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Dead Letter Circus - 'Aesthesis' http://www.rocktopia.co.uk/media/reviews/photos/thumbnail/200x200s/dd/d5/45/dead-letter-circus-aesthesis-3-1472409524.jpg Hot

Added by Central Electronic Brain     August 28, 2016    
 
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If you have broad tastes which go beyond typical Hard Rock/Metal, then give 'Aesthesis' a spin; you will be pleasantly rewarded.

If, like myself, you've had your head buried in the sand over the past few years, then you may not have heard of Dead Letter Circus, the Australian Alternative Rockers hailing from Brisbane. Formed in 2005, the band have scored great success in their homeland releasing two albums, 'This Is The Warning' (2010) and 'The Catalyst Fire' (2013). They have toured with the likes of Karnivool, Muse and Linkin Park.

Okay, so history lesson over, what is their third album 'Aesthesis' like? Well, I've got to admit I absolutely love it! Produced by Forrester Savell and Matthew Bartlem, and mixed by Chris Lord-Alge (U2, Muse, Green Day etc.) the album sonically sounds great. 'In Plain Sight' starts off with an acoustic-based intro with vocalist Kim Benzie painstakingly singing about break-up and trying to save a relationship, before crashing guitars from Luke Palmer and Clint Vincent change the tone of the song; a great way to open the album.

'While You Wait' has a subtle Dance Rock feel to it and definitely has you nodding your head and tapping your foot. Benzie again adds atmosphere with some multi-layered vocals and the rhythm section of drummer Luke Williams and bassist Stewart Hill add a great groove; Hoobastank and Lifehouse spring to mind. 'The Burning Number' is my favourite of many cracking tracks on the album, with a great chorus and guitars jumping in and out all over the place – I can imagine air guitaring and jumping around to this in a Rock club!

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'Show Me' begins slowly, Benzie oozing emotion on this track, which veers slightly into an Electronic music style again, with the rhythm section doing a fabulous job of holding the beat together, and the guitars adding subtlety and power in equal measures. 'YANA' again starts off slowly and builds up into a hybrid of U2 and Muse, with Benzie in angst with the way we treat our planet. 'Silence' is a sombre sounding number with haunting keyboards whilst 'The Lie We Live' again gives Benzie the opportunity to show off his impressive vocal range, and contains guitar with dark undertones. All of the remaining tracks are just as good as anything that has preceded them, and there a couple of bonus acoustic tracks too.

If you have broad tastes which go beyond typical Hard Rock/Metal, then give 'Aesthesis' a spin; you will be pleasantly rewarded.

Az Chaudhry

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