[CD Review] SUPERHEIST – Ghost of the Social Dead


When bands go on lengthy hiatuses, then come back with a new album and tour, we the fans often find ourselves asking ‘is it worth it?’ In the case of Melbourne nu-metal legends Superheist, the answer is a resounding ‘abso-bloody-lutely’.

Well over a decade after Superheist called time on their career the first time around, they return with Ghosts of the Social Dead, and they have hit a true sweet spot with it: in some ways it’s like they never went away. This is very much a Superheist record, most of the trappings and idiosyncrasies that made them who they were the first time round are there in droves. The massive, fat, bouncy grooves, the scatty verses leading into soaring choruses (in fact the choruses soar to even greater heights this time), juxtaposed with the street-sussy swagger and attitude, all roar back in no uncertain terms on this record.

At the same time, the injection of some new talent into the frame has shaken things up rather nicely, and brought their sound and style into the new era. New drummer Benny Clark slams the groove down like a ten ton hammer, and former Mammal and The Nerve, and current Full Scale and Over-Reactor frontman Ezekiel Ox was an inspired choice to take over the reins from former vocalists Roderick ‘Berger’ McLeod and Joey Biro, being a highly skilled rapper, rock vocalist and live performer.

There are some ripping Superheist tracks on offer here, particularly the propulsive, uplifting and ultr-catchy ‘Fearing Nothing’, which is undoubtedly one of the songs of the year. The stomping, blistering but infectious opener ‘Wolves in Your Headspace’ signals the rollicking intentions of the album beautifully. ‘Flick the Switch’ is like a nu-metal freight train, but with a sweet, tasteful piano-driven dynamic part in the middle.

The album becomes just a touch uneven in its final third, but overall this album is absolutely killer, and is well worth a small investment of your time and money.

The old magic is back, baby!

Reviewer : Rod Whitfield

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