Saidan's 'Fangdriller: Scars Beneath Memory's Wrist' is a captivating black metal album that showcases the band's unique blend of scathing aggression and ultra-melodic tunes. The album's narrative conceit, inspired by the band's previous work 'Visual Kill', delves into the theme of loneliness and its impact on vulnerability to abuse and manipulation. This exploration is further emphasized through the musical style, which leans more morose and wistful compared to the wrath-filled frenzy of 'Visual Kill'.
One of the standout aspects of 'Fangdriller' is its refined compositional cohesion. The album's songs are characterized by trem-picked guitar leads, breakcore drum beats, and sparkling synth injections, creating a dynamic and engaging soundscape. The quasi-title track 'Stained Glass Sin - Fang Driller' is a prime example of this, with its slow, ramping maelstrom building up to a melodic nirvana, guided by the frantic rhythms of drummer Hundosai. The song's sequencing is particularly impressive, as it maximizes the album's impact through calculated moments and transitions.
The production style on 'Fangdriller' is raw and fuzzy, with a thin bottom end, but this is intentional and doesn't detract from the album's overall quality. The album's final track, 'Mortuary', is a melancholic guitar-strumming piece that serves as a satisfying denouement, further tying the album's themes together. Despite being slightly less aggressive than 'Visual Kill', 'Fangdriller' excels in songwriting sophistication, and each spin reveals new treasures, solidifying the band's refined melodicism.
In conclusion, 'Fangdriller: Scars Beneath Memory's Wrist' is a must-listen for fans of black metal and those seeking a captivating and emotionally charged album. The album's unique blend of aggression and melody, coupled with its refined compositional cohesion and production style, makes it a standout release in the genre. The band's ability to create a cohesive and engaging narrative through their music is a testament to their skill and artistry.
