ALBUM REVIEW
Sarcator – The Ones We Follow
Dark roots meet galloping melodic experimentation.
Sarcator and Rock ’n’ Roll at Full Gallop
Movement, transformation, and essence... I believe these three elements form the backbone of a band’s musical identity. Time decides which of them takes the lead and to what extent. For Swedish blackened thrash metal band Sarcator, it feels as though the clocks have been reset at just such a moment. Their fourth studio album, The Ones We Follow, due out on October 30, finds the band adjusting their course once again, introducing an experimental shift in their sound without making an outright break from their established style.
Having closely followed Sarcator throughout their musical journey and even had the chance to see them live, I think I can review this album with confidence. I don’t believe we necessarily need to squeeze it into a single genre, but this change still deserves some description to give listeners an idea of what to expect. I’d still place Sarcator on the darker side of things. Their blackened essence remains intact, while the elements undergoing movement and transformation are their melodic choices and, of course, their approach to rhythm.
Mateo’s vocals, which I’ve always loved, have lost none of their piercing, ferocious edge or energy. I’m sure the vocals will leave a strong impression on you, too, and despite the stylistic differences, they’ll make you say, “This is a Sarcator album.” The band have described their new style as death ’s rock, so I don’t want to come up with my own label for this new direction. Is that a bad thing or a negative development? Of course not! The album and its songs are fantastic. I’m looking at what they’ve created regardless of genre, and I’m honestly delighted with the result.
I think I’ve explained the album’s sound in enough detail, but what I really need to do now is take you through this new ten-track release, one song at a time. Trust me, every track is worth the attention. As I mentioned earlier, vocalist Mateo delivers another fantastic performance, but the other members’ command of their instruments is nearly flawless, too. Jesper’s fluid, well-judged drumming does justice to his status as one of the band’s founding members, while Leo, one of my favourite guitarists, and their recently recruited bassist Linus prove to be equally accomplished and perfectly in sync. They have an incredible collective energy. Having seen them perform onstage before, I’m very optimistic about how this album will translate live, and I can’t wait to hear it. There are genuinely tracks here with the potential to sound phenomenal onstage.
The album gets off to a punchy start with its opening track and title song, “The Ones We Follow.” I may sound like I keep going on about how great the vocals are, but they’re so good right from the opening track, carrying the album along so effortlessly, that I can’t help bringing them up again. The second track, “The Underground Streets,” is a fantastic follow-up. The opening guitar melody is the kind that immediately sticks in your head; it grabs you straight away and never lets go.
I also want to touch on the album’s Western theme. I wouldn’t normally say it’s a theme I’m particularly drawn to or one I’m especially fond of, but believe me, the energy it brings to this album and the way the concept holds together are so effective that I genuinely felt like getting on a horse during certain songs. If I had to give the album’s energy a name at this point, it would undoubtedly be “full gallop.”
Galloping into the third track, “You Gotta Possess Me,” we’re greeted by an eerie scream, and just as its title suggests, the song takes hold of you immediately. The hardest part of this album for me has been choosing my favourite tracks. Every time I thought, “That’s it!” during my first few listens, something even better came along. Yes, I already knew the band and liked them, but honestly, I had no idea I’d get this hooked on them. And that’s despite the fact that they’ve made a somewhat experimental album.
With all these positive thoughts in mind, I found myself completely immersed in the fourth track, “In Search of Oblivion.” I think this is a perfect live song; it’s almost impossible not to sing along to the lyrics. The next track, “Rotting Chapels,” is definitely my second favourite on the album. At seven minutes long, it’s a highly successful composition that makes full use of its runtime. Here’s a recommendation: when the album comes out, I’d suggest starting your listening session with this track. You’ll understand what I mean.
“Bleeding Ages,” which follows, is such a fun song that I can’t find the words to describe it. Alongside its playful melody and rock foundations, the contrasting vocals take the track somewhere really interesting. In fact, this contrast runs throughout the entire album, and I think it makes for a fantastic distinction. I believe this is where the album reaches its climax. The seventh track, “Volatile Insight,” is the one that caught my attention the least, but I certainly wouldn’t call it unsuccessful. The eighth track, “Ain't Fit to Live,” occupies a similar position for me: a good song, but one that falls just a little short of the others.
After these relatively less attention-grabbing tracks comes what I consider the album’s best song, and it turns out to be a ballad. I’ve lost count of how many times I’ve listened to this one. I think it’s one of the best rock ballads I’ve heard in recent years. What an opening clean vocal! I’ve genuinely fallen in love with this song; it alone has given the album a very special place in my heart. The track is called “Wasteland Strider.” I desperately need to hear this song live, and I hope they add it to their setlists on their upcoming shows. If they don’t, I’ll be genuinely heartbroken. Still riding this wave of emotion, we move on to another of my favourite tracks, the album closer. “Wanderlust” announces its arrival with a forceful opening that reminds us of Sarcator’s essence, declaring, “I’m here!” Yet it doesn’t sacrifice any of the movement and change that define the album. It’s practically a summary of the entire record’s character, making for a fittingly grand finale.
I genuinely admire these young Swedish talents, all still in their twenties, for having the courage to make such a change at a stage when their careers are arguably only just beginning, without losing sight of who they are. Rather than sticking to a formula that works, they’ve chosen to follow their instincts and let their spirit run free. To me, that’s proof of their self-confidence. The important thing is that this confidence is by no means misplaced or empty; these guys are genuinely talented. This album has already secured a place among my favourites of the year. If you’re a Sarcator fan, it will surprise you, but it won’t disappoint you. Before you know it, you’ll find yourself swept up in the songs, galloping alongside Sarcator through a desert of new possibilities. I’d say you’d better saddle up now!
Stay metal!
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