Xerxes – ‘Collision Blonde’

A common thing that most bands who form with the intention of creating aggressive music is to come out all guns blazing in their infancy. Everyone wants to play the loudest, the fastest, and the hardest by way of channelling their demons within. Xerxes debut album ‘Our Home Is A Deathbed’ was no exception, and it was done well, however when they released the ‘Would You Understand’ 7” a certain change was becoming apparent in their sound as they added more depth and melody. Now with their latest offering ‘Collision Blonde’ – produced by Into It. Over It main man Even Weiss – Xerxes have found themselves walking a new path. Do not be fooled though, because even with the inclusion of cleaner tones, lighter sections, and intricate song structures, ‘Collision Blonde’ is by no means any less abrasive.

As the opener ‘I Was Wrong’ begins to swell from your speakers in a haze of feedback and harsh screams, it gives you the feeling that this is not going to be an easy listen. Then when ‘Criminal, Animal’ kicks in the album instantly takes a new direction, falling somewhere between post-punk and hardcore, yet never really being either of them. Xerxes even show a broader influence across ‘A Toast’ and ‘Knife’ which draw from Jesus and Mary Chain on the former, and they even tip their hat towards death rock pioneers Christian Death on the latter.

The album is then pulled in another direction on the haunting ‘Use As Directed’ with its electronic drumbeats, and brooding ambience. On top of this the layered, spoken word vocal delivery of front man Calvin Philley adds to the chilling tone of the song. The pace is picked right back up with the hometown anthem of ‘Chestnut Street’, which sounds like how Wire would have sounded if they had recorded ‘Pink Flag’ in Louisville, KY and grew up on hardcore. Xerxes have pulled from a vast pool of influences on this album, and have been able to blend these together without ever upsetting the continuity of the album. They flit between the punk rock of the albums title track, to even quite serene moments on the dense ‘(but here we are)’, and then closing the album in chaotic fashion with ‘Nosedive’.

Xerxes change in style on ‘Collision Blonde’ is reminiscent of how Ceremony made the jump from a power-violence band to creating a post-punk masterpiece with ‘Zoo’ some years ago, however it is not as drastic as that. This is more of a growth than a change, and with this growth has come a greater substance in Xerxes creative output, because ‘Collision Blonde’ does not take a few listens to attach yourself to it, it connects with you instantly, and makes for a mesmerising journey.

GLEN BUSHELL