Brisbane-based post-hardcore quartet Deadlights have today released their sophomore record The Uncanny Valley – produced by their guitarist/vocalist Tynan Reibel and mixed and mastered by Chris Vernon (Belle Haven, Windwaker, Stuck Out).
The Uncanny Valley is eleven tracks of relentless, trenchant hardcore music that explores a vast range of subject matters while exposing the diverse yet habitual musical elements that have come to define Deadlights’ sound.
Lead singer Dylan Davidson talks about the process behind The Uncanny Valley:
“The name of our album, The Uncanny Valley, is the uneasy feeling you get when you look at an object that is supposed resemble something human, but you can clearly tell it’s not. This uneasy feeling is all too common when viewing the modern world and thinking of the future. Nothing is quite right, but it gets so close. The ideas behind technology like social media and AI could be so powerful and positive, yet they are plagued with negativity and can disconnect us more than bring us together. We are at a crux point and the future could equally turn dystopian or utopian depending on how we move forward. The Uncanny Valley is my view of the future, it could be magical, but something is off, and now is the time to do something about it. Every song depicts a vision of the future in some regard, from the digital, apocalyptic nature of Born of a Lie and title track The Uncanny Valley, to incoming climate disaster in Frozen Over, to my own personal future in overcoming addictions and bad habits in Schedule: 1 & The King of Nowhere."
Title track The Uncanny Valley introduces the album with eerie electronics, mechanical harmonies and obscure time signatures. An enormous climax transitions into track two, Schedule One, which picks up the tempo and adds further layers of viscous instrumentation and dirty vocals that make for gigantic hooks.
Track three, The King of Nowhere, and track four, Born of a Lie, present familiarity as the album’s first two singles, intensifying with expulsive onslaughts of commanding drums, acrimonious harmonics and penetrating melodies. The energy continues on to track five, Contact, with an upbeat wall of distorted sound, dominant with guitars, rhythmic voyages, and soaring clean vocals that initiate the polished sixth track, Electrodome, where impressively technical integration and combinations relentlessly spur into the haunting interlude, [I See The Future], featuring digitalised spoken word warnings over reverberant stadium drums and lingering synthesisers.
Track eight, Echo Chamber begins with chilling melodies and evocative chord progressions, picking up momentum with an immensely dynamic structure that leads into the recent single Sudden Life / Sudden Death. The ninth track's declarative guitars and piercing vocals increase the album’s intensity, hurling towards a deriding breakdown and a merciless finale.
The penultimate track, Pythia, features mantra vocals, commanding instrumentality and vigorous aptitude before the album finishes with a lamenting final track, Frozen Over, where the band achieves poignant polyphony with delicate musical intricacies. A mature offering becomes emotionally moving, as the track summarises and caps off a divergent collection of songs, punctuating the record with a prolonged outro.
To support the release of The Uncanny Valley Deadlights will be joining hardcore giants Polaris as tour support on an East-Coast run of shows.
The Uncanny Valley is available worldwide now, through Greyscale Records. Stream it here.
Catch Deadlights on tour with Polaris.
Listen to Deadlights now.