Final Coil – ‘The World We Inherited’

Back, with a brand-new album, line-up and label, prog-meisters, Final Coil bring you the finale, in the trilogy of albums, ‘The World We Inherited’.

Featuring Russ Russell, of Dimmu Borger/Napalm Death fame, ‘TWWI’ is out now, on Sliptrick Records.

Following ‘Persistence Of Memory’ and ‘The World We Left Behind For Others’, ‘TWWI’ is as much a powerful socio-environmental, political statement as its predecessors.

Driven by the ever insightful mind of front man, Phil Stiles, ‘TWWI’ shouts its message, loud and clear.

Influenced equally, by the literary work of visionary, George Orwell and an in-depth discussion with Killing Joke’s Jaz Coleman, ‘TWWI’ moves the focus on, from the past, as conveyed in ‘POM’ and the present, charted in ‘TWWLBFO’, to the future, how the past and present have bled into it and the final, likely outcomes; all comprehensible, through the pure fluid, bleed-through of FC’s sounds.

Recorded, produced and engineered, at Parlour Studios, by Russ Russell (Amorphis, The Wildhearts, Napalm Death and more), featuring cover art, by the highly skilled and prolific Andy Pilkington (Mordred, Flotsam & Jetsam, Rock Goddess…).

Represented by Imperative PR.

Final Coil is: Phil Stiles – lead vocals, rhythm and lead guitar, synths and programming. Richard Awdry – lead and rhythm guitar, vocals and programming. Jola Stiles – bass. Drums on ‘TWWI’ – Barry French.

The World We Inherited – A gradual sweeping vortex intro, leading into a piano section and a well matched ominous riff scale. Incorporating reverb, at just the right point. Similarly sinister lyrics. Exploding, into life, just past the bridge. Full-scale raging emotion continues, till the end, just cutting off the ending, a tad too soon, but perhaps that’s symbolic. A very fluid track; typically F.C.-esque.

Wires – A punchier, bouncier drum emphasis opens. Convincingly vocalised lyrics. Lots of sonics. Good fret-bending. A considered retreating section, towards the bridge, but the drums come forward, in a focused style, transporting you, to a jungle outback type atmosphere. The protest theme echoes well, with a ritualistic riff section; hypnotically performed.

Chemtrails – Crashing onto the scene, with a full flow metal refrain. Dark, light and creepy, featuring multi-layered, imaginative imagery. An effective compressed sound, interacting with the vocal echo. Some shriller tones, in the latter section. A collective emphasis moves it on, to the finale.

By Starlight – A foreign language voice-over opens, into a quiescent melody, with a floating form. Choral type vocals chant, in a sinister, yet somehow, comforting tone. Lots of flow to this, with the classic F.C.-esque fluidity and bleed-through. Powerful, prog-styled riffs, touching most, at the points of release. A gradual emergence of light infuses this. Riffs growing sharper and shriller, with melody ringing from them. Swimming back into subtle quiescence, at the end.

The Growing Shadows – A starker, deeper keyboard intro, with some lighter tones and a strong sense of lurking threat. Adopting that choral vocal style, again; now, with a ritual, warrior angle. The echo’s as well-placed as ever. A building lyrical message gives food for thought. A continued focus on inner and intrapersonal chaos takes it to the end. Just cutting it off slightly too soon, again.

Stay With Me – Intro’ing on a reverb keyboard section, featuring a similarly sinister tone. A slight 80’s pop thread within it; enhanced, by the synths. Distant, isolated vocals create a sense of drowning, at sea. Just a very solitary vibe. Fading out, in the same vein.

Purify – A brighter melody opens, onto the light). Still sustaining the contemplative theme. Building blocks of drum hits and returning to a darker stance. Gaining heavier emphasis, while alternating light and dark sections. Fading, to a war-like march and again, ending just a touch too soon.

Out Of Sorts – Heavy footfall-type beats intro. Evocative clearings appear, with the ominous sense of lurking menace ever present. As before, the notable riff release adds more palpability. Building volume and greater tension. Yielding, to softer sections, while sustaining that riff fluidity. Closing on an unanswered phone ring tone.

Humanity – A cleverly fused opening, featuring a voice, answering a phone, but unable to connect and strong, battle-esque drum hits. Moving into a powerful vocal and war-like atmosphere. The energy and conviction’s clear and palpable. Continuing, in as fluid a way as before, while strengthening the vocal and instrumental emphasis, continuously. Fading, on a clear atmosphere of emergency and plucky riffs, moving into the distance, as the sirens scream.

End Of History – Following up, neatly, with a broadcast, conveying the present and future catastrophe, affecting and awaiting the Earth. Typically F.C.-esque vocals, with plenty melody and a strong contemplative thread. The melodic level stays steady, throughout; the lyrical theme, meeting it, there. Returning to the vocal broadcast, before a poignant piano section closes.

Overall – Largely retaining the familiar F.C. signatures, while shortening the tracks, slightly and conveying similar, but slightly different messages, ‘TWWI’ is melodically consistent, showcasing the unfolding global events described within it. As well produced and performed as ever, the only real glitch is the marginally early cut-offs, ending some tracks, but otherwise, ‘TWWI’ brings a haunting new sound and atmosphere, making effective use of effects, to do so. The prog stylistics assist in this and though it may sound maudlin, in places, it’s still as evocative, considered and profound as we’ve come to expect, from F.C. A well crafted finale, to the trilogy. 

9/10 *********

For fans of Pink Floyd, Hookahthefuzz, Mike Oldfield’s ‘Tubular Bells’, Porcupine Tree, Coheed and Cambria, Aythis, Forever Autumn, Ember Sea.