Attempting to break down the depth of Post Death Soundtrack’s latest endeavor was a tremendous challenge, simply because I have never heard anything like it.
With the Canadian rock trio’s most recent album, The Unlearning Curve, comes a wicked and dark arrangement full of melancholy and mesmerizing twists you won’t find anywhere else.
Although unique, the concept of the album is certainly set to appease a narrow demographic. Just a short listen of the record and it’s quite obvious it’s a set of work that will make the average Joe and Jane run to church each Sunday.
Just a few reasons as to why my mother would call The Unlearning Curve ‘devil music,’ …
Songs include: screams, backward tracks and chants with multi-layered voices.
And the album’s lyrics contain lines such as:
- “Train full of dead people”
- “Pulling the strings on your chosen savior”
- “Dance with the devil”
There also seems to be an unhealthy obsession with Alice In Wonderland with tracks such as “You Can’t Go Back” — containing the line “you fall down the rabbit hole” — and “Little Alice.”
So it’s easy to see why the psyche of The Unlearning Curve exactly isn’t for the average Joe. The record is grim, morbid and lacks a certain dynamic. But it also takes you on an unpredictable journey.
Jon Ireson’s bass and Colin Everall’s drums catch your attention on “You Can’t Go Back.” The track’s mesmerizing, industrial trip really does take you down a voyage that would be unfamiliar to just about any music lover.
I found admiration for the eclectic mix of layers and instrumentals in “Beauty Eyes I Adore.” The lyrics are far from transcendent but still provide depth in a song with a catchy synth that sounds straight out of Tron.
The latter half of the album may be the most compelling.
“Arrhythmia Dreaming” features some nifty factory hammer work with a side of R2-D2. “Through The Gates” — while yet another song I would never want to hear in my post-death — features hypnotizing piano work from Everall.
“Dance With The Devil” and “Transform In White Light” may be the album’s most marketable material. The first features a charming melody with horns emulating that of an 80s pop song. The latter has something of a Cars experimental vibe that ends on an encouraging note to “lay your weapons down.” Again, all of these layers are intriguing considering the ominous approach to the album.
The Unlearning Curve feels more like a project than a record; it’s a disturbing mix of genres and styles that most likely won’t be selling out Staples Center anytime soon. But it does have one thing going for it — it’s haunting.
All the marching beats, mysterious synths, screams and reverse tracks should have composers in the entertainment world seething with envy. The Unlearning Curve may seem like a confusing ocean of industrial, electronic rock to outliers, but is the perfect ambience for the next chilling narrative on the big screen.
The Unlearning Curve would make a great score for a Hollywood thriller. Just don’t expect it to get heavy radio play anytime soon.
Josh Helmuth is an editor for Crave and a longtime music lover whose first record was Eric Clapton. However, his first concert? That choice he will take to the grave.
Listen to The Unlearning Curve by Post Death Soundtrack here.
