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BLIND EQUATION’s third full-length album, A Funeral In Purgatory, is nothing short of a milestone for the band. It’s a bold, emotionally complex, and sonically adventurous release that sees the band’s main songwriter, James McHenry, pushing the boundaries of cybergrind deeper into uncharted territory. Already known for blending digital chaos with raw emotion, this latest record is arguably BLIND EQUATION’s most ambitious to date, introducing elements of death/doom and gothic metal into an already genre-defying mix.
The thing that sets this album apart is its duality. McHenry describes it as “the heaviest and most brutal BLIND EQUATION album to date, while simultaneously being the most soft and heartfelt,” and that contrast is palpable throughout. The instrumentals are pummelling and unpredictable, with blast beats and glitchy electronics colliding in a disorienting harmony. Beneath this overwhelming surface, though, lies a deep emotional core, one that wrestles with themes of loss, perseverance, and emotional survival.
This record wears its nu-metal and early 2000s alt-metal influences proudly. McHenry cites SLIPKNOT’s first two albums, KORN’s debut, and black metal act LIFELOVER as just some of his key vocal inspirations. That lineage is perhaps most apparent on Nothing, the album’s second track and lead single, released back in May. It’s a bruising anthem that draws from the contagious energy of acts like KORN and THE PRODIGY, all while remaining uniquely BLIND EQUATION. At times it’s eerily melodic, with an overarching sound that’s simultaneously nostalgic and futuristic. It’s no wonder the band chose this track to represent the record – it encapsulates the aesthetic and scope of the whole album, without giving too much away.
The album hugely benefits from BLIND EQUATION’s growing experience on the road, with McHenry approaching the song writing for it with live performances in mind. This has led to compositions that hit harder and will no doubt translate viscerally in a live setting. However, despite that intent, this is absolutely a record that demands a full front-to-back listen. The flow is deliberate, with each track offering something distinct while still contributing to the album’s overall cohesion. A key example of this is the curiously titled ⁺‧₊˚ ཐི⋆✟⋆ཋྀ ˚₊‧⁺, an instrumental interlude placed strategically between the emotionally loaded tracks A Funeral… and …In Purgatory. Its placement acts as a sonic breath between the two halves of a concept, reinforcing McHenry’s assertion that “it’s meant to be listened to in full.”
A handful of guest features also elevate the project. Take Flashback, for example, where MySpace era artist STRAWBERRY HOSPITAL brings a nostalgic trancecore influence that feels like a sugary punch to the gut. The track blends bright synth melodies and glossy production with BLIND EQUATION’s harshest edges, resulting in a dazzling collision of sounds that feel like opposite ends of the same spectrum.
Another standout track is Mourn, which brings us a moment of stripped-back vulnerability. Here, the digital distortion is dialled down, revealing a raw and sorrowful core. The lyric “I know one day you will fade away, leaving me to mourn for the rest of my life” is heartbreaking, underscored by fragile melodies that teeter on the edge of collapse. It’s a standout track not for its intensity, but for its restraint and sensitivity.
At its core, A Funeral In Purgatory is a testament to BLIND EQUATION’s refusal to be boxed in. While it remains grounded in the digital violence of cybergrind, it also explores emotional extremes, delivering something that’s brutal and beautiful in equal measure. That being said though, it’s definitely not an album for everyone. With its glitchy intensity and abrasive textures, it can be overwhelming or even downright grating for some listeners. This is a record people will either love or hate, with very little room for a middle ground.
Rating: 7/10
A Funeral In Purgatory is out now via Prosthetic Records.
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The post ALBUM REVIEW: A Funeral In Purgatory – Blind Equation appeared first on Distorted Sound Magazine.
