Thornhill - Heroine (2022)^{Release ID: 37513}

Thornhill’s ability to replicate these Deftones-like structures landed in my rotation list at a perfect time, just as the UK basks in a heatwave of up to 40 degrees. This be lazy, hazy summer music for lazy, hazy summer days that incorporates just enough bite to remind the listener that even summer has teeth also.

Crooning vocals have a very limited place in metal, and they work well here, alternating between that nu-metal edginess and indie/alt influence. There are no bones about it, Thornhill know how to capture the less extreme side of my metal attention span, using a blend of chiming melodicism and jarring riffs to hold the earshot for almost the whole record. Whether it is the Portishead vibe of Valentine with its trip-hop beats or the drama-soaked instrumental of Something Terrible Came With the Rain, there is something different around each corner on Heroine.

Sections of songs on this album are driven by lurching riffs accompanied by rich melodies to give these slightly floundering moments real ethereal form. As such the true moments of absolute triumph on the record are the occasions when these juxtaposed elements combine with almost unexpected fluidity. The title track that closes the album is full of emotion in the vocals and instrumentation and boasts an arrangement that highlights layers for the listener to discover each time they listen.

Deftones worship? Probably to a point yeah, but there is so much more here if you take the time to pick away at the delicate skin and explore the innards of this glorious piece of alternative metal.

So far in 2022, I've moved away from the high brow critic spheres and narrowed my new listening to styles/genres that I already have a vested interest in. One of those genres, obviously, is heavy metal and last month I cleared out my back catalogue of popular alternative and metalcore records that I skipped over in the first half of the year (Northlane, Bad Omens, Static Dress, etc.). But along came Thornhill who were getting much attention in critic spaces, but not so much in the mainstream. The can usually only mean one thing: Deftones.

I've been revisiting a lot of Deftones in recent weeks as well (White Pony review is coming soon). And yes, Heroine by Thornhill does emit many of the songwriting tropes that are iconic from the early 2000s era Deftones circa White Pony, as well as some more modern, popular releases like Koi no yokan and Diamond Eyes. But something about this record feels different; like a record that knows its source material down to its seams, but can build it back up with different materials and still have it fit. Djent-y breakdowns are popular at the moment, and this record does a solid job of not allowing them to feel slapdash or thrown in just for the sake of trendchasing.

The album is really dreamy and lush and helped in large part by a production that does not favour one instrumental over the other. Lots of atmospheric music fails at being so when bands give prominence to one part over the rest giving it a jarring effect that snaps the listener right back to reality. But this album's real star? Vocalist Jacob Charlton. This vocal timbre is splendid. The way in which Charlton accents uncommon syllables and releases stanzas prematurely adds a layer of roughness to this record that Deftones albums just don't with Chino's clean delivery drowned out in reverb and other effects. It's almost reminiscent of Muse's Matt Bellamy, but with much better fundamentals beneath it.

This is a great album. The Deftones elements are great and hold the original source material to its purest form, but divergences are precise and not forced. This is a name that I look forward to keeping an ear open for years to come.

Best Songs: Leather Wings, Blue Velvet, Casanova, Hollywood, Heroine