156/Silence

People Watching (2024)

Sam Houlden

Pittsburgh obviously has a very prominent voice in the world of modern heavy music, and especially hardcore. With the likes of Code Orange, Eternal Sleep, Pain Clinic and more besides adding to the vibrant wider music scene that includes big dollops of jazz, hip-hop and more besides. So it’s hardly surprising that 156/Silence, also hailing from Pittsburgh, have long displayed ambitions to extend their musical oeuvre, beyond that even of the more chaotic and electronics-infused version of metallic hardcore that one might argue represents their ‘signature sound’. Given this is their fourth full-length in less than a decade, this evolution is also less of a left-turn and more simply development by degrees. But here’s the rub: I loved the last 156/Silence record. I really liked the one before that. So are they going to be able to excel in their new form? What does this new iteration sound and feel like? Am I going to be able to maintain a vaguely professional journalistic outlook?

So straight out of the gate, let me give you a steer. The latest incarnation of 156/Silence is one that makes sense when you listen to it and remind yourself that they’ve toured with the likes of Unearth, D.R.U.G.S. and a bunch of deathcore bands too. They don’t ever reach into the world of deathcore on this record (mercifully), but they are very clearly leaning into the more palatable and melodic world of modern metalcore. I’ve spoken about it a lot in the last few years, but I’ll say this again. There isn’t much for me to love about modern metalcore. It tends to lack the authenticity of hardcore, the joie de vivre of full-blooded metal and sounds absolutely fuck all like Converge or Earth Crisis. Hence ‘modern metalcore’ being a tag I deploy not necessarily with derision, but when I do feel it fits the material in question, it’s probably not the best sign. And such is the case, on occasion, here. I still think 156/Silence are a great band and have some superb material, but there is a sense of being affected by outside influences here and it really pains me to say that. The writing process of the band is, as I understand it, primarily in two parts; lyrically, vocalist Jack Murray is responsible. Whereas musically, guitarist Jimmy Howell is the driving force. And I feel like the two may be drifting somewhat in preferred styles or influences.

Vocally, the record is far more diverse than any release to this point, but that is at least in part down to several guest spots. Craig Owens from the aforementioned D.R.U.G.S, Carson Pace from Callous Daoboys and Trae Roberts of Mouth For War all play their parts well, it has to be said. And Jack Murray, for the most part is reliably excellent, too. Both his undulating, unhinged yelp and his occasional unsettling, detached, quasi-spoken word work excellently at conjuring or indeed enhancing the ambience that the band are aiming for. Lyrically, there is intrigue and depth on show intermittently and the rhythm section are capable of both truly ominous musical bedrocks and unexpected, rumbling compositions as much as they are the more ‘stock-in-trade’ business expected of a metalcore band. No problems so far.

And yes, I know it sounds like I’m basically singling out a member at this point, but it’s not as simple as that. This is also not a criticism of ability (which it’s clear Jimmy Howell and Jack Murray have in spades), only of style. Or maybe execution. What it boils down to is that what was a punchy, visceral, but unrefined collection of songs on 2020’s Irrational Pull, delivered in 10 songs and 32 minutes, grew to something more nuanced, malevolent and fully-formed in 2022’s Narrative. That record achieved impressive heights in terms of heaviness and emotional weight for a band who could play alongside some of the more cookie-cutter bands in the heavy world (I’m not talking about anyone in particular there, before you come for me). And now, when I listen to 2024’s effort, from what the press notes describe as “the new era of 156” I simply cannot help but feel a little disappointed. This has a lot to do with the incredibly high esteem I hold this band in (Narrative was No.6 in my Top 20 of 2022) and probably less to do with the objective quality of what they’ve turned their hands to.

There are plenty of moments, songs even, where 156/Silence are still the band I want them to be, but there are also many points where they’re something that I find simply too compromised, too anodyne, to live up to the expectations I have of them. Time and time again, I keep coming back to the conclusion that this is probably a me problem. But when I think about the issues (as I perceive them), I don’t think I’m going to be the only one who thinks they have resulted in a dip in the record’s quality. And I take absolutely no pleasure in saying that.