Anyone who knows me would know that my fascination with the weird, the experimental, and the avant-garde in death metal runs deep. I love death metal to surprise me every now and then, mixing things from other genres together in a matter that should not work, but somehow does. Thus, when I saw that Floating’s new album, Hesitating Lights, had some interesting influences embedded in their death metal, I had to know more – and turns out, it’s infectious!

One of the first things I noticed about opener “I Reached the Mew” is the goth club aesthetic. From the get-go, it sounds like a cross between 80s goth music and death metal, especially with the heavy use of synths and dance music tones. If this played in a club somewhere, I wouldn’t even think twice about it; it sounds like it belongs within the curator’s playlist, a strange mix that doesn’t work on paper, but works in its execution. It also provides a nice introduction to what Floating is doing: although they are, fundamentally, a death metal band, they are willing to experiment and provide new experiences that would not make sense outside of Hesitating Lights. Second track “Grave Dog” is where the more “traditional” metal rears its head: you get aggressive riffs, straightforward speed, and a punk feel that blends well with the dance tones.

I cannot emphasize enough just how much you want to dance along. I have often found myself tapping my foot or nodding my head along whenever a certain groove or sound comes on whenever I am out in public.

Now, based on personal experience, death metal at the avant-garde level always feels like a punishment on a first listen, especially when you are unfamiliar with what’s going on. Add some level of dissonance and most people are prone to not finishing the album on a first go. However, Floating does not care about convention or punishment, as tracks like “Cough Choir” and “Exit Bag Song” are still traditionally death metal while being fun as hell. The use of synths is also a nice touch, as instead of being seen as cold – when it is used in other places – it provides a sense of levity and warmth that you otherwise would not be accustomed to.

Of course, levity cannot persist all the time, which brings us to “Hesitating Lights/Harmless Fires,” where the first half sounds like blackened thrash. It’s punchy, it’s menacing, and it gives the album a nice break from the goth club scene Hesitating Lights has. This track reminds you that, underneath the veneer of a fun time in the shadows, this is still a death metal album and Floating is more than happy to show you that aspect of their music. For example, final track “The Waking” is more death metal-oriented, as while there are still some synths being used, the emphasis is on the cavernous feel the song provides. The music feels darker, off-kilter, and like it shouldn’t belong on what had otherwise been a fun listen. However, like “Hesitating Lights/Harmless Fires,” its punchiness and menacing nature is all part of what Floating has been building up to: a dissonant yet moving middle that is both dense and compelling. The switch from the dissonance to the dance tones and back to death metal is done incredibly well, losing no ground and no time, before ending completely. Floating clearly had one goal and they accomplished it: they came in, blasted, and then dipped after 35 minutes.

Hesitating Lights is an album that doesn’t overstay its welcome and it’s clearly such a fun time that you can’t help but return. Despite listening to it numerous times, it hasn’t lost its replay value. Once again, it’s too soon to start looking for contenders for Album of the Year, but this one will also be on that list.

— Hera

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Hesitating Lights will be available July 11 on Transcending Obscurity Records. For more information on Floating, visit their official Facebook and Instagram.