Nothing beats the feeling of something unexpected dropping into your lap and completely surprising you. It's like a hidden treasure just waiting to be discovered, and today, that treasure is The Long Goodbye, the latest album from the band Grazer. This album is a sonic journey unlike anything you might expect, with an incredibly diverse range of sounds and genres that blend together in unexpected ways.

The music on The Long Goodbye is a fascinating and unpredictable soundscape that moves effortlessly through different genres, from shoegaze to death metal, black metal, and even moments of metalcore. Take the track “Mara,” for example, with its lush, atmospheric shoegaze tones, or the brutal, heavy riffage of “Try” that channels death metal and metalcore influences. Tracks like “The Expanse” and “Dying Son” lean into black metal territory, while others weave these styles together in ways that are as surprising as they are captivating. It’s clear that Grazer is not afraid to experiment and push boundaries.

Visually, the album’s cover—a simple, almost minimalistic design featuring a fly on a soft pink background—might lead you to expect something more delicate or ethereal. But as the saying goes, never judge a book by its cover. What lies beneath that deceptively serene exterior is a collection of experimental, genre-bending tracks that each stand on their own while still contributing to the overall experience of the album.

There isn’t a clear narrative running through The Long Goodbye. Instead, each song feels like a self-contained entity, yet the album flows surprisingly well, creating an immersive listening experience. One of the album’s most impressive features is how seamlessly the different elements—bass, drums, guitars, and vocals—blend together. The rhythm section, particularly the drums, stands out for its variety and range, moving from hollow, eerie snare hits on “The Expanse” to intense blast beats that would hold their own against any black metal band, as heard on “Never Got to Say...”

The drums are a real highlight throughout the album. They come in with huge, punishing force, yet can also pull back for more subtle, eerie moments. The gradual buildup in “Try,” where the drums shift from deep, hollow taps to a crushing intensity, is a perfect example of how the percussion helps set the tone and atmosphere. The double kick pedals on tracks like “The Long Goodbye” give the music a heavy, driving force, propelling the listener through the various twists and turns of the album.

The guitar riffs throughout The Long Goodbye have a gritty, weighty feel to them, often drenched in distortion and reverb to create unsettling, atmospheric layers. In songs like “Mara” and “Acedia,” the guitars build a thick wall of sound that envelops you. There are moments, especially on “Dying Son,” where the guitars take on a more grunge-like character, wailing and high-pitched, giving off a raw, 90s vibe. In contrast, “Milk & Honey” takes a turn into slightly more abrasive territory, with high-pitched ringing that can initially be off-putting but eventually clears up toward the end of the track.

The bass on this album is dirty and heavy, providing a solid backbone that never feels buried beneath the layers of sound. Whether it’s the plucky, crisp tones in “Acedia” or the thick, saturated low end on “Try,” the bass is always present, adding both depth and texture. It’s a rare thing for a record to make bass such an integral and noticeable element, but Grazer pulls it off beautifully here.

Vocally, The Long Goodbye is just as unpredictable. The band’s vocalist moves seamlessly between soft, shoegazy indie vocals (as heard on “Mara” and “Acedia”) and raw, hellish black metal screams (on tracks like “Dying Son”). The contrasts between these two vocal styles are jarring but effective, creating a sense of unease and tension throughout the album. However, there are moments, especially on “The Expanse” and “Dying Son,” where the shoegazy vocals feel buried in the mix, losing some of their clarity. While this choice undoubtedly adds to the haunting, ethereal quality of the songs, a bit more vocal clarity would have enhanced their impact.

The production on The Long Goodbye is also impressive, especially considering that Grazer is still a relatively new band. They’ve managed to capture a broad range of styles and sounds while maintaining a cohesive overall experience. The pacing of the album is particularly well executed, with longer tracks like “The Long Goodbye” and “The Expanse” balanced by shorter interludes such as “Never Got to Say…” This track, with its ambient atmosphere, soft drums, and drawn-out bass, serves as a perfect breather in the midst of all the intensity, allowing the album to breathe and giving the listener a moment of respite before diving back into the chaos.

The flow between tracks is nearly flawless. For instance, the transition in “The Long Goodbye” from the more ambient sections back into the black metal intensity feels effortless, a testament to the band’s skill in maintaining a sense of continuity throughout. This sense of flow is one of the album’s strongest features, and it keeps you engaged from start to finish.

In the end, The Long Goodbye is an album that caught me completely off guard. It’s a unique blend of different genres and styles that shouldn’t work as well as they do, but Grazer makes it feel effortless. This is the kind of album you didn’t know you needed, but once it’s in your life, it’s impossible to forget. I didn’t expect an album like this to come my way this year, but I’m so glad it did. The Long Goodbye is a testament to Grazer’s potential and their ability to create something both unpredictable and deeply captivating.