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VIRUS! MAGAZINE
"DEAD POOL RISING" REVIEW
VLAD MCNEALLY

Noise for Destruction, better known as their acronym NFD, arrived on the scene in 2004 to the sound of accolades from almost all publications open to reviewing gothic rock. While containing only a sole member of Fields Of The Nephilim, Tony Pettit on bass, NFD's sound is eerily similar.

Their vocalist, Peter 'Bob' White's gravelly voice even bears an almost uncanny similarity to the timbre of Nephilim frontman, Carl McCoy. Likewise, the music showcased in their successful debut, "No Love Lost", followed the Nephilim sound as McCoy veered into the shadows of metal. With "Dead Pool Rising", NFD attempt to shake the steely grip of metal, and aim for a more clear-cut gothic rock sound.

While the heavier ends that shown through on their debut are missing, NFD still approach gothic from the hard rock angle.

From the onset, one finds their next single, "Light My Way". This propulsive single jangles on the heels of rollicking drums and bass where tones of the Neph's spaghetti western county glimmer through the gloom, while White's gruff voice bursts into vivid life to the tune of a toothy riff at its chorus.

Retaining the energy, the jagged bounce of "My Possession" is driven by locomotive drums an the thick funk rattle of sharp power chords, the gurgling growls of white blaring forth to punctuate its chorus. In addition, "Descent" provides another surge of smoke machine fueled adrenaline. Channeling dirty guitar the alternates between a side-winding tenor whine and stuttering power chords, it dissipates to a moody center where White's baritone falls to a murmur over a deep sea of weary soprano strings, before coming full-circle and rising into a howling, drum-heavy conclusion.

For me, the moments where NFD succeed are those that tap into the vein of progressive goth, that same dark psychedelia found in the Nephilim's classic disc, "Elizium". The unprocessed, swaying vocal dirge of "One Moment Between Us" is a shining gem. While the song sucks one in with cymbal washes, tense synth strings, and the pensive whinny of drifting guitars, a taught chord and drum synchronization heralds in climactic switch in the tempo.

Like a second chapter, the piece climaxes in a winding guitar solo that streaks through a tempest of drumming, proving NFD are quite adept in breaking the simple verse-and-chorus formula. Another wonderful downtempo number is "Rise". Within this intimate piece, somber piano descends the scale, falling from soprano heights to compliment the wisftul rattle caught in White's throat. However, broad strokes of guitar enter to paint a portait of resolve to the dramatic crash of cymbals, before finally departing in a stoic goth rock stride.

In the end, NFD still have yet to shrug off the Nephilim mantle. Side by side, it is growing easier to pick out one from the other, but it is hard to judge if a departure from their influences would damage their engaging package. Some may find fault by noticing such an apparent comparison, but if one appreciates this particular sound, NFD far from disappoint.