Expansive and doomy with big grunge vibes, POST DEATH SOUNDTRACK’s “Veil Lifter” transports the listener to the edge of instability and uncertainty. It carries in its 11 tracks notes of  Southern doom, stoner, and sludge, but the strongest flavor is definitely that of ALICE IN CHAINS. From the twenty-eight second chaos of the intro track to the closing note of “Hammer Come Down,” it’s musically solid, groovy, and dark. The musicianship of all involved is top-shelf and the band has successfully created songs that are simultaneously technical and memorable.

“At the Edge of It All (Intro)” is, as mentioned, short, chaotic, and sweet, and leads into a BEATLES reference that opens “The Die is Cast.” The riffs on this one are stonery and groovy, with a switch to a gentler, cleaner, altogether more ominous sound at around three minutes that serenades us out. “Killer of the Doubt” is altogether more epic, with even grungier vibes and a cool descending riff, before switching briefly into a mentally unstable dirge. “Icy Underground” is notable for its big bass sound, slow-burn pacing, and hypnotic vocals, while, once past the intro, “Arjuna’s Hunting Hand” is groovy, catchy, and, dare I say, fun; it’s probably my personal pick for favorite song on the album. The lyrical scheme of “I am…” is simple but effective and I’m a sucker for that kind of thing. The track fades into the self-loathing and rage of “Lowdown Animal,” which features more of that bassy goodness with a mix of gravelly vocals and clean harmonies. 

“Tide Turns Red” is destabilizing and psychotic, musically, lyrically, and vocally, and “Burrowing Down the Spine” is where those aforementioned ALICE IN CHAINS vibes really shine through. “Pin Prick,” on the other hand, features very MASTODON-like riffs and is by far the most outwardly angry track on the album. The vocals are shouted and the drums are having the absolute hell beat out of them. The haunting and mystical “Immovable” really pays tribute to WINDHAND; the vocals would make DORTHIA COTTRELL proud.  Finally we have reached “Hammer Come Down,” which features some very cool drum work from Casey Lewis. It ends in a repeated chorus before putting a sudden, violent stop to the experience. Mystic and mental, “Veil Lifter” is a trip that will stick with me for a long time. It’s very musically good on all fronts, but I have to say I am especially fond of the bass work by Jon Ireson. The vocals are also just about untouchable. Altogether if you have an appreciation for grunge, doom, or any combination of the two, I can’t suggest this album, or this band, enough.