French Progressive Metalcore band NOVELISTS are no strangers to adversity. Formed in 2013, the had a stable line-up with an impressive vocalist named Matteo Gelsomino, who was as good as his cleans as he was his harsh vocals. Although the guitarwork carried much of their early sound, it was Matteo’s vocals that fit so perfectly with the band. He departed in 2020, and they hired Tobias Rische of the band ALAZKA, and released an album. Some longtime fans found that Tobias may not have been the best replacement vocalist, nor their swing into Alternative music, and he departed shortly thereafter. Camille Contreras took over as the front woman, and now they return with their newest offering, titled “Coda.”

The album has ten songs and “Say my Name” is first, and from the first new chords, this is the NOVELISTS I remember fondly. Camille’s vocals work very well with their melodic sound, and they deliver feel good, positive melodies and a catchy chorus. The title track is the first official video from the album, and here, the band explores more of their heavy, Djent side. Camille’s harsh vocals have an aggressive bite to them, but it’s her cleans that attract me more. “All for Nothing” is more emotional and introspective. As much as the band bleeds through gentler passages, their hand remains firm through more brutal ones, and those melodic leads prove the two guitars of Florestan and Pierre are as strong as ever.

“Maldicion De La Bruja” has cadenced vocals sung in native French, and the sounds explores more of the band’s Metalcore side. So far, they are uncovering all inches of their arsenal. “In Heaven” harkens back to the sound I fell in love with from the band…smooth vocals, gentle moments, and big, punchy melodies. The guitar rhythms are they key here…they chug away heavily underneath the multicolored clouds above them. “Adam and Eve” swings back to heavy, crushing moments that are just as melodic as they are brutal. The vocals move slowly at first, and then lash out in anger. The drop tuning on the guitar is ridiculous, as are the glittering lead breaks. “Sleepless Nights” is another gorgeous offering, and the band hasn’t forgotten about their roots. It has a very heavy bottom end, but the melody lifts the song into the heavens.

“78 rue” is another very pretty song. It’s a hard line to walk…making music as pretty as this, as well as a side that bites hard enough to sever bones…and that’s what this band does. “CRC” is the latter side of this dichotomy…a song of pure hatred and aggression that is not without melody, but’s it’s the curled first that strikes hardest. Some Djent tones mix in here to keep the song as hardened as possible. “K.O.” is the final song, and oddly enough, that’s how I feel about the album…knocked absolutely flat. It pushes an emotionally rich sound with haunting vocals and intricate guitar work, all in the name of the refrain.

What unfolds over the course of this record is a compelling balancing act between sonic brutality and melodic triumph, a hardened shell cracked open repeatedly by moments of sweeping beauty and unforgettable hooks. What makes this record so powerful is its commitment to memorable moments. Even amidst weighted beats, harsh vocals, and jagged guitars, it’s the melodies—those carved-out, sky-reaching moments of clarity—that give the album its staying power. And they’re not just good. They’re colossal.