Vancouver, BC-based heavy metal outfit Dead Quiet released their debut, self-titled album this past month, and this is more than just your average metal album. This is a masterpiece that goes beyond the often self-imposed boundaries of heavy metal. What’s more surprising, this is a debut effort!
Every riff, every note, every sound on Dead Quiet — whether it’s soft and light or hard and heavy — carries with it a purposeful weight, a sense of urgency, and a command for the audience to listen. Just as the lyrics range from the occult to self-reflection, the music also ranges from sludgy psychedelic doom metal to blues-based rock to modern, straight-forward heavy metal to almost radio-friendly pop rock to even incorporating hillbilly country influences.
Stream and order Dead Quiet here.
The Black Sabbath influence is apparent, but a close listen will also reveal something of KISS and Machine Head, and probably a host of others that I’ve missed. Indeed, Dead Quiet is a mixed cauldron of of influence, but the band blends it all with seamless precision.
Album opener, “The Sorceress,” which praises a pagan goddess, really does its job well to inform the listener of what’s to come. The first minute of the track is consumed in a slow, sludgy doom that climaxes with twin guitars before exploding into a frenzy of Black Sabbath-like riffing.
“Foul Words,” as many other songs on the album do, continues what “The Sorceress” started, if not, in this case, being a bit more psychedelic. But, by the time “Remaining Remains” begins its almost funeral march, and as the heavy, deliberate, stoner grooves commence, you’ll be thinking Machine Head. The song also contains a wonderful outro that’s kicked off by the bass guitar.
Then there’s the fuzzy, highly melodic “Home Is Where You Go to Die,” which has a very catchy, almost happy sing-songy rock-radio-ready chorus despite the gravity of the lyrics. Of course, around the track’s midpoint, things take a turn for a bit more intensity, and also the pounding heartbeat delivered by the bass, which sounds reminiscent of the bass line in KISS’ “Christine Sixteen.”
My favorite track on the album is the banjo-tinged hillbilly-ish tale of personal anguish and destitution, “The Fall of Me.” It’s deeply pensive and saddening, and towards the end it takes a turn through a near-progressive rock interlude that precedes a blast of emotion before return to its refrain. Truly a masterful track.
Another favorite has to be “A Thousand Lives,” which has a sea-shanty vibe, and definitely a mellow early Black Sabbath feel to it. It’s actually quite haunting how much vocalist Kevin Keegan sounds like a young Ozzy with scratchy vocals.
