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The guitars have a certain crunch to them – a robotic attack that gives them a beautifully gritty timbre when chugged. As much as I despise that term with a fiery passion, to some extent it’s a good indicator of what Periphery sounds like.
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The term “djent” is often tossed around when discussing Periphery. Not to mention the fact that some loyal fans of Bulb’s instrumentals were incredibly disappointed after Periphery scrambled through vocalist after vocalist and eventually settled with Spencer. On Periphery, his borderline boy-band alt rock vocals stuck out like a sore thumb over the techy instrumentals, and while personally I think they’re a welcome change from the typical mundane metalcore cleans filling the music industry nowadays, it’s easy to see how they could turn off a potential fan from enjoying the band. The one gripe that is almost universal among Periphery haters though is the near omnipresence of their vocalist Spencer Sotelo which is not with some basis, the basis being that he’s really not a metal vocalist. Once his project gave birth to the Periphery we know today, their unique take on progressive metal fit with polyrhythmic chugging ala Meshuggah and soaring alternative vocals both alienated and drew in new listeners to their sound. In reality, their fanbase was built up years prior to its release over the Internet since guitarist Misha Mansoor whored his music around various music forums under the alias Bulb.
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Upon the release of Periphery’s self-titled debut album in 2010, the Maryland based sextet quickly gained notoriety among the metal scene seemingly overnight.