Album Review: Parkway Drive - Atlas

Chart toppers and globetrotters, it would have been oh-so simple for Parkway Drive to take the predictable route on album number four. Some established bands promise the world and deliver an (ahem) atlas. The Byron Bay metalcore lads have broadened their horizons, but without neglecting what first brought them to the (fight) dance.

New aspects introduced represent a major talking point. So much so, they will likely overshadow some of their most satisfying, identifiably them fare. Matt Hyde's production is tighter than a duck's arse and frontman Winston McCall is angrier than a box of bees, roaring the rallying cry, “We're born with nothing and we die alone!” to segue into another seismic-shifting breakdown on Old Ghosts / New Regrets. Hook-laden riffs, blast-beats and punishing beatdowns aplenty (monstrous Dark Days and Wild Eyes, jugular-threatening Swing) will please pit ninjas. Thrashed-up Snake Oil And Holy Water is among their most aggressive exercises. Essentially, they've struck an ideal middle ground – expanding the template enough to stay fresh without pushing too far. If you need a ground zero for Atlas' wider scope, see two-minute opener Sparks; acoustic guitars, a dramatic string section and moody spoken word setting the tone. Not enough? Harmony-drenched The River indicates a sharpened sense of melody and occasion, to which they add female vocals. The Slow Surrender introduces turntable scratches – it shouldn't work, but somehow does. The multi-faceted title track's symphonic flourishes and atmospherics add further colour. Closer Blue And The Grey throws elements, both old and new, into a blender and creates another tasty concoction. 

Considering Parkway is touring with grander production values, they required the songs to match their vision. Now, they have them.