When your introduction to a band is a live performance, it can sometimes be misleading regarding their studio sound. Such was my experience with Stasis, the second album from Belgian up-and-comers Hippotraktor. Funky name aside, Hippotraktor’s already bowled me over twice in live settings on two different festivals. What stuck the most from those shows, aside from the fact that they were fucking excellent, was the band’s progressive sludge side, an aggressive ripping and tearing shark to Mastodon’s bigger and blunter white whale. What escaped from my impressions, but became abundantly clear as soon as Stasis began, is the hefty helping of djent that stumps and stutters its way into the band’s core sound. Does Hippotraktor impress on record as well, or should it be a live-only act?
The more I listened to Stasis, the more my misinterpretation of Hippotraktor’s sound and genre baffled me. I know where I went wrong, however. At a live show, I don’t analyze these qualities like I do when holding a promo, thus it was easy to mistake the big, harsh roar that represents almost half the vocals as a sludge element, rather than a result of the band’s post-metal inclinations. No big surprise, as vocalist Stefan de Graef also sings for labelmates Psychonaut. How I didn’t pick up on the djent sooner, though, I’ll never know. Usually it’s a bit of a warning sign for me, you see. Djent is easy to overuse, which many bands do, often resulting in a homogenized mess of near-identical riffs. Thankfully, Hippotraktor stays on the right side of the line, using the post-metal buildups, good variety in vocals, and dynamic, progressive songwriting to keep Stasis an engaging entry in modern metal.
The Belgians are deft hands at writing a well-varied collection of songs. The front half contains more direct material, with the compact “Silver Tongue” hitting like a bag of mathematical bricks. But it’s the back half where the strongest tracks lie, particularly the back-to-back bangers of “The Indifferent Human Eye” and “Stasis.” The former starts off exceedingly gentle, but delivers its energy in sudden pulses, winding through quietude and grandeur towards a satisfying finale. The title track, on the other hand, simply bludgeons with a collection of thick and heavy riffs and demands your attention with a big refrain, its subtler sections rather more like breathing pauses.
The performances are strong across the board. De Graef has a great voice, warm yet commanding, and he harmonizes well with guitarist Sander Rom. The rhythm and lead guitar play off each other perfectly, such as the dreamy tones clanging off the staccato chords across “Renegade.” Though the drums aren’t flashy, they’re more than solid and add a few personal touches where they fit. My only issue with Stasis is a personal and rather nebulous one, that I must nevertheless address. Though I enjoy the album a great deal, it’s not engaging me on an emotional level. It’s intelligent, intricate music, performed by excellent musicians, but the pleasure thus derived remains rather platonic for me. Perhaps my context lets Hippotraktor down here; this is one of the best months of music in years, in my opinion, and the impressive live shows certainly raised my expectations.
Despite this personal reservation, Stasis is a gem of modern metal. Its intelligent blend of progressive songwriting, post-metal textures, and djent riffs is executed perfectly, and the production follows suit with a clear master and infallible mix. It doesn’t demand your attention constantly, but when you give it, it is rewarded with great transitions and sweet harmonies every single time. Hippotraktor is an absolute must for Psychonaut fans, but all except the most die-hard ‘old school or drool’ listeners should give Stasis a whirl. And if you have the chance to see them live, grab it with both hands.
Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Pelagic Records
Websites: hippotraktor.bandcamp.com | facebook.com/hippotraktorband
Releases Worldwide: June 7th, 2024
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