ALBUM REVIEW: Nightmare Tripping by Don Broco
Nightmare Tripping, Don Broco’s fifth released today (March 27th)
Don Broco have FINALLY released their fifth album, Nightmare Tripping. The evolution from Priorities (2012,) to Automatic (2015), to Technology (2018) and Amazing Things (2021) has been a hell of a ride for the listeners, watching this four-piece work out and solidify their iconic sound.
I already enjoyed Don Broco, being a fan of tracks like What You Do to Me, Everybody and Fingernails, but THEN I saw them play at Download Festival last year, and it converted me into a fully-fledged supporter. The pure energy from them all, chaotic yet still controlled, was infectious to say the least. But this isn’t a review about Download, it’s about the new album!
We open with Cellophane, which is already mosh-pit bait. With Matrix references “I just pulled a sickie, woke up in the Matrix” and plentiful chugs, it’s making me want to two-step with aggression (well attempt to anyway). As well as that, I cannot get “Have you got the mini rolls?” out of my head, thank you internet memes.
Diving further into the album, they’ve kept their signature electronic elements, but they’ve dived into heavier and darker waters. This album is LOUD, harsh and potent. Somersaults (track 3) has elements that remind me of artists like MISSIO and grandson, with slow and low vocal lines in an almost spoken sentiment.
BLOODY CHAD KEOEGER! The title track of this album is un-touchable. It’s already in my opinion one of the best tracks of the year. This song has everything you could possibly need; the frenzied screams of Rob Damiani, a punchy instrumental with four-part harmonies woven in, an almost classic-rock sounding chorus, with Chad crooning over it. A middle section which amplifies the need to circle pit for the next few years. A guitar solo and song crescendo which sound like they belong in a movie soundtrack. What else is there to possibly squeeze into 5 minutes?
We now slip into Ghosts In The Night (track 5) , which gives us a chance to breathe after the title track. It gives me 2000’s “coming back to your hometown vibe”, ethereal, nostalgic and somewhat eerie. Rob Damiani giving his oulook on the track; “Ghost In The Night is about the idea that time is not linear, the understanding that our perception of time is necessarily not what it is.” No wonder you can sit and put this one song on, soak it in and feel reflective.
Alright, we’re done with the break now. Into track 6, and boy it’s fire filled, True Believers featuring Sam Carter from Architects.
There’s an introduction of falsetto vocals, a spanish-like acoustic guitar, followed by a very quick build.
“WAKE THE F*CK UP” before slamming down into a hard-hitting behemoth of a track. This is a song that is not letting you rest, even for a second. Sam’s involvement only sweetens the deal, hearing his layered high and low screams, and the inescapably dirty BLEGH.
“It’s about the urge for people to not believe everything that they’re seeing on the news and what they’re told, and to question everything”, Rob said about this track, and it makes perfect sense in today’s world. The song feels anthemic, like a revolution.
Swimming Pools is an interesting track, filled with different textures and elements. One of their more experimental songs, with distorted vocals and multi-lingual lyrics.
Hype Man is well titled, it’s driving, thriving on rap-like verses and mountainous hooks. The lyrical dissonance in this goes hard, too. The music is stomping, gets you up and moving, but the lyrics aren’t as happy and “hyped” as you might expect. The first part of the chorus reads “Right before my eyes/My life is flashing right before my eyes/'Cause I've been enraptured/In love with a sadness that I can't shut out/I can't shut out”. It’s a reminder that everyone has ups and downs, and that everyone at some point or another will need a helping hand.
This album is truly an experience. They’ve dug deep and pulled out an absolute monster from the abyss. They’ve made their mark and their sound is stronger and more cohesive than ever. The ambition is undeniable and the payoff is immeasurable. We have “tripped” and fallen on a gemstone in the alternative metal community, and we cannot wait to see more of this album live in November!
Review by Neve Saltmarsh