New Album Review up at La Habitacion 235

A great review up from our friends at La Habitación 235!

Read the original (in Spanish) here: http://www.lahabitacion235.com/musica/novedades/devil-to-pay-forever-never-or-whenever-2019.html

November 19, 2019 Ruben Herrera
(loosely translated from Spanish)

From the heart of Indianapolis, we enjoy on this Tuesday the good feeling for this American brand of heavy rock, the good guys of Devil To Pay and this “Forever, Never Or Whenever” that has been come down as the sixth installment, available from the reliable seal of Ripple Music since last November 8.
Veterans of your lineage, remember that Devil to Payh’s activity started from the beginning of the millennium (about 2002 if I remember correctly), little by little they have been making a name within the North American underground scene, and that beyond the 6 albums they contributed, their intrusions in festivals such as Stoner Hands Of Doom, until they reached the Doomed & Stoned fests, have made clear these four Indiana rockers have perfected their brand with the best combination of hard and dirty rock, with the heaviest riffs.
What are we going to fool ourselves for? “Forever, Never Or Whenever” is not a record that invents anything new, it is not a precursor called to mark an era, but it is a disc that fits perfectly in the discography, the type that gives the listener, focused on their brand, exactly what he wants. On this basis, it’s not that “Forever, Never Or Whenever” is the bands most experimental album, but the album carries a unique sound while staying on a pathway that they should never leave.
I stick to these words because if we enter into comparisons of the previous installment, “A Bend Through Space And Time”, the quartet is darker this time around. It is true that their style has always carried that characteristic heaviness in many formations of the genre, but the compositions are more gloomy than ever. The guitar lines offer that halo of darkness in the middle of a quite smoking environment, as if to capture it as one of the great attractions of “Forever, Never Or Whenever”.
With all this, we must not ignore the chemistry of its components by branching off into different rock vibes, but always with a flow of emotions and various changes of rhythm to fill more nuances of his new work, and there are always different firmaments for which to obtain different shades. From “Light Sentence” or “The Cautionary Tale Of Yen Sid” and their winks toward doom, to move to the other side of the album with its most recognized signatures and its best punch in cuts like “Anti-Gravity” (huge album closure) or “The Devil’s Barking Up Your Tree.” Extravagant structures orchestrated by the most characteristic riff. “Get On Down” for its part, heads to the toughest rock of Devil To Pay, while “The Pendulum” faces the final part of this new volume at its most suspenseful.
Let’s say diversification is the most notable peculiarity of “Forever, Never Or Whenever.” The North American Devil to Pay’s new album surprises both new and old students again and that is perhaps the magic formula of these tunes, without starting a rock revolution, is the one to be most successful of their many experiments, in diverse styles or winks to the many traces carried in the heavy sound. For the rest, the gravitational engine of Indianapolis continues to carry its thrust with a new impulse towards unknown directions and colonizing intentions. This may not be their best album but it is still a great continuation for a discography that offers a whole watercolor of colors. A disc for the most staunch follower of Devil To Pay.

Veterans of your lineage, remember that Devil to Payh’s activity started from the beginning of the millennium (about 2002 if I remember correctly), little by little they have been making a name within the North American underground scene, and that beyond the 6 albums they contributed, their intrusions in festivals such as Stoner Hands Of Doom, until they reached the Doomed & Stoned fests, have made clear these four Indiana rockers have perfected their brand with the best combination of hard and dirty rock, with the heaviest riffs.
What are we going to fool ourselves for? “Forever, Never Or Whenever” is not a record that invents anything new, it is not a precursor called to mark an era, but it is a disc that fits perfectly in the discography, the type that gives the listener, focused on their brand, exactly what he wants. On this basis, it’s not that “Forever, Never Or Whenever” is the bands most experimental album, but the album carries a unique sound while staying on a pathway that they should never leave.
I stick to these words because if we enter into comparisons of the previous installment, “A Bend Through Space And Time”, the quartet is darker this time around. It is true that their style has always carried that characteristic heaviness in many formations of the genre, but the compositions are more gloomy than ever. The guitar lines offer that halo of darkness in the middle of a quite smoking environment, as if to capture it as one of the great attractions of “Forever, Never Or Whenever”.
With all this, we must not ignore the chemistry of its components by branching off into different rock vibes, but always with a flow of emotions and various changes of rhythm to fill more nuances of his new work, and there are always different firmaments for which to obtain different shades. From “Light Sentence” or “The Cautionary Tale Of Yen Sid” and their winks toward doom, to move to the other side of the album with its most recognized signatures and its best punch in cuts like “Anti-Gravity” (huge album closure) or “The Devil’s Barking Up Your Tree.” Extravagant structures orchestrated by the most characteristic riff. “Get On Down” for its part, heads to the toughest rock of Devil To Pay, while “The Pendulum” faces the final part of this new volume at its most suspenseful.
Let’s say diversification is the most notable peculiarity of “Forever, Never Or Whenever.” The North American Devil to Pay’s new album surprises both new and old students again and that is perhaps the magic formula of these tunes, without starting a rock revolution, is the one to be most successful of their many experiments, in diverse styles or winks to the many traces carried in the heavy sound. For the rest, the gravitational engine of Indianapolis continues to carry its thrust with a new impulse towards unknown directions and colonizing intentions. This may not be their best album but it is still a great continuation for a discography that offers a whole watercolor of colors. A disc for the most staunch follower of Devil To Pay.