Cloakroom is one of the most purposefully loud shoegaze bands out there. Their previous records have dipped into descriptions like stoner-y or Hum-like. The trio is releasing their fourth record by way of Closed Casket Activities, the hardcore and grind-focused label. On Last Leg of the Human Table Cloakroom explores the reaches of their sound. On average, Last Leg is a shoegaze record, but track-by-track you might need to get creative with your categorizations. Indiegaze, bootgaze, and post-rock-gaze are a few that get close to capturing the breadth that’s on the table.

Cloakroom is by no means departing fully from their familiar sounds but always has one foot out the door. Despite not having one-genre focus the varied sound across the record isn’t as jarring as you’d expect. Tracks that could be played through a saloon jukebox retain a shoegazey vibe with shimmering reverbs and arching whammy bar bends. Familiar moments of distortion-heavy explosions hit just as hard as they did on Time Well. The songs on Last Leg are highly controlled, saving the distortion and shimmery reverbs where they count. Cloakroom displays great restraint even as distortion levels reach high intensity. When it seems like a song might crumble the band opts for the journey rather than cheap thrills.

Flashes of alt-country and indie come alongside singable hooks that could fit on the latest Death Cab For Cutie album. Unbelonging has gothy guitar lines with singer Doyle Martin’s voice taking focus in the mix. An unbecoming move in polite shoegaze society, but no fear, Cloakroom still brings the distorted guitars to expertly elevate Unbelonging’s outro. Another powerful, mold-breaking moment comes from lead single Bad Larry, an outlaw ballad fit for a dimly lit bar. The only way Bad Larry could be enhanced is with the low chatter of bar patrons and glass clinking. Martin sings “I don’t know what they’re telling you / Little things are easy to lose” between musings on the fickle ambiguity of the universe. It’s enough to get you to order another drink.

While venturing into more structured territories Last Leg still allows itself to let loose. Two instrumental tracks break up each side of the record. The wordless interludes act more like ambient rest stops along the tracklist rather than points of interest. The exploration continues on songs like Story of Egg and The Lights Are On. In a moment of pure prog, the former launches into an expansive middle section complete with arpeggiated synths. The brief book ends of sung sections by Martin act as a container for their most explorative track on the album. Cloakroom are able to use form when it fits but they also understand the constraints form can impose.

Last Leg of the Human Table is a genre-defiant album that teeters the brink of many labels. There are sure moments of accessible sounds mixed with abrasion that yield greater results than the sum parts. What really shines through is that Cloakroom is writing songs that they want to write and sounding more individual than ever. Whether its country ballad or distortion punishment, Cloakroom knows who they are underneath the labels we may put on them.

Pre-order Last Leg of the Human Table HERE