Nothing More Carnal Metal Hammer album review

For their seventh instalment, Texan quartet No-thing More continue to probe the human psyche with the help of late English philosopher Alan Watts, tackling themes of fear, personal strength and perseverance. It’s a record that serves up Eastern spiritualism-inspired wisdom at an arena-filling scale – even if the philosophical musings do tread the same ground as previous releases.

Much like their last few records, Carnal is a conversation with their muse. Watts serves as primary ‘vocalist’ on five scattered tracks, while the surrounding record channels these ideas, responding in sonic form. Down The River ’s lofty, anthemic cries of ‘Come what may!’ embrace notions of living in harmony with the world rather than fighting against it, and Freefall blazes with euphoric vulnerability in the face of adversity.

Lofty notions of ‘Zen’ and ‘unconscious virtue’ may fly over people’s heads, but, where words fail, music speaks. House On Sand is a heavy, larger-than-life howl of renewed vigour after hardship, while Existential Dread ’s frantic verses bristle with anxiety, before a triumphant, weightless chorus waves it off.

However, Nothing More have certainly dialled back their experimentation. There’s none of the playful prog metal captured on their self-titled record, no shocking acoustic number as on 2017’s The Stories We Tell Ourselves . With the exception of Stuck ’s injection of rap-screams and Sound ’s tech-y distortion, Carnal focuses on the tried-and-true alt metal arena-bait.

Nothing More certainly serve up some effective anthems throughout the album. Simultaneously grandiose and simplistic, Angel Song ropes in David Draiman on guest vocals over a stomping groove and a we’re-all-in-this-together chorus. And yet Carnal often repackages sounds and themes from previous records. It’s certain to satisfy fans and pack a punch live, but it’s not a huge leap forward for the gang.

Carnal is out June 28 via Better Noise.