Album review: FOOTPRINTS IN CUSTARD – The Descent of Decency

FOOTPRINTS IN CUSTARD - The Descent of Decency

Footprints In Custard. Let that wash over you as a you come to terms with the fact that this is the name of a band. With such a peculiar name, I had to check out the music contained on the album ‘The Descent of Decency’. I wasn’t sure what to anticipate, though I kind of expected it to be some sort of weird progressive stuff. Little did I know that despite the bizarre name, the music would be fairly straight forward…in a manner of speaking.

Opening track “Year of the Weasel” opens with this plodding drum and guitar riff that builds very dramatically. Instantly I knew that whatever prog leanings it would have was going to be secondary. Tossing in a bit of symphonic choral work, the riff an track build further. Once the vocals kick in and especially once the chorus is reached, it takes on more of a punk feel, though the metal is still very prominent. And this fairly well sums up where this album takes you.

The predominant sound is very much a heavier edged traditional metal (with some instances of heading to a more current metal sound and elements of black metal from time to time,) think Amon Amarth meets Primal Fear. Yet, there is a very punk feel to the vocals and the melody of the chorus’, in that they often have this bouncy sing-along groove to it. Tracks like “Making the Eight,” “Party Metal,” and “The Descent of Decency” are perfect examples of this, then there is their cheeky sense of humor with songs like “Thundercunt,” “The Fappening,” and the irreverent “Hanging With David Carridine.”

I’m not entirely sure how many times I will return to this album in the years to come. It’s entertaining, fast paced, and very catchy, but nothing that truly grabs me by the jugular demanding multiple plays. It is a pretty interesting album, Footprints In Custard’s ‘The Descent of Decency’ is a great blend of metal, punk, and a unique sense of humor. Don’t let the name fool you: it’s not what you would expect.  ***

Review by Chris Martin

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