Bridge Of Sacrifice

Darkest clouds have sealed the sky, Powerplant is back and has brewed its strongest release yet. Bridge of Sacrifice emerges from the cauldron - a fun, black metal infused journey through all that is heavy and gothic. Powerplant, the solitary project of Ukraine-born, London-based Theo Zhykharyev, is distinguished by its giddy bass, sizzling synth lines and melancholic vocal hooks. From the lo-fi synth-punk of 2019’s breakout debut album, People in the Sun to the instrumental 2022 dungeon-synth release, Stump Soup and the kaleidoscoping Grass EP (2023), to last year’s 80’s rock explorations on the moody “Crashing Cars’ 7” and the Michael Mann-inspired Heat EP.

On Bridge of Sacrifice, Powerplant’s second full-length album, Zhykharyev once again rebrands and reinvents Powerplant as a gothic beast. Zhykharyev’s voice takes centre stage with resolute and dramatic singing, dialled in after years of touring. The familiar Gary Numan-esque synth or early Powerplant works is elaborated with orchestral strings, grand piano and heavenly choirs. Heavy and full drum sound replaces the vintage digital drum machine samples. The musical pallet is further expanded with moving cello performances by Hani Hooper, adding a grotesque cherry on top of this musical cake.

Although the new release is styled in an eerie, extreme metal fashion, Bridge of Sacrifice is Powerplant to its core. The tracks on which it runs are founded from approachable pop songwriting, and melodic vocal hooks. The album’s quest for avid genre exploration keeps the musical journey fresh, as it carries you through the depths and extremities of metal-punk, blackgaze, industrial and acoustic campfire folk. New-found malevolence is neutralised by the familiar playfulness and humour of Powerplant, which, mixed like paint, absorb the first time listener in intriguing dichotomy of confronting elements.

The production has received a major upgrade. The album was mixed and mastered by Stanley Gravett (Idles, The Horrors, High Vis) in the heart of Hackney at Holy Mountain Studios. As a result of self-recording, Powerplant’s early releases had a nostalgic lo-fi warmth, smooth and blurry around the edges. It has since grown up into a professionally assembled effort, maturing alongside Zhykharyev’s songwriting, singing and playing. Powerplant’s rich atmospheric qualities comes from the textural layering, which receive more ground to shine on, by virtue of Gravett’s precise finishing techniques. Black metal has never sounded this crisp and pronounced.

Powerplant’s new full length release is full of highlights, as well as twists and turns. Each of the eleven tracks has its own unique aspect, theme and sound. It boldly steps out of the preconceived sonic aesthetics of the moniker, exploring niche corners of music in a more pop foundation. It offers space to mosh, to reflect, to laugh and to dance in a whirlwind of themes and emotions centered round a gothic aesthetic. Feels like Halloween never truly ended and today is October 164th.