The Spanish death metallers SynlakrosS have returned with their fifth and most unapologetic album yet – in the form of “Mental Parasites“. As the band have indicated: “The songs on this album are inspired by personality disorders, as well as thoughts and attitudes that parasitize our mind, turning it into a hostile place and making us live in hell.” Quite the departure from their previously sci-fi themed LP “0K4M1” (2021), although one senses this is par for the course with SynlakrosS, whose prior releases have all been substantially different to one another in terms of the topics and issues that have been addressed. Take for example, the Wild West-inspired “Death Bullets For A Forajido” (2016), or the supernatural horror of “Malice Murder” (2018). But an underlying thread which runs throughout their discography is an enduring message of rebellion and self-empowerment. While it might be less prominent, the same observation can be had of “Mental Parasites“.
The thematic changes are important this time, because they do apply a grittier sheen to the material here (and even an element of surprise as well). The band, for their part, provide the distinct impression of fitting in very comfortably with this new theatrical premise. Although especially lead singer Patricia Pons, whose multi-faceted vocals and personas paint her as a fascinating and complex frontwoman. She is a big reason for why the concept of “Mental Parasites” works so effectively – or at all, in fact.
While Pablo Fuentes (bass) is the main composer for most of the songs, and occasionally Iván Muñoz (guitarist), Patricia Pons is still the creative force behind the themes and lyrics. And on songs like “Bunnies And Bows“, it is obvious that she draws much of the inspiration from her own personal experiences. As we witness her unleashing some pent-up emotions and frustrations, whilst railing against societal stereotypes and those in positions of power. She lays it all out on the table – nothing is filtered or left unsaid. The fact this was released as the first promotional single makes this an even greater act of courage.
The song further highlights an interesting aspect of Patricia’s vocals, which take on an almost schizophrenic quality for much of its duration. Perhaps this is feeding into the overall theme of mental diseases, as it certainly seems like multiple personalities within Patricia are fighting to take over the microphone (including what sounds like a Japanese anime character). It makes for some immersive drama, but it could also alienate more casual enthusiasts. Those who grew up listening to Jonathan Davis should have no issues with her unhinged performance however. And there is just no denying the ferocity when she revs up her guttural death vocals.
It is clear right off the bat with album opener, “Cherry on Top“, that much of their sound has been inspired by melodic death titans In Flames. The influences rising to the foreground in “Paranoid“, in particular. But it is not the overriding characteristic. There are components of alternative metal, metalcore, and nu-metal mixed in too. And it’s safe to say that in addition to this, SynlakrosS have an inimitable music style that is all of their own making. The band is arguably at their best when they let loose, and push themselves to the extreme. Such as on the recent single, “Freak“, where Patricia Pons is seen doing her best Meredith Brooks impersonation, and labelling herself as a “bitch” (among other things): “I am a freak // I am a maggot // I am a bitch // I am a riot“. It functions as an anthem of acceptance for anyone who has ever been put down or cast as an outsider, but also doubles up as a showcase for the band’s technical brutality.
“Mental Breakdown” continues the devolution of Patricia’s fragile cognitive state, complete with demented panting and screams, making it sound like she recorded the voice track in a padded cell instead of a studio. She steals the focus once more on “Drama Queen“, with its insanely (no pun intended) catchy chorus: “All lights on me // All eyes on me // Adore me // Adore me“. The innocently titled “Popcorn“, on the other hand, belies a more sinister tale of predatory thoughts: “I’m the werewolf // You are my prey, my love! // I’m like poison // I’m like fog // I would eat you like you were popcorn“. Before the album concludes with the troubling “Razor Blade“, where the lyrics are of someone who is in pain and is contemplating suicide. It’s a heavy tone on which to end, and you definitely feel the impact when you are eventually left in silence, and given no closure as to the character’s fate.
Overall, the album executes its concept perfectly, and in a no-holds barred fashion. Proving once again the ability of SynlakrosS to pick a theme and deliver on it, without restraint. The music is equally well implemented and if you can handle the circus, it deserves to be heard.
Verdict: “Mental Parasites” not only gets under the skin, but burrows into the psyche, and some of the dark and twisted places where that can lead. SynlakrosS show an adeptness at putting a spotlight on these various mental health issues, and while the result may not be to everyone’s tastes, the LP is still a riveting and visceral shake-up in the metal scene.