Ethyrfield's 'In Delirium' - Album Review

As I said in my recent review of Levara's self-titled debut album (which can be read here), I always enjoy getting to cover debut albums on this blog. Many of the bands that I talk about here have a wealth of material behind them, but it is always exciting to be there at the beginning of a new band's career. Debut albums, however, are often a strange prospect - as you are never quite sure what you are going to get. Some bands roar out of the gates with a debut album that showcases the band as a finished product; while other bands take two or three releases to truly get going. Usually it is only really possible to tell which camp a debut album falls in many years later - but either way they are always a statement of intent. While bands may have released singles and/or EPs before releasing their debut album, that first album is always a milestone - and it is likely to be how the band is judged going forward. The debut album under the spotlight today is In Delirium, the first full-length release from Newton Abbot's Ethyrfield. As the band are fairly local, with Newton Abbot being not too far from where I live, Ethyrfield are a band that I have heard a fair amount about. They have been praised for their musical maturity at a young age, and also for their ability to meld a number of different styles together to create a sound that is somewhat different from the norm. I also saw the band live a couple of times in 2018, as a support act, and was impressed by the musicianship on display - although at the time I did not get around to checking out any of the band's recordings (which, in 2018, was limited to their self-titled EP). I had meant to check out the band's second EP Taurus, which was released in 2019, but for whatever reason I did not get around to picking up a copy. There is always so much new music coming out that it can be hard to keep up, but with the band releasing their debut album this year I decided to make the effort to check it out. It is always good to support local bands, and the band had impressed me live despite the songs at the time not really sticking. What is clear when hearing In Delirium however is how far the band have come in a short space of time. The songwriting feels a little tighter throughout the album's nine songs, but the variety that makes the band interesting is still very much intact. Ethyrfield play a mix of grunge, alternative rock, and the dry end of progressive metal - a mix of sounds that works better meshed together than it probably should. There are big hints of Alice in Chains and Soundgarden to be found throughout the album, but also sounds that recall Disconnected-era Fates Warning and Jim Matheos' riffy and atmospheric approach to progressive metal. This mix of sounds means that the album needs a few listens to fully appreciate it, but the overall tightness of the songwriting and the quality of the musicianship ensures that everything falls into place.

Despite much of the album being on the heavier side, the opening track River is actually quite gentle - with acoustic guitars and lots of Alice in Chains-esque vocal harmonies helping to create a deep and atmospheric sound. Ethyrfield are a three-piece, with brothers Zach and Ben Cornish; on vocals/bass guitar and guitar respectively; joined by drummer Dan Aston. For a three-piece, Ethyrfield's sound is big. There is a lot going on in the mix, including subtle keyboards provided by producer Josiah Manning (Kris Barras Band), but the band are always led by Ben's impressive guitar riffs. River certainly opens the album in a more laid back manner however, and helps to showcase the band's creativity and diversity early on. Zach's voice is strong, with Ben providing tight harmonies, and the early 1990s Seattle sound is well and truly covered. Subtle keyboards and percussion add depth, and the track ends up sounding like something from Alice in Chains' couple of acoustic-based EPs. Sunstroke is more typical of the band's core sound however, and follows the more acoustic-based River with a mid-paced groovy riff and some heavy Aston drumming. The Alice in Chains vibes are very prevalent again here, with a bass-heavy verse allowing Zach's drawling voice to take centre stage. I like the effects-heavy counter vocals used during the verses a lot, while the choruses go for a much fuller sound utilising a lot of harmonies and some punchy riffs. Unlike River, which is more of an atmospheric piece, Sunstroke is packed full of hooks. The vocal interplay in the verses is very memorable, while the multi-part chorus is very hook-laden - with the melodies really bring the track to life. A screaming Ben guitar solo is the first of many on the album too, and it helps to showcase his talents - which are a big part of what makes Ethyrfield such a great band. The Hunter is similar, but ups the pace and injects a little of that aforementioned Fates Warning-esque sound into the album - although the grungy vocal harmonies are still very prominent. There is also a great keyboard depth here, with Manning's rock organ sounds helping the song to be much more dynamic than it otherwise would - despite being low in the mix. The way that the band have used keyboards throughout to compliment their sound really enhances the overall album for me - but their presence does not overpower the band's core power-trio sound. The Hunter is a great track as a result of this dynamic approach. While it is not as hooky as Sunstroke, the depth and the overall pace of the riffing helps to make the track another strong moment.

Delirium follows and it feels like the result of combining the album's opening three songs together - and is probably my favourite track on the album. It is one of the most progressive cuts here, and there is a dose of the heavier end of Rush injected into the band's usual grungy sound. Acoustic moments sit side-by-side with driving riffs and screaming guitar leads - while Manning's keyboard presence is upped a little with his organ work doubling the guitar riffs sometimes to help give parts of the song a great retro rock feel. It is also a track that really shows the band's creativity off in a big way. I am not a fan of making a dig deal of people's ages, as talent is talent regardless of age, but Ethyrfield are still a very young band. A song like Delirium is packed full of maturity and clever arrangements however, which is certainly impressive for a band at the stage of their career that Ethyrfield are. It is clear that the band are true students of music, and they have clearly listened to, and ingested, a lot of different bands throughout their lives. All of this comes together on Delirium, with the band's progressive side on full show - while a number of hooky riffs ensure that the song is memorable as well as technically impressive. Laying On of Hands is another quite progressive sounding piece, with the opening instrumental section recalling Dream Theater at times with some particularly impressive drum work from Aston. The song is not explosive in Dream Theater's typical fashion however, with the track soon morphing into a great mid-paced grunge track with the occasional progressive flourish. I really like how the band have managed to fuse all of these different sounds together - with technical sections and more dense, atmospheric sections sitting effortlessly together to make something different from the norm. I also love how the band do not feel the need to constantly show off. There are moments of virtuosity, such as this song's intro, but overall the album is very song-based despite the technicality on display at times. This is a real skill, and also demonstrates that aforementioned maturity. The band know the value of a good hook, and how to arrange a song in a dynamic way, and Laying On of Hands showcases all of this. Virtuosity is on display via Ben's soaring guitar solo; while a more gentle mid-section showcases the band's ability to strip everything back to the bare bones for impact. Overgrown returns to the more acoustic-based sounds of River, but the song is even more stripped back with a simple guitar and vocal arrangement - at least at first. There are subtle vocal harmonies throughout the chorus, but apart from that the early part of the song is purely the lead vocals and some acoustic guitars. This does change after the first chorus however, as Aston's drums kick in, but the overall tone of the song is not significantly altered. The song is still acoustic-based, but the drums and bass help to add a little depth and atmosphere. It never really becomes a proper all-out rocker, but there is a great guitar solo towards the end that really cuts through the mix - which is followed by an atmospheric final vocal section that builds on the solo's power.

Serenity ups the heaviness after the relatively low key Overgrown, and is driven by Ben's snaking guitar riff and a precise drum groove. This is probably the album's most overtly grunge piece, as it has little of the heavy progressive metal vibes that seep into much of the rest of the album - with the song instead revelling in its murky atmosphere, slower pace, and dense vocal harmonies. There is still a heaviness to the track, but it comes from a more primal place than that found in many of the other songs here, with Alice in Chains once again clearly a big influence on the track. As much as I like the band's more progressive side, which largely dominates the album, the more straight-ahead tracks are also a lot of fun. That being said however, the song does morph somewhat towards the end and inject a little progressiveness with a low key atmospheric section that is different from the dark, riff-driven bulk of the track. This little songwriting twist shows that the band are always keen to try something a bit different - and the song benefits from this arrangement despite it largely being a more straight-ahead number. Remembering, which the band filmed a video for, is a somewhat more low key piece overall, but it still manages to showcase the band's core sound. There are fewer big riffs here, but the band's main atmospheric side is still showcased. Ben's guitar playing here is very impressive, with tasty leads providing cutting melodies to counter Zach's emotionally-charged vocal performance - which really helps the atmospheric song to grow organically. This means that when it does explode into something heavier the transition sounds natural. The song is certainly not as heavy as many of the others here, but the second part is still packed with some tough riffing and some more excellent lead guitar playing. I can see why the band chose to film a video for the song, as it contains a bit of everything that makes Ethyrfield a great band in a relatively compact package. It is a very tightly arranged piece, which is what enables it to be something of a showcase of the band's talents. The album comes to a close with Bitter Wishbone, a heavy track that opens with what is possibly the album's most potent riff. The riffing throughout the song has a strong Black Sabbath vibe, with the track overall being a mid-paced number that revels in simple riffing that creates a strong, doomy atmosphere. The track is certainly not as progressive as some of the songs here, but the heaviness and muscle found in the arrangement more than make up for this. There are still diversions however, such as a the occasional atmospheric section with strange vocal effects, but overall this is a song that sits on the groove created by its main riff and runs with it. It is just a great old-school heavy metal song as a result, and it works well as an album closer due to its weight and attitude. It also makes you realise, again, how diverse an album In Delirium is. It takes until the closing number to really go all-out in a metal sense - with the rest of the album building towards it somewhat. This benefits the album overall in my opinion, and is part of what makes it such a great listen. I mentioned earlier about debut albums usually being in one of two camps - and I think for me that In Delirium sees Ethyrfield roaring out of the gate. The band seem to already be the complete package, and the album showcases a lot of promise. I am already looking forward to see where the band take their sound going forward, and I hope to catch them live, showcasing this material, soon.

The self-released album was released on 16th June 2021. Below is the band's promotional video for Remembering.