Formed in 2007, Mantric features the uncharred remains of the mighty Extol. While Extol will be primarily remembered for their groundbreaking debut and sophomore albums, its fans of the band’s two Century Media releases that should be standing up and being counted as Mantric fans. With The Descent, the band continues exploring its challenging mix of Radiohead, Khold, and Fugazi.
The Descent was produced by the legendary Tue Madsen and his expertise is well-defined here. Despite the band’s diversity, Madsen brings a sharp production style to the table that highlights each aspect of the band’s offerings while still managing to make it sound cohesive and energetic. Of course, the songs don’t slouch here either. In my opinion this is a much better set of songs then we got on The Blueprint Dives even (my favorite Extol release- for the record).
Not every song here fires on all cylinders. “Uro” just sort of rambles its way in and out of existence and “Choice” never seems to really mesh like it should. “Spear of Heaven” is a toss up as well- on one hand it’s wildy epic with some great moments exploding from it and on the other hand it’s not very unified and you’re either going to love or hate the vocal style. The winners far outweigh the iffy parts however, with songs like “Cognitive Cocaine,” “Symptoms,” and the more groove-laden and extreme “Dark Passenger” leading the charge.
Mantric sounds like a band that is being forced to choose between the existence they have always had and a new existence that they want to create for themselves. I think that that is what I dig the most about this record as a matter of fact. It sounds like a band at war with itself, like a bipolar man-beast trying to find his way. There are a lot of cool things to relate to on this record, both musically and lyrically. Any open minded fan of extreme or truly alternative (Swans, Fugazi, etc.) styles of music should take some time and give Mantric a chance.
All we are saying is give Mantric a chance (sing it with me!). All we are saying….
Reviewed by Mark Fisher
