[INTERNATIONAL REVIEW] Tallah – The Generation Of Danger

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ARTIST: Tallah
ALBUM: The Generation Of Danger
LABEL: Earache Records
RELEASE DATE: November 18, 2022

I must admit I had never heard of Tallah before and the fact that a quick Google search listed them as ‘Nu-Metal’ I was super keen to get this review. Well, I’m not entirely sure where that moniker comes from because, as I was soon to find out, this is nowhere near Nu-Metal – it’s an entirely different chaotic beast of disturbing mayhem.

Tallah emerged from Pennsylvania in 2018 and combining the percussive force of second-generation drummer Max Portnoy with the pure, war-torn fury of vocalist and YouTube sensation Justin Bonitz to create an ultra-modern revamp of 2000s Nu-Metal. I’d say they have succeeded in their quest to genre-bend a new description perhaps best described as Nu-NoiseCore. In other words, take the absolute filthiest early Slipknot riff, digitize that with some Code Orange and SIKTH, then brew that combo in some Dillinger Escape Plan, sprinkle a dash bit of Linkin Park roughness and I guess that’s the best way to try and paint a picture for someone who hasn’t heard them before. It is only once I had a firmer understanding of what this band is all about did it truly start to click with me, and now I can say that I dig it immensely.

‘The Generation Of Danger’ is Tallah’s second album (the first ‘Matriphagy’ is a harrowing concept album of brutally disturbing metal, was met with critical acclaim, with Slipknot’s Knotfest crowning it “one of the best metal releases of the year”) and has been hyped up by four singles so far – “Shaken (Not Stirred)”, “The Impressionist”,  “Telescope” and “For The Recognition” which have clocked up over 1.1 million Spotify streams and 340 million views on Youtube – the videos for which are just as dissident as the music. With 13 songs that revolve around an elaborate and horrific story dreamt up by the band, ‘The Generation Of Danger’ offers fans more than just an album of pioneering nu-core metal. While it will most certainly be lauded for Justin Bonitz’s acclaimed aptitude for embodying numerous characters and emotions in his outstanding vocal shape-shifting (certainly more dynamic than Will Ramos in my opinion) and ability to meld the ever-blossoming ingenuity of Tallah’s intrepid musicians, this album will reward those who delve deeper into the album and its supplementary content.

So, if it doesn’t grab you on the first listen, just give it a chance and let the madness envelope you.