In a world of ever-expanding subgenres and micro niches, it’s easy to lose a true north. Why do we even like metal? Isn't it just someone yelling atop endless possibilities of grimy, loud, textures? If you’re like me, pondering these things, you’re probably eager to hear the next big thing that reinvigorates the wheel. But what if we slow down and get in touch with the principles? What does it look like to remind ourselves of simpler times when we were awestruck by distortion a la carte? Cue Shock Culture, whose debut album Monarch is at large a compendium of what makes the broad heading of “metal” great in the first place.
Boisterous drums and palm mutes kick the doors down in the opening track, “Giving” likened to how “Broken Cog” is the thesis statement for Meshuggah on Immutable (2022). Dave Ross (vocals) delivers here in Keith Buckley fashion with a dash of The Game of Life-era Arsonists Get All the Girls. This energetic blend translates somewhere near Trevor Phipps of Unearth, and informs an interesting contrast against the gnarl and crunch of the guitars. Structurally, the group is confident in their ability to find the groove that emotes and sets the cruise control about 15 over the limit.
The rest of the record is rife with sections that harken the excitement of Conducting From the Grave and Fleshkiller of yesteryear. There’s a clear focus on hefty rhythms, namely “Less Than Human” opening with a stellar double kick grouping of 7 that drives the rest of the song to an eventual abrupt stop. “And the Sea Was No More” is excellently arranged, balancing out “lighter” fare vocals ending in the disarray of a chunky breakdown. Melodic elements aren’t spared on Monarch in favor of their heavier counterparts, though. Matt Wiatrowski (guitar) tore a page out of the Necronomicon for the tremolo riff in “Solar Flair,” easily seating this song as the most evil on the album. Daniel Scarritt (drums) compliments it perfectly with a punching double kick pattern yet again. “Negative Space” centers around a piercing and uneasy lead that contorts throughout the track and stands out compositionally as a result. Shock Culture are steadfast in approach, closing out the album as abruptly and summatively as they began. “Path to Ruin” is a balanced shredfest showcasing the extremes that the group is capable of right up to the last second.
Across this hefty debut, songs occasionally sprawl a bit too far. The shortest song clocks in at over 3 minutes, much of the rest encroach on 5. To their credit, when the grooves are right, they are really right. On the other hand, the sights on their riff-tastic voyage may seem even larger-than-life if the commute could be shortened. While the album can feel a bit sluggish at times, each song does progressively strike more intrigue. At any rate, this debut album is a solid effort, clearly displaying what Shock Culture does and intends to do with their brand of metalcore.