Controlled chaos is the only way to describe the musical onslaught brought on by Car Bomb in its fourth studio album, “Mordial.”   

With the release of the album, Car Bomb proves once more that there are no rules in music composition. And its move toward experimentation is indicative of a larger trend in the progressive music scene. 

There’s the familiar presence of detuned guitarwork in “Scattered Sprites” and blistering hardcore spurts in “Dissect Yourself,” that would impress hallmark greats of the genre like Meshuggah and The Dillinger Escape Plan. 

These have been central ingredients in the Car Bomb sound recipe throughout the band’s 19-year career. But now there is a new focus on ethereal melodic elements that resemble Deftones and even Depeche Mode. Guitarist Greg Kubacki really shines here.  

In the past, Car Bomb has ventured into the ambient genre, but it’s only been in brief motifs. Now, the band employs extended compositions to great effect, as the new album flows as a cohesive piece of music tied together by these melodic passages. 

For the first time in its discography, vocalist Michael Dafferner implements repeated clean vocal choruses with sing-able melodies, as seen in songs “Fade Out” and “HeLa.” 

With this newfound focus, “Mordial,” brings a more mainstream appeal in comparison to its other works.  

However, fans of the band’s previous work shouldn’t worry. The technical prowess of the quartet hasn’t been diminished by the presence of softer sections. 

The rhythm section of Elliott Smith on drums, and Jon Modell on bass, has never been tighter. The musicians’ ear for feel is unmatched, which is accentuated by the point that Car Bomb doesn’t use a click track to stay on time while recording, despite maintaining constant tempo changes. 

“Mordial” acts as a cornerstone tying together the band’s entire discography. The album is most akin to 2016’s effort “Meta” in that it relies on grooves and riffs stitched together in frenetic bursts and features a similar production style from producer and engineer Adam “Nolly” Getgood.  

The album also employs the otherworldly synthetic textures explored on 2012’s “W^w^^w^w,” and incorporates the free jazz and thrashy hardcore styles that comprise the majority of the band’s 2007 album “Centralia.” 

The Long Island-based progressive metal group continues to refine its eclectic and brutal sound. Itt follows a larger trend in the progressive music scene with its experimentation in the album.  

Just a few weeks ago, Norwegian act Leprous put out a new single called “Alleviate.” The brooding song is much more alternative pop-leaning than its usual brand of almost-operatic tech metal, and sees the band reaching ever further away from its black metal roots.   

Art rock band Bent Knee also put out a single called “Bone Rage” that sounds as if Arctic Monkeys was fronted by a musical theater actress and pulled influence from the more progressive side of Soundgarden.  

All of these artists are pushing the boundaries of the mores in their own genre niches and are definitely acts to watch. 

jamessin@syr.edu 

Published on October 7, 2019 at 11:41 pm