With the release of their third album, Sleepwalking Sailors, the Seattle trio Helms Alee continue to create a dichotomy of music that has worked well for them. Helms Alee can’t be clearly defined by one genre—taking elements from metal, alternative and new wave—to create a unique sound, which surprisingly works.
Sleepwalking Sailors sprints out of the gates with its heavy track “Pleasure Center.” A lot of the band’s power comes from the vocals of Ben Verellen, each word roaring viciously over the instruments’ heavy tempo. The first half of the album is very claustrophobic. Filled with grungy riffs and Verellen’s commanding vocals, it leaves little room for rest.
The true testament to Helms Alee’s style shines in the latter half of Sleepwalking Sailors. “Crystal Gale” sets up the second half with a change of tempo. A waning guitar acts as a somber introduction to a more experimental side of the album, which makes better use of bassist Dana James’ softer vocals.
Rather than songs being fully dedicated to either Verellen or James, Helms Alee blends both together. The album’s stand-out song, “Fetus Carcass,” is a great example of how Verellen’s thunderous howls and James’ soothing melodies are compatible. The song builds up haunting vocals from James until the drums crash, exposing the group’s metal roots and letting Verellen’s voice erupt on the microphone.
The heavy session is again followed up with toned-down instrumentals, James’ psychedelic voice carrying the song through another buildup, until Verellen emerges once more to send off the song with a bang.
Whether Verellen and James sing their parts separately or harmonize (as they occasionally do), their distinct styles are able to merge together to create something different. Sleepwalking Sailors captures the band’s one-of-a-kind flair, coming together as a strong album for Helms Alee.
Rating: B+
