Simply as a result of Deafheaven blowing up so quickly, Bosse-de-Nage have enjoyed (or not) the good (or bad) association with the shoegaze black metal outfit (?) because the two did a well-received split in 2012. You know how these things work…once a band does something of substance with a band who has ascended to the next level, they’re forever linked together, and used as a sonic reference point. It’s not befitting here, of course. Bosse-de-Nage probably have more depth than Deafheaven anyway, which will hopefully come to the fore based upon All Fours, the band’s fourth LP, and first for the respected Profound Lore.
Certifiably not a black metal band or release, Bosse-de-Nage’s grip on the extreme, whether its noise or post-based blends seamlessly with their caustic riff ideas, which yes, are borderline BM. Nevertheless, the reckless, unfettered nature of opener “At Night” is one of the most brazen things the band have done to date, with vocalist Bryan Manning hurling his ugly, feral voice across the track, while boiling blasts and wry chord combinations get down. The album’s real catch would be “A Subtle Change,” a number that buzzes with almost a punk/Killing Joke abandon, where upon a wide, but melodic chord structure takes hold. Elsewhere, more unrefined ideas are brought into the mix: “In a Yard Somewhere” is anchored in a solid mid-tempo with Scandinavian-styled riff action, while closer “The Most Modern Staircase” (love the title) features the convergence of delicate post-rock guitars, and utter extremity in a nine-minute package.
A purposeful statement of an album, All Fours should shine a definitive light on Bosse-de-Nage, who remain one of the Bay Area’s most intriguing extreme metal bands. It’s an all-encompassing jam, right from Manning’s lyrics (which were included with the digital promo and are quite fun to read), to the topsy-turvy, never-settled nature of the running order. Here’s to Bosse-de-Nage becoming their own band, which they’ve been the entire time anyway…