From a sombre opening to a burst of sonic guitars, Edinburgh’s ‘The Zealot Journal’ guide you down the muddy pagan rivers of ‘God In heartbreak‘.
God In Hearbreak leads with deep bass guitar whose rhythmic structure leads the track in an ominous direction. The post-punk guitars provide a gentle aura with a classic 80’s tone that sounds heavy on the flange. It’s as if you mixed together Red House Painters with The Smashing Pumpkins.
The vocals layered on top add to the mood that is set by the bass guitars, but with this loud and wet sounding guitar it makes the vocals hard to pick up at times. The vocals do fit the mood well, I just wish they were turned up a notch to be more audible.
The song progresses into a guitar-focused outro as soloing notes soar above these low already established bass rhythm. It feels as though we’re rising from the heartbreak and jealousy that is taken from the song’s influence of personal connections with pagan Gods.
The energy and tone demonstrated by the guitars make it both a song in two parts and explores the possibilities of combing folk and post-punk influences. It’s a track that gives me both a historical visionary from its context and musically a step backwards into a dark 80’s scene that I thought would not return.