The Body’s newest album, The Crying Out Of Things, cements the duo’s position as unparalleled innovators in the world of experimental noise and heavy music. This eighth studio release showcases Chip King’s harrowing guitar and vocals alongside Lee Buford’s masterful blend of percussion and electronics, pushing their sound further into uncharted territory. Known for their relentless sonic experimentation, The Body brings forth an album that is both brutally oppressive and uniquely captivating.
Opening with “Last Things,” the album sets a tone of unsettling tension, starting with pounding drums and eerie, distorted vocals that rise into an explosive crescendo. This track reimagines their previous work with new clarity, layering 808s and distorted horns that create a chilling, almost surreal atmosphere. It’s a nod to their roots while showing a commitment to continuous reinvention.
“Removal” follows, merging heavy dub-influenced beats with vocal samples that evoke an ambient dread, showcasing Buford’s skill in crafting hypnotic electronic soundscapes.
The middle of the album reaches a peak with “A Premonition,” featuring syncopated rhythms and a menacing, hip-hop-inspired beat that highlights The Body’s seamless blending of genres. This track, along with “The Building,” underscores the duo’s penchant for mixing industrial noise with elements of R&B and hip-hop, a combination that propels the album’s dynamic momentum.
Tracks like “Careless and Worn” embody the overwhelming power The Body is known for. The incorporation of Dan Blacksburg’s horn sections cuts through the chaos, imbuing the track with a funeral march’s eerie solemnity. King’s signature banshee-like screams, drenched in distortion, pierce through walls of guitar noise, creating a sonic experience that’s both visceral and entrancing.
“Less Meaning” is an embodiment of chaos—its syncopated drums and fragmented guitar lines mimic the disorienting nature of catastrophe, resonating like moments of impact suspended in memory. The subtle integration of silence enhances the overall effect, pushing the listener to the edge of discomfort before plunging back into cacophony.
The Body’s ability to build eerie soundscapes that feel both claustrophobic and expansive is apparent throughout the album. The haunting interlude “The Citadel Unconquered” offers a brief respite, while the closer, “All Worries,” introduces Gregorian chant-like vocals that lend an ominous, religious weight to the album’s conclusion. This track, with its slow, plodding pace and minimal instrumentation, encapsulates the theme of existential despair that runs throughout the album, leaving the listener with a sense of foreboding. Scary as hell.
Despite moments that might feel familiar to longtime listeners, The Crying Out Of Things stands as a testament to The Body’s creativity and commitment to their experimental craft.
With its maximalist approach and careful integration of electronic elements, the album is both a celebration of their past work and a step forward, affirming their place as underground, still underrated pioneers in heavy music.
