A Dissonant Barrage of Rage That Sometimes Misses the Mark

Stray From The Path have long walked the tightrope between hardcore chaos and political fury, and on Kubrick Stare, they once again deliver a furious collection of tracks aimed at systems of power, societal rot, and personal frustration. This record keeps with the band’s trademark sound—dissonant riffs, pounding drums, snarling vocals—but experiments slightly with structure, tone, and even genre flourishes. The result is a mixed bag: at its best, Kubrick Stare feels like a well-aimed punch to the face. At its worst, it circles in its own fury without landing a clean hit.

From the opening title track, Kubrick Stare, the band’s identity is crystal clear—raw, raspy vocals riding over deeply dissonant, groove-heavy riffs and thick basslines. The production is solid, but not overly polished, which helps maintain that feral energy the band thrives on. Lyrically, it’s more of the band’s signature vitriol, skewering a broken system and painting a grim picture of the world around them.

That rage continues on “Fuck Them All to Hell,” a short burst of anger that works well thanks to its brevity. With rapid-fire drums and snarling breakdowns, the song makes a strong impact despite a predictable structure. Stray’s strength is their unrelenting tone, but it’s also where they sometimes falter. A few tracks—like “Shocker” and “Bodies in the Dark”—feel more like genre exercises than full-blown songs. They lean too heavily on dissonance and groove without much development, and the repetition begins to dull the edge.

Thankfully, the band isn’t afraid to get a little weird. “Can’t Help Myself” slows things down with a nu-metal vibe and freestyle drumming that adds an unexpected freshness. It’s the most unique cut on the album, featuring a raw, gritty riff and even brief clean/spoken vocals that break the monotony. Similarly, “Clockworked” introduces a guest verse that brings a wild, off-kilter energy, almost rap-adjacent, over top of brooding guitar work—proof the band can take risks and land them when they fully commit.

The back half of the album continues to fluctuate between inventive and expected. “Can I Have Your Autograph?” features a standout breakdown that uses pinch harmonics and dissonance in creative ways, while “You’re Not That Guy” injects a dose of humor with a nod to South Park amid aggressive riffing and political venom. The band’s commentary on American culture is sharp, if not always subtle.

Closing track “A Life in Four Chapters” should hit with emotional or sonic finality, but it instead lands in a chaotic, unfocused space. The track is heavy and loud, but feels less like a statement and more like a shrug. Stray From The Path has ended records stronger than this in the past, and the closer doesn’t quite deliver the catharsis it promises.

Vocally, the record is consistent—perhaps too much so. While the conviction in every scream is undeniable, the delivery rarely shifts, which makes certain songs blur together. The drums often carry the most dynamic weight, offering tight, punchy fills and bursts of energy that elevate even the weaker moments. The bass is thick and ever-present, providing the necessary backbone, but rarely takes the spotlight.

In the end, Kubrick Stare is a Stray From The Path album through and through: pissed off, pounding, and packed with riffs. It’s not their most daring or diverse work, but it shows flashes of evolution. When the band steps slightly outside their formula—dabbling in eerie synths, nu-metal grooves, or unexpected vocal shifts—they shine. There’s still plenty of fuel in their tank, but the fire could burn brighter if they loosened the reins just a bit more.