Vein‘s errorzone is a well-tuned machine that only sounds like it’s constantly on the verge of breaking. The band has been honing each individual cog over the past five years with several EP releases and now they’ve unleashed their truly unique LP into the world. errorzone is stuffed with precise riffing, maddening dissonance, industrial samples, heavy effects, glitches, and plenty of thematic and compositional surprises that’ll blow you away every single time.
errorzone opens up with discordant guitar blasts and divebombs reminiscent of “43% Burnt,” breakbeat drum samples that give way to blastbeats, and eventually a meaty groove that demands an instant mosh pit. Welcome to “virus://vibrance.” The aforementioned groove breaks down to a halftime throwdown and a noisy buildup before an altered version comes back with Anthony DiDio screaming at the top of his lungs that he’s got a nuclear weapon. All this takes place within the first 50 seconds of the song, by the way. This is how errorzone goes – utterly chaotic with something new happening every few seconds. Though you’ll be hard-pressed to find an unfitting or flat out boring section of any song.
Vein never, ever stops introducing you to new aspects of their sound throughout errorzone. “old data in a dead machine” alternates between revving up the proverbial machine with midpaced slow headbang segments and even grinds the gears to a halt with swirling wah-heavy guitars and a crawling rhythm section. “anasthesia” is one minute of spoken word, blaring alarms, and funky bass and drum interplay matching the alarm’s tempo. “errorzone” is a maze of just-off-the-beat rhythms with an almost mid-2000s emo section that fades away into a noisey background before the closer “quitting infinity” lets you know that no, errorzone isn’t done. In fact, you’ve got three more minutes of getting the everloving piss beaten out of you. Hope you enjoyed the peacefulness of the title track because that’s all you’re getting.
The first six tracks of errorzone clock in at a total of 10 minutes while the final five total a collective 17. At first glance, it seems unorthodox to frontload an album with a handful of shorter tracks and then go long for the second half, but there’s a logic to it. The first six tracks play into each other as if they’re one long 10 minute song. “virus://vibrance” divebombs one last time and “old data in a dead machine” picks back up with the full band going insane. “rebirth protocol” crashes down on two final chords and after a millisecond of silence, “broken glass complexion” brings the violence back with a jerky new rhythm.
The latter half of errorzone retains that chaotic sound but tosses in a whole new batch of goodies. “doomtech” breaks out the vocoder for portions of the vocals and Alice In Chains-style harmonies buried in reverb for others. This is of course outside the death growls and screams Converge would be proud of. “untitled” is the lone short track on the second half at 59 seconds, and whose shoegaze guitars herald what’s to come later on “errorzone.” Though this time there’s much heavier groundwork to be laid. To get to that section, you’ll have to cross through “end eternal.” The song hits so hard and incoporates so much double bass that it ends with one final breakdown introduced by an automated phone call voice saying goodbye.
errorzone is the album that will put Vein on a lot more people’s radar. It’s an album that is unapologetically a band forging their own identity and straight up not caring if you like it or not. There’s no playing it safe on errorzone. Vein is either going all in and fleshing out a full idea no matter how insane and that philosophy pays off. It helps that accalimed producer and Fit For An Autopsy guitarist Will Putney mixed the album for Vein. Putney contrasts crushing sections that leave no sonic space unfilled to moments like the end of “errorzone” where it’s more atmosphere than anything else.
Now go blow out your speakers and try not to mosh too hard in your living room.
Buy errorzone here.