By Ryan J. Nims
When I first approached Rich Balling about writing this article (which has since become two!), I talked about writing it for my personal blog, which is, as I put it to him, “…effectively a Pyramids fan site.” While that’s a bit of an overstatement, it’s true that since I started blogging again around 2021, I have written a few articles about Pyramids-related things, specifically some of their collaborative works. As we got to talking though, I felt like this would be better served for The Blog on KOOP. I bring this up, not to promote my own blog (I don’t often post there anyway), but more to say that Pyramids are an important band for me. Something about the dark and pretty dynamics of their music just speaks to me. For example, I have a playlist on my phone which is Pyramids with Nadja and the Pyramids and Wraiths collab Magpie & Raven; I go to sleep to this nearly every night, and have done so for about three years. So I listen to this band quite often. Kind of a lot actually!
To briefly summarize, Pyramids are vocalist & pianist Rich Balling (R. Loren), vocalist Matthew Kelly (M. Kraig), guitarist Matt Embree (M. Dean), and drum programmer David Embree (D. William). Spanish vocals on this new album are performed by Argentinian singer Emy Smith. Pythagoras marks a shift from the band’s blackgaze roots in adding neoperreo and reggaeton to their repertoire. Pythagoras was mixed by David Embree and mastered by Simon Scott, drummer of the foundational shoegaze band, Slowdive.
To read my interview with Balling, please visit my preview article, but now that the new Pyramids album, Pythagoras (The Flenser, 2025) is out, I’d like to share my thoughts on the album:
I previewed “Fools Gold (Mi Vida Ha Ido Pa Atras)” and “Pretty Pigs” in my previous article, so let’s move on to the rest of Pythagoras!
For “Bones and Eggshells,” Smith does the majority of the vocals, with Kelly performing the choruses. There’s some interesting noise going on behind the reggaeton beat, culminating in a frenetic blast beat at the 2:45-minute mark. The video features shots of the band walking around Long Beach, CA, and was edited by Rich Balling’s daughter, Isis.
Pyramids – Bones and Eggshells (Official Visualizer)
“Mira Mirame Brillar,” which roughly translates as “look at me shine,” introduces some progressive elements, especially in the guitar solo. Emy Smith’s vocals are lightning fast; the beats frenetic. Occasionally, a trumpet part (played by Argentinian trumpeter Sergio Wagner) brings some calm to the musical chaos.
On to side two, “Brine” is an uplifting track with a couple of riffy guitar solos. Kelly’s vocals on this song remind me quite a bit of his work with The Autumns. Easily one of the best songs on the album, it has a certain nostalgic 80s feel in addition to the novel approach of mixing in the reggaeton and metal elements.
“Cracks” opens with a bit of noise before lavish guitars reminiscent of Slowdive set the tone. The beat is a bit more subdued than on other tracks on the album. Matt Embree’s lush guitar and Kelly’s melodic vocals are the stars of the show. Balling’s shrieks are very low in the mix, but occasionally burst through the dreamlike swaths of guitar. Probably my favorite song on the album, the music is just beautiful. The song features lyrical references to both “Fools Gold” and “Brine.”
“God of Light” clocks in at over seven minutes long. It’s a gorgeous, atmospheric song, and one heck of a finale! Smith’s vocals are sung with less of a hip-hop cadence, and together with Kelly’s angelic voice, the singing on this track is transcendent!.
The metal elements of this album are less prominent than on earlier Pyramids releases. Sure, there are synthesized blast beats throughout, and harsh vocals figure prominently, if subtly. Overall, it’s the shoegaze and reggaeton that are at the forefront of this record. And that’s not a bad thing. It’s different from what I might have expected, but each Pyramids release plays with disparate sounds, so it seems a logical next step. There is a definite through-line from the chaotic debut album (Hydra Head, 2008) to A Northern Meadow (Profound Lore, 2015), and into Pythagoras, even if they are not always musically similar. Balling himself says, “…over time, music compounds itself towards the extreme, until one day it is so extreme and dense and noise-rich, that the brutal transitions into bliss. The sonic palette is then cleansed, and the listener can start the cycle over again.” So perhaps Pythagoras represents the blissful period of Pyramids’ storied career. A sort of rebirth from which, given time, their genre-bending might just create a new genre of its own.
I have been excited for this album since it was announced earlier this year; while it may be too early to declare it my album of the year, it’s definitely my album of the current moment. I’d recommend it to fans of experimental metal, of course, but if you’re an open-minded pop listener, I’d suggest giving it a listen. There’s chaos and beauty, but also some really great hooks. Each listen reveals something new to experience.
Pythagoras is available now on all streaming platforms! Physical releases of the album can be ordered through Pyramids’ Bandcamp page, The Flenser’s website, or from one of Austin’s friendly local record shops! The packaging is beautiful with a glossy 12-page booklet featuring lyrics, band photos, and more of Krocaine’s nail art.