Where the hell did this come from? For Death, Glory and the End of the World came out of nowhere and hit me like a body tumbling down the stairs – a ragdoll flurry of fists and feet, and capped off with a neck-snapping headbutt. This roiling style of post-hardcore/sludge is frequently described as jagged or angular, but Switzerland’s Kruger have splintered and blunted the edges off so that they bludgeon and slash where other bands just pinwheel.  Sonically, imagine Mastodon if they hadn’t become quite so progressive post-Remission, crossed with the terse, mechanical sterility of labelmates Gojira.

Opening track “The Ox” charges out of the gate with a trampling attack – bruising, pummeling drums and bellows lashed to a discordant tangle of downtuned and tremolo riffs. Even with the shaggy, shambling approach, I was impressed right off the bat at how tight the songwriting and craftsmanship is. That continues through the Converge-like lurch of “Return of the Huns,” the deep, funneling groove and vocal detonations of “Anthem of Pretended Glory” or the sledgehammer-toting swagger of “Muscle.”

It’s also worth noting that while Kruger employs a smart, organic variance of flow and tempo throughout the album, the softer moments (of which there are only a few) aren’t as ethereal as those of similar bands. In fact, “Villains,” four tracks in, features the first real pensive interlude on the album, but even its chiming tones and airy space can’t calm the bristling, restless percussion.

Burst’s Lazarus Bird turned out to be their swan song, plus we lost Isis recently as well. Those are two big holes to fill in the genre, and although Kruger is a rougher, less tranquil version of that dynamic post-hardcore sound, they’re a much-welcome addition. Actually that’s not true, since this is their fourth release, so it seems I have some catching up to do. In any case, they’re also one of my favorite discoveries of the year, so expect an appearance on my year-end list.

[Visit the band's website]

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