What we see, what we do not see, and why we should take a second look. From the disillusionment of indoctrination by social control to simple self-deception for the sake of preservation the avoidance of introspection only shoves the heaviest shit (grief, self-actualization, cold truths etc.) to the bottom of one’s proverbial bag, dragging them down in service to the weight accumulating. On their third full-length album Los Angeles, California-based heavy rock quartet Deathchant posits delusion and variously imposed blindness as the opposite of freedom. What ultimately rules over the individual in both literal and abstract sense is further unveiled as, ‘Thrones‘, vices and delusions they’d examine with some solutions and hard lessons learned in mind as this heaviest yet third full-length album rings of their low-burning brand of gritty, garaged-out psychedelic/hard rock with a doomed touch.

Deathchant formed circa 2018 having quickly developed a style that’d shown some deep love for noisy psychedelic rock undergrounding, the filthier stuff with its own dark attitude, as well as some southern California specific stoner rock gloom and swagger with shades of doom, punk rock, and their own blues rock boogie sparking it all along. The result was a self-titled debut (‘Deathchant‘, 2019) which I’d connected with easily upon review back in the day finding their work amounting to something kinda in-between groups like Saviours and/or Black Wizard where 70’s heavy rock/metal, the 90’s heavy rock buzz and an ear for the darker realest-ass side of life kinda showing through their range. The conversation changed quick once that record caught on and the primo Thin Lizzy influenced dual guitar side of their deal passed them onto RidingEasy for a second LP (‘Waste‘, 2021) was intent on bigger riffs, cutting some of the clashed-at noise of their shared tone, and focusing on their touch and taste for harmonized guitar leads. It’d been a catchier, heavier and altogether better made record that’d still echoed the noise punk scratch and the gruff vocals from guitarist T.J. Lemieux‘ bark and a half. Coulda used a bit more doom in the equation at the time but it’d been a signature move for the band and one which they’ve followed directly into ‘Thrones‘, getting a bit darker and introspective for what I’d consider their best ’rounded and most memorable record to date.

‘Thrones‘ practically thrashes out with its chucked at rhythms and wailing, bluesy get-go with opener “Canyon” and yes, they’ve taken note that the whole dual guitar harmony and bustling boogie up of lead-driven rhythms is exciting even when pushed toward excess. It definitely worked for the longer form edge of Gypsyhawk back in the day and continues to spark up as the best parts of groups like underrated fellowes The Golden Grass, who I’d consider a somewhat nearby companion to the spirit of this record, beyond something like ‘Livin’ Oblivion‘. The wall of noise and junked heavy metal riffs of ‘Waste‘ are technically still there but the first half of this third record makes sure you’ve noticed they can shred out a hook like no one else and still manage a stoney, easier groove even in the midst of dire conveyance. Hell, their work flows so steadily the near eight minute roll of title track “Thrones” being placed up at the neck of the running order won’t even phase most folks, they’re that locked in to start.

Descriptors like “dark”, “honest”, “mature” all hum like titillating ASMR twiddling the hairs within my ears in description of this trip but to be honest I showed up for the major fire over on Side A caused by the album’s lead single. “Mirror” is easily one of the harder tugs on the heavy rock ear received in 2023 and not only for the obvious big hook that they lead with but for the growl of Lemieux‘ vocals, letting the disaffected tone of the piece sprawl across its grey skied outlook and it’d turn out that was a warm-up (see: “Chariot”). A simple chugger when you cut it into pieces but flexing plenty of energy in action this anthemic edged type of barker gives us some of the core juxtaposition Deathchant have always brought, the well-versed and pro heavy rock spill from punk-minded folks, where the ease and anxiety of several ailments from sludge and doom-rock to classic 70’s style existential dread n’ blues factor into the pieces that tend to get the blood moving. It took a few spins to appreciate how thoughtful ‘Thrones‘ is because they’re still a body-high of a band on record.

The guitar harmonies continue float out like boiling water flung into the desert air from that point but they’ve avoided the same-ness that’d hit ‘Waste‘ on its second half. “Chariot” is the big deal, the song that has me recommending this album beyond the obvious, the sock full of quarters to the jaw they’ve still got in ’em and another three and a half minute buzzer that is easily one of my favorite pieces from the band to date thanks to the kinetic rhythm guitar maze crafted and for just how rowdy it gets for a Side B starter. Entirely appropriate as a much needed shock to the ass after the sombre “Mother Mary” sits us down for a drink. From that point we get a bit more punk as they shed light on the “Hoax”, feeling like a Black Wizard kind of free-wheeler with its tumbling rhythm and shout; “Earth” takes us back to a more chill place briefly, I mean there were chilled-out pieces on the previous two records but they weren’t always important hinge points as they are here in terms of overall pacing. “Mother Mary” being the unavoidable gloom stuck right in the middle of the album’s two catchiest pieces and “Earth” carrying its own side of the road hiked feeling on the way to extended doom/sludge slugged closer “Tomb”.

For a third full-length album ‘Thrones‘ has done everything a heavy rock band could possibly do right in terms of showing their gig from all the best angles, amping what they do best as songwriters and delivering something gritted to the teeth, knottier and heavier than most when we check the greater relative landscape abounding. Hell, if we can account for the scoot of their classic rock driven rhythms Deathchant begin to sound like a downright heavy metal band on this one and I think it does well for the theme of the record to have gone that hard without landing so self-serious as to become unapproachable. Worth a grab to hit the guitar work, worth sticking around to shake out the lyrics and altogether I’d say their best work to date. A high recommendation.

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