no reason to disagree emerges. The second of these two is the first single from the album and is one of the modern rock classics, a deliciously agreeable epidemic of a track which ravages, charges, and magnetises the ear with undiluted craft.
‘The House of Gold & Bones’ ends the album with the same strength and commanding demands on the emotions as it started, the track a muscular riot of invention and satisfaction. As much as a flaw was vigorously looked for upon the album there is nothing to find to temper the full rapture it ignited. Taken alone or as part of the whole House of Gold & Bones package it is a monster of an album and one to be fair to which only full marks can be given.
10/10
Pete Ringmaster