After much waiting around, many studio updates, and quite a few singles released, Periphery’s new double album, Juggernaut: Alpha and Omega, have been released for streaming! It’s no surprise that the album would be available for streaming early, as it’s a bit of a common trend for artists nowadays. It seems like a good way to prevent leaks from having too much of an effect on releases, generate hype for the CD release, while still being able to monetize the album to some degree. Not only that, but at the rate that the band was releasing songs, they practically had to release the full album.
Here’s the playlist for Juggernaut: Alpha:
And here’s the playlist for Juggernaut: Omega:
Both albums are pretty phenomenal, and cover a wide range of different songwriting styles. Juggernaut: Alpha, planned to be the lighter of the two, ends up having some pretty heavy tracks on it. Songs like MK Ultra, Rainbow Gravity, and Four Lights break up some of the lighter tracks on the album, like a battering ram busting a hole in a wall. There’s also a lot of variety in songwriting and effects going on with the album as well. Some tracks like Psychosphere and The Event incorporating some shoegaze style reverb on guitar, with the latter even letting a really grimy bass take the focus. The Event and Four Lights especially seem to serve as a sort of instrumental interlude to bring out the emotion of the story and set the mood a little better. There’s also Four Lights that is a return to that djenty groove that everyone loves. All around, the album can feel a bit schizophrenic at times, but it doesn’t take away from the piece as a whole.
As heavy as Alpha can be, however, Omega blows it out of the water. Where Alpha was a lighter album all around with a few heavy tracks wedged in, Omega is very heavy with a few lighter songs sprinkled in between. Really, the only light track on Omega is Priestess, which distinguishes itself as the lightest song of the album, with acoustic guitars being the forefront. The same for Hell Below, where you see the same melodic acoustic parts come in. The title track on Omega really shines, though, as it is essentially a showcase of the style that the band was working for with the album. It’s led in through a piano piece at the end of Hell Below, features a lot of different effects and styles that were used on both albums, and happens to be the longest song on the album at almost 12 minutes. It’s got blast beat parts, reverb-heavy instrumental guitar sections, almost randomly switches styles at around the 9 minute mark, and showcases a bunch of Spencer Sotelo’s vocal styles.
Overall, they’re two very strong albums, and definitely worth a listen.