An unintentionally droll use of green screen, it presents the New England metallic hardcore quartet performing amidst the rapid collapse of what we can surmise as some urban dystopia, Boston or Providence or somewhere equally as worthy of downfall. The members bounce and grimace against the blustery winds of the hellish CGI backdrop, appearing less in its destructive midst than artificially detached from it. Even fans of the pioneering Victory Records metalcore brutes that preceded Converge could tell this tightly wound fury was an extraordinary leap forward from the punk breakdowns that had become bog standard. Those caught in the vivid rapture of this unhinged sound surely forgave them such heavy-handed hokum. Sixteen years since that album and five years since the release of the critically acclaimed All We Love We Leave Behind , Bannon apparently wishes to be understood. Coming months after the release of his meandering yet sincere post-metal solo venture Wear Your Wounds , he comes to The Dusk in Us with heart beating in hand. Within a modest apartment presented as existentialist haunted house, its protagonist receives fleeting visitations from stylish spectres between glasses of milk and mid-century cartoons. Most notably, the band does not play. Their ferocity now fully adapted to new habitat, Converge benefits from a self-control that, years prior, lacked it. Album Reviews.
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The Dusk In Us
The ninth album from the metalcore architects is sharp and urgent. The band's songwriting shines as they turn their back on interpersonal torment to face something bigger and more existential. I have so much more to do. The song takes its name and credo from Vasili Arkhipov , the Soviet naval officer whose vote against firing nuclear weapons from a submarine in became the historical footnote that prevented the Cuban Missile Crisis from turning into a conflagration. But The Dusk in Us turns its back on the battle, or at least on the interpersonal torment that has mostly defined Converge until now. Throughout these 13 songs, many of them the best the band has ever written, they recognize that the real enemies are bigger, the problems more existential. Bannon inveighs against police brutality and senseless violence, hereditary madness and original sin, firearm obsession and feudal overreach. He has, he admits, finally found a reason to fight the good fight.