A new Coliseum album is the last thing I would’ve expected in 2023, but that’s exactly what we received with no advance warning. Following the band’s original break-up in 2015 its members have kept busy, as front man Ryan Patterson took the post punk and goth leanings of Sister Faith and Anxiety’s Kiss and expanded upon them as Fotocrime, while Kayhan Vaziri and Carter Wilson have been a part of bands like Yautja and Null. This unexpected reunion drops the vowels and has dubbed itself C.L.S.M., which makes sense considering Infinity Shit comes across like a distillation of the earlier punk sound with just a slight hint of some of the experimentation that popped up on later efforts. It’s a fast paced, twenty-minute effort that crams a lot of catchy and heavy instrumentation into that period, serving as a welcome return from a band that was missed by many.
It’s clear from opening track “Dehydrated Flesh of the Bourgeoisie” that C.L.S.M. has stripped things down significantly to rawer punk and D-beat, but Infinity Shit benefits from the polish and precision that comes with a band that is this experienced. Stylistically it’s the closest they have come to their 2004 self-titled effort in some time, though the sound is a little cleaner and not quite as metallic as that album or 2007’s No Salvation. That doesn’t make it any less angry sounding, and the space in the production allows for the guitar, bass, and drums to shine in equal capacity while ensuring the energy level remains at a high. Tracks like “Hammer Through the Windshield” succeed thanks to their simplicity, coming in fast with catchy punk and rock ‘n roll edged leads that grab your attention and then move onto the next idea without dragging things out. But even if Infinity Shit’s first few songs sounds as though C.L.S.M. wrote an incredibly catchy but more straightforward hardcore punk album, they haven’t fully lost their experimentation. “Behind the Sheltering Sky” is not only the longest song at three minutes, but it slows the tempo down in favor of some hazier melodies and saxophone that shift the dynamic significantly. It feels like a reflective and almost psychedelic respite that breaks up the attack of both halves of the record and is a definite highlight on repeat listens. Given the brevity there are a few moments that blur together on repeat listens, but there are just as many that stand out time after time and that’s what sets C.L.S.M. apart even in this more straightforward incarnation.
Ryan Patterson’s vocals started off on the harsher side of the spectrum early on in Coliseum’s career, but by the time Sister Faith came out that had started to change. That effort had a mix of gruffer screams/yells and more haunting singing, which Patterson has utilized throughout his work with Fotocrime. His singing style has expanded significantly over the years with each Fotocrime effort, especially on Accelerated which came out just two months ago. If you were missing the more pissed off and in your face approach, Infinity Shit delivers that and shows that Patterson is still in fine form. His vocals come in just a little behind the instrumentals in the mix, but still hit hard and manage to break through the layers to grab your attention. It’s quick, to the point, and doesn’t dip in intensity for the entire run.
C.L.S.M. returns without vowels and back to their roots, while still being able to throw the occasional curveball at listeners with a slower saxophone driven track. If you discovered this band through Sister Faith or Anxiety’s Kiss you may be disappointed that some of the post punk and other melodic elements are gone, but if you’re like me and spent a lot of time with No Salvation and the self-titled then this album will hit the spot. It’s quick and focuses on high energy punk and D-beat laden hardcore, but there are plenty of riffs that will stick with you for some time and that makes this a surprise late year highlight. Who knows if this reunion will lead to more music, but I’m happy to spin this album for some time to come regardless of what happens. Infinity Shit is available from Equal Vision Records.
-Review by Chris Dahlberg