One of the words most ruined by the internet is “epic,” which went from describing massive works of art like Beowulf to GIFs of people falling off their skateboards. In music, the word is similarly misused, attached to bands who offer bombast but don’t actually provide substance while they pummel their listeners with noise that ultimately becomes meaningless.
Salt Lake City’s SubRosa distinguish themselves by being legitimately epic. Their songs resemble those ancient tales that the word once described, with weighty, allegorical stories, eerie landscapes, and powerful climaxes. Their latest album, For This We Fought the Battle of Ages, continues to establish them as one of the most original and compelling bands in rock music today — a group that can sound as huge as anyone, but also isn’t afraid to be quiet when the time calls for it.
It’s easy to focus on the massiveness of SubRosa, who can create an avalanche of sound with layers of doomy guitars and their trademark pair of otherworldly electric violins, a combination that makes them sound like no one else. With songs that stretch past the 10 minute mark (with a couple going for 15), they work on a scale that few bands can equal. But what most impresses me about them on this album is their commitment to the littler things: the melodies and harmonies, and the quieter portions that help make their larger sound more impactful.
The opening track, “Despair is a Siren,” starts with one of these quiet folk-influenced parts, and it’s the most overtly pretty portion of music the band has created yet. Like most Subrosa songs, it has distinct loud and quiet sections (almost like there are two different bands playing), and the way both styles are accentuated by the other shows how powerful a simple use of dynamics can be. When the band does go into metal mode after a couple minutes of softness, it feels earned, because they took the time to build to that crescendo and made it matter. The band makes these shifts feel organic in large part due to Rebecca Vernon, who sings convincingly in a full range of styles, from roaring and growling to practically a lullaby, sometimes in the span of a single song.
Vernon’s voice is part of the band’s primary contrast, which is the feminine vocals from her and the two violin players, Rebecca Pendleton and Kim Pack, with the band’s crushing guitars. Their presence is how the band subverts traditional metal, a genre often defined by its masculinity, and infuses it with emotion and beauty instead of being a one-dimensional blast of noise. At times, the band feels like a progression from shoegaze groups like My Bloody Valentine, who combined more indie rock influenced guitar noise with lighter vocals to make music that was simultaneously chaotic and beautiful.
Over the last few years, SubRosa have refined their sound, emphasizing these contrasts in their music, and For This We Fought the Battle of Ages sees them pushing themselves to new highs and new lows. It’s their most towering, monumental achievement yet — as well as their most intimate — and it’s one of the best rock albums of 2016.