Weston Super Maim – See You Tomorrow Baby

Weston Super Maim want you to imagine a world where Meshuggah do not exist. It’s 2024, and no artist has taken the leap into the realm of down-tuned chaos since Ion Dissonance. Their aggression is superhuman, their rhythms unrestrained by their iron will. Guitars cut like electric bone saws. Vocals froth in empathic rage. As a debut record, See You Tomorrow Baby will see them rise from obscurity to the higher echelons of the heavy metal food chain.

Fortunately, this Anglo-American duo have a dark sense of humour and realistic ceiling to their ambitions. See You Tomorrow Baby is neither dull or predictable, and its energy levels are frantic enough to boost your motivation and self-belief. Indeed, the riffs in the opening title-track feel like watercannons hitting you square in the face. It’s the type of Meshuggah death metal sandwich that still pulsates with excitement, and it’s as unpredictable as a person with dissociative personality disorder. Listen to the reset to gentle guitars melodies in the mid-section. Would you expect a layering of synthesisers to emerge from here as a new foundation for screaming vocals?

Seth Detrick and Tom Stevens know that a crowded field needs something novel to distinguish it from its competitors. Weston Super Maim’s answer is to invite the crème-de-la-crème of the tech metal underground. Stace Fifield and Stuart Henley-Minchington of Blindfolded and Led to the Woods add their psychopathic math-metal stylings to ‘Autistic Kill Trance’. Ian Waye of Soreption contributes a tasty guitar solo on ‘The Bare Maximum’. The former operates with atonal guitars that flash like air raid sirens and incorporates zapping Gameboy noises into the maelstrom of violence. See if you can follow where the snare lands in any forty-second segment of the latter.

Clearly, Weston Super Maim are determined to keep modern mathcore/djent polyrhythmic. The fast jab of the open-string guitars hits you in the face like an overzealous sparring partner in ‘Slow Hell’. Periphery’s debut album comes to mind on ‘Johnny Menomic’. The grooves tempt you to lower your shoulders and then attack you at your most vulnerable. You feel like you’re in a wind tunnel for most of ‘Brute Fact’. This is music with a sinister joker smile. Its breakdown riffs are like colliding tectonic plates dragging their human prey into the jaws of the earth.

This sound would be leaving jaws agape if it didn’t exist on other records. But it does. Car Bomb and Frontierer play this style of throat-bulging tech metal. Weston Super Maim have little manoeuvre room to add their own originality, but they do a great job of injecting you with adrenaline. The rhythms speak to the part of you that can handle aggravation and turn it into something that brings out your strong character in extreme situations. Can you think of anything more suitable to playing Call of Duty than this track?

It’s no surprise that the duo invited Frontierer’s Chad Kapper to add his muscular vocals to closing track, ‘Perfect Meadows in Every Direction’. This is the moment when the face appears on the screen of your games console to confirm that you died before reaching the final level. You want to throw your controller through the window in frustration. But then you realise there are more important things in life than the gratification of playing violent video games. Detrick and Stevens explore a range of peaks and troughs in this song and let the guitars breathe with more efficacy. The ending could pass for a Rolo Tomassi or Svalbard affair with its mix of sorrowful melodies and righteous aggression. Maybe this is where they’ll find their shade of originality on their next outing.

Who’s up for thirty-nine minutes of sarcastic drop-tuned mathcore chaos? Weston Super Maim will make you an offer you cannot refuse if the answer is “not me.”



Release Date: 15/03/2024

Record Label: Self-released

Standout tracks: See You Tomorrow Baby, Autistic Kill Trance, The Bare Maximum

Suggested Further Listening: Periphery – Periphery (2010), Car Bomb – Meta (2016), Blindfolded and Led to the Woods – Rejecting Obliteration (2023)