Live Once Die Twice is the latest album by Richmond-based band Axus Bliss. The band takes influence from a lot of different subgenres of metal ranging from 70s classic metal to 80s new wave all the way to groove and melodic modern metal. The album comprises 7 tracks, each with a different twist or surprise, so let’s unpack each track and see what it’s all about.
The opening track, Fallen Inside, begins with an ominous ambient/atmospheric sound that puts the listener in a setting reminiscent of horror movies. Some tribal percussion sounds set the rhythm with which the track continues about a minute later. With a punchy modern-sounding guitar riff and groovy bass lines, the track will remind you of what melodic speed and power metal bands used to do in the 80s, especially when the vocals kick in. The vocalist has a strong and husky chest voice but he’s also very capable in head and mixed registers and I love how he alternated between both to harmonize with his own vocal lines and put emphasis on certain parts with higher notes. The crispy guitar tone used here bridges the gap between modern and traditional metal in a beautiful way because it’s usually associated with the more extreme subgenres of metal, but the melodic solo played here breaks that stereotype.
Similarly, the second track entitled “As We Row The Waves Of Destruction” begins with some tribal/ethnic-sounding drums which join the main drum line this time to add more strength and accentuate the grooviness. Just when you start to think this track is taking a lot of grooves and Nu Metal influences, you get high-pitched vocals and faster sections that are more of a power metal staple. I really love how these guys can flawlessly bend such distant influences like this. The ambient sounds with the rainstorm in the intro and outro sections create that perfect mood and atmosphere for the entire track.
Cartel Love Affair is a more straightforward standard Heavy Metal/Alternative Metal track, except for the tremolo-picking bridge/solo section which was a nice surprise. The vocals are high-pitched and powerful with another nod to power and speed metal. Can’t Get Enough is also a memorable and straightforward track, but with an inclination towards 70s hard rock more than the other tracks. It’s probably the most 70s-sounding track out of the whole bunch here, but the coolest thing about it is the high screams that show the impeccable breath control and skill of the vocalist.
Parlay (for Choade) is a power ballad with slow verses and a mid-tempo chorus. The heaviness of the guitars and drums stop it from being entirely a ballad, but it’s still very emotional because of the vocals and melodic guitars. When the vocalist screams “come back to me” followed by the final solo that leads to the outro beautifully and emotionally.
In my opinion, Repetitions is the perfect song to start to finish on this album. This masterpiece felt like it was written by Black Sabbath in their Sabotage era. It’s a riff-based love letter to the 70s with thunderous drums, complex guitar riffs, and massive basslines, and the vocals are entirely head voice/high screams. It will leave you floored and it’s without a doubt the most memorable song on the whole record. The seventh and final track, Under Standing Still, sounds a lot like Geoff Tate-era Queensryche or early Sanctuary records where the high-pitched vocals are the main attraction but not the main element. The melodies are strong and complex and the drumming is eye-openingly amazing on this track and put a wonderful ending to a very creative and experimental album.
In conclusion, this is a record where the tracks have similar influences and styles but don’t copy one another. The track that impressed me the most here has got to be Repitions for sure – it’s this album’s magnum opus for me. Otherwise, I recommend this record for people who want something that combines modern and classic metal elements into one amazing spectacle that’s both well-written and well-performed.
