Frank Carter & The Rattlesnakes, End of Suffering, Album Review
Frank Carter & The Rattlesnakes
End of Suffering
Album Review
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Listen on Apple Music
I first discovered Frank Carter & The Rattlesnakes at Reading festival back in 2015 with their mind-blowing main stage set. This was around the same time that their second album Modern Ruin was being heralded by its first teaser track.
Since then, I have seen the band play live a number of other times and thoroughly enjoyed listening to Modern Ruin upon its release. So when that albums follow-up was announced at the very beginning of 2019, you bet that I was one of many people to regard End of Suffering as one of the most highly anticipated albums of the year.
This is the third full-length record to come to us from ex Gallows vocalist Frank Carter and his pit of Rattlesnakes, following the previously mentioned Modern Ruin and the defining debut album Blossom. And while I could describe either previous album as an absolute masterpiece, I feel that this album is truly where the band shines brightest.
To elaborate on this, the band seems to have finally cemented themselves as a one-of-a-kind band stylistically and have broken out of the confines of genre (while still being just enough of a punk band at heart). They have progressed from the change in style that seemed so drastic between Blossom and Modern Ruin and have pinned it down. Any semblance of Gallows is well and truly gone. And for me, it is a breath of fresh air to realise this.
Don't get it confused. Just because the band have completely let go of the hardcore roots of Gallows, it certainly doesn't mean that this album comes without its fair share of bangers. The difference that is album makes however is that the nature of these tunes seem to carry through a lot more meaning and contribute more greatly to the albums overall theme, which I shall rave about shortly.
But first, I need to mention how phenomenal the start of this album is. "Why a Butterfly Can't Love a Spider" literally couldn't be a more perfect opening track for this album. The progression is immaculate and the way it both come to the listener as an important part of the albums narrative and an excellent transition from the musical likenesses of Modern Ruin is splendid.
As if I thought it wouldn't get much better than that, "Tyrant Lizard King" follows up and latches it hooks on me instantly. If its an infectiously catchy and gritty anthem you're looking for, well...I would say look no further than this track but this album is one-hundred percent worth exploring further. I also must commend the guitar playing skill of Rage Against The Machine's Tom Morello, who lends his talent to this track and adds an extra layer of creativity with his electric guitar sound effects.
Aside from these, there are still too many good tracks to mention. However for informations sake, some other favourites of mine include "Heartbreaker" which I'd argue is the most similar sounding to Modern Ruin, the deeply personal and equally dark "Angel Wings" and "Supervillain" which seems to be growing more and more on me each day.
Speaking of tracks, there is a hidden track for those who brought a physical copy of the album given the name of "Lead". I thought this is a very unique touch that seems all too rare nowadays, and it was a thrill to be treated to another track I had no clue about just before I was ready to take my copy of End of Suffering off the turntable.
One last thing that I love this album for is its very personal subject matter in nearly all tracks, which all combine to create a very engaging theme of love and hate towards both self and towards others (or at least that's what I'm speculating). This opposition seems to also be somewhat reflected in the albums stunningly gorgeous album cover. Nothing about the theme of this album really seems that sloppy, it really was masterfully executed.
I know that i say this way too often for other albums, but End of Suffering honestly be a good contender for the best of the year spot. Whichever way this album leans in the months to come, what will certainly remain the same is that this album stands as Frank Carter & The Rattlesnakes' most defining record to date, and it deserves every shred of praise it gets.
Thank you for reading,
Booth Boy
Listen on Spotify
Listen on Apple Music
I first discovered Frank Carter & The Rattlesnakes at Reading festival back in 2015 with their mind-blowing main stage set. This was around the same time that their second album Modern Ruin was being heralded by its first teaser track.
Since then, I have seen the band play live a number of other times and thoroughly enjoyed listening to Modern Ruin upon its release. So when that albums follow-up was announced at the very beginning of 2019, you bet that I was one of many people to regard End of Suffering as one of the most highly anticipated albums of the year.
This is the third full-length record to come to us from ex Gallows vocalist Frank Carter and his pit of Rattlesnakes, following the previously mentioned Modern Ruin and the defining debut album Blossom. And while I could describe either previous album as an absolute masterpiece, I feel that this album is truly where the band shines brightest.
To elaborate on this, the band seems to have finally cemented themselves as a one-of-a-kind band stylistically and have broken out of the confines of genre (while still being just enough of a punk band at heart). They have progressed from the change in style that seemed so drastic between Blossom and Modern Ruin and have pinned it down. Any semblance of Gallows is well and truly gone. And for me, it is a breath of fresh air to realise this.
Don't get it confused. Just because the band have completely let go of the hardcore roots of Gallows, it certainly doesn't mean that this album comes without its fair share of bangers. The difference that is album makes however is that the nature of these tunes seem to carry through a lot more meaning and contribute more greatly to the albums overall theme, which I shall rave about shortly.
But first, I need to mention how phenomenal the start of this album is. "Why a Butterfly Can't Love a Spider" literally couldn't be a more perfect opening track for this album. The progression is immaculate and the way it both come to the listener as an important part of the albums narrative and an excellent transition from the musical likenesses of Modern Ruin is splendid.
As if I thought it wouldn't get much better than that, "Tyrant Lizard King" follows up and latches it hooks on me instantly. If its an infectiously catchy and gritty anthem you're looking for, well...I would say look no further than this track but this album is one-hundred percent worth exploring further. I also must commend the guitar playing skill of Rage Against The Machine's Tom Morello, who lends his talent to this track and adds an extra layer of creativity with his electric guitar sound effects.
Aside from these, there are still too many good tracks to mention. However for informations sake, some other favourites of mine include "Heartbreaker" which I'd argue is the most similar sounding to Modern Ruin, the deeply personal and equally dark "Angel Wings" and "Supervillain" which seems to be growing more and more on me each day.
Speaking of tracks, there is a hidden track for those who brought a physical copy of the album given the name of "Lead". I thought this is a very unique touch that seems all too rare nowadays, and it was a thrill to be treated to another track I had no clue about just before I was ready to take my copy of End of Suffering off the turntable.
One last thing that I love this album for is its very personal subject matter in nearly all tracks, which all combine to create a very engaging theme of love and hate towards both self and towards others (or at least that's what I'm speculating). This opposition seems to also be somewhat reflected in the albums stunningly gorgeous album cover. Nothing about the theme of this album really seems that sloppy, it really was masterfully executed.
I know that i say this way too often for other albums, but End of Suffering honestly be a good contender for the best of the year spot. Whichever way this album leans in the months to come, what will certainly remain the same is that this album stands as Frank Carter & The Rattlesnakes' most defining record to date, and it deserves every shred of praise it gets.
Thank you for reading,
Booth Boy
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