top of page
Search

EVERYTHING OUT THERE HAS TEETH - SHEDFROMTHEBODY ALBUM REVIEW

  • Writer: Kaylah Chilcott
    Kaylah Chilcott
  • Nov 13
  • 3 min read

SHEDFROMTHEBODY's third album AMARE has had me in a chokehold for the last few months. The vulnerable topics and bleak mood has captured me in a way i cannot explain. Their latest album EVERYTHING OUT THERE HAS TEETH is a masterpiece and has arrived at the perfect time for me.


ree

Active since 2018, SHEDFROMTHEBODY is a Finnish one-woman doomgaze/alt metal machine. Sweet, fae-like vocals paired with heavy to shrill guitars. It toes the line between spooky and desolate, to some of the prettiest ambiance I’ve heard in a long time. AMARE was all vibes and atmosphere - completely up my alley - and EVERYTHING OUT THERE HAS TEETH certainly follows the same path, but takes a different route. 


Off the bat, ‘Crossing’ is already showing us a new era to SHEDFROMTHEBODY, showing us an eerier side to their sound. The vocals remind me so much of EMMA RUTH RUNDLE’s style, and while it maintains a lot of air still, it isn’t the same gazey glimmer that AMARE has. ‘Crossing’ is quite stripped back with slow pacing and maintains a lot of room between instruments, though the heavy guitar tone and distorted violins set the uneasy mood of what is yet to come.


ree

We are greeted with an acoustic guitar for the opening of ‘Heima’, which is only accompanied by light drumming and vocals through much of the track. The reverb and distance in the vocals changes throughout the song, singing in a large cold hall, or inches away from your face - it’s so easy to imagine what this could look like in a perfect world. The mourning deepens for the second half of the track, where it builds back into a full band.


‘Nature’s Weapons’ slips into a punk outfit, with vocal treatment becoming more distorted, and the loss of the shining ambiance for a sharper and more chaotic sound. Beyond the vocals, the drums really hold the disjointed feeling with ‘misplaced’, snare beats where you wouldn’t expect and inconsistent patterns. We have a brief return of what SHEDFROMTHEBODY usually sounds like towards the middle, before it once again falls away.


The eeriest track on the album is ‘Horses’, vocals are knocked right back, overrun with fuzzy doom guitars and wide drums that dominate the sounds. This track creeps slowly along with drawn out, whining notes and distant screams, instilling a desolate unease - which is only drawn out for the last part of the song.


‘Salve’ follows off the back of the discontent, but is far more intimate, the soundscape brought right in by ditching the heavy decay reverbs. It is far more gentle than everything we’ve heard so far, for those familiar with AMARE, it is much like ‘To Be Loved’.


‘Spine’ was the lead single from EVERYTHING OUT THERE HAS TEETH, built up by the layering of delicate riffs over the top of fuzzy guitars, and a strong leading bass line. The depth in layers for this track is phenomenal, and it doesn’t delve as desolate or heavy as previous tracks. Very on theme for SHEDFROMTHEBODY. Hearing it in context of the album, it is definitely a stand out track still, though the fade out at the very end is odd, and I personally feel the song would have had a stronger finish if it had a more definitive end.


While so much of SHEDFROMTHEBODY’s sound is ambient and drowned in reverb, I really enjoy the fuller moments we find in ‘Shattermind’ - especially that opening verse. It was my favourite on the album and has now been put in the repeat basket - across the first two verses where the guitars pause between some notes to shine a spotlight on the drumming and bass, accompanied by sweetened rising vocals. Without too much effort, ‘Shattermind’ encapsulates the sad part in me and expresses it in a more powerful and self assured form.


Mirroring ‘Heima’, with a gentle opening that leads into a more disordered ending, ‘Ginger’ is a despondent end to the album, combining the different elements of intimate and mournful sounds to drop us into a disconcerting ending. While it is missing some of the heavier elements we caught earlier in the album, it still captures the awe and chill factor we have become accustomed to.



EVERYTHING OUT THERE HAS TEETH is another phenomenal release from SHEDFROMTHEBODY, and with the rising fame of feminine musicians hitting the heavy gaze scene, I am so excited to see what is going to come next for them and where in the scene their place will be carved. 




bottom of page