Tag Archives: Tech Metal

Delivering The Goods – Jamie Graham of Heart Of A Coward

Posted on by

635727043703831410

Heart Of A Coward 2015

“There was one conscious decision when it came to this album, and that was to have a bit more pace in there. Once we started playing the Severance stuff live, we sped a few songs up and they sounded way better. We sound our best when there’s a bit more urgency. Then, when it came to recording, we wanted to recreate the live sound as much as possible with natural, organic sounds, with everything properly recorded.”

635748575438251041

Jamie Graham sounds slightly worn at the end of a long day of press, promoting the new Heart of a Coward album, Deliverance (Century Media), but there’s no mistaking the glint in his voice when discussing their new release. Because he knows. Part tech-metal, part groove armada, HOAC have taken the slicker, yet oh-so-malevolent approach of Severance (also Century Media) and worked hard on their song writing to produce this years’ sleeper for UK metal’s breakthrough album. He knows Deliverance is a bit special.

“You can’t just play constant ragers for 50 minutes; people want dynamics. But we’re getting to a balance where we don’t have any songs that are there just to make the time up”, he begins, moving on to discuss the flesh of the new offering. And it is a body of work that sees some impressive vocal output from the man himself, with attention in the detail of the different tones of his more aggressive shouts and the nuances and delivery of his cleans, a performance that upped the ante for Graham. “Yeah, it’s tough! I’m not going to lie! Since we’ve started playing the new songs I’m like… Fuck! It’s hard!”

If anything, the laughter that accompanies that comment betrays modesty, for Graham has always delivered as a vocalist. This time around, though, he shines, leading a slew of new metal anthems that should see HOAC truly establishing themselves. “I had that feeling when we did Severance as well. We’ll just keep doing what we’re doing, to be honest. As soon as you’re setting be all and end all goals, you’re setting yourself up for a fall. Hopefully people will appreciate the album, and forward it on, talk about it, or whatever the kids do these days, and the album itself will do the rest.”

While not a concept album, Severance linked itself to a reoccurring theme; Deliverance (continuing the train of album titles ending with ance – “Haha, yes! Well, after the last one came out we thought, why don’t we make this next one the last of set?”) also returns at key moments to motifs and similar notions:  “to an aftermath, or a result of something, whether a conflict, or struggle, or endeavour. Most of the songs are about fulfilling something – hence the title. The last record was more about breaking away from things that were holding you back. There’s definitely a cohesiveness between our album titles and themes, but there’s not a story across them.”

Heart of a Coward may seem a relatively new name, but since adding guitarist Steve Haycock and former Sylosis vocalist Graham in 2011, this British quintet have been very much in the ascendancy. If 2013’s Severance saw a refinement from bluster, and a band of raw promise, to a genuine contender to the UK metal throne, then Deliverance should, by rights, see them being fitted with ermine robes and bejewelled, pointy head gear.

“It doesn’t feel like it to us, but a lot of people still perceive us as a new band” Graham confirms. Album three is a tricky place to be for a line-up that is only four years old; but four years that have now seen three increasingly excellent albums. “It works in our favour as we’ve been around the block and fully road-tested, so someone coming to check us out won’t need a second time to be convinced. At the same time, there’s no excuse for complacency. We know we have to put the work in and we do the best we can.”

635727043718651436

With convincing recent performances under their belt at both Download and Techfest, one of the questions to be asked is, where do Heart of a Coward fit in? “It’s pit music that has hooks and choruses” states Graham. With his band appealing to different audiences, Deliverance sees further development of a more song-based progression. While this will appeal to the more centre ground, is there a concern of leaving their Tech Metal fanbase behind?

“We’ll always have enough technicality to appeal to the tech fans, but we’re a simpler equivalent” explains the frontman. “I’m not worried about that at all. You’ve got your Born of Osiris and Periphery’s and they do their thing and have a lot of bands trying to copy that, but that can’t do it as well (as they do). We do take a portion of that sound, but then mix it with a Killswitch vibe, and with a touch of Acacia Strain or Hatebreedy stuff.

“With the technical side, a lot of bands lose the purpose of the “song” for the purpose of being technical. But then it can go too far the other way with bands who just have a chorus, and the song becomes far too throwaway. We balance that.”

Graham has already mentioned an insistence on ensuring a live, organic feel to this album, and it is with the live arena in mind that several of the songs were constructed. “We did that with this one, yes”, he confirms. “Songs like ‘Deadweight’ and ‘Shade’, we probably wouldn’t omit from the live set, so we wanted to think of songs that would fit nicely with those songs, but without copying them. You have to pace yourself too.”

And the band are aware of the increased demands live, considering the developments on record. “Steve’s doing more backing vocals and stepping into new territory. He’s got a really good screaming voice, a real proper gruff Scott Kelly smoking through a rubber tube voice, which is wicked, Carl can sing too, but it’s a confidence thing with him as he’s so used to just playing his guitar”, Graham adds.

Heart Of A Coward 2015

Deliverance is a maelstrom of modern metal that bridges the age gap within the HOAC ranks. With Graham’s own introduction to metal being Machine Head’s ‘Death Church’ as a mate slipped him Burn My Eyes (Roadrunner), Side B first, to Metallica, Guns N’Roses and then Deftones, it’s no surprise of the diversity flecking the spectrum of HOAC, as Deliverance supplies ragers, groove metal, djent, jagged Gothenburg riffs and modern metal songs with depth and character.

“I like most that it’s got dynamics, and more variety, but it doesn’t lose focus” concludes Graham. While each band spouts their current album is their defining moment, ‘tricky’ album three has proved just that moment for Heart Of A Coward. “I’m really proud of that. A lot of bands struggle on album three to not repeat themselves and whatever big hits they‘ve had before and whatever’s worked for them before, and tend to exploit that too much. Or the opposite, and they veer off in a direction that alienates the whole fan base.

“We’ve straddled both and we’ve paved the way for the next album to be a logical evolution. We know where we want to go with it all, now.”

 

Deliverance is out now on Century Media. You can order here.

WORDS BY STEVE TOVEY


Cross Country – Dustie Waring of Between The Buried And Me

Posted on by

by JustinReich_04

Between The Buried And Me. Photo credit by Justin Reich

It’s been a long two years of waiting for UK fans of prog metal pioneers Between the Buried and Me. Now, fresh from the summer release of the widely acclaimed Coma Ecliptic (Metal Blade), Ghost Cult caught up with BTBAM’s  guitarist  Dustie Waring on their current world tour, ahead of their recent London show.

BTBAM_ComaEcliptic_2015

There have been some fantastic reviews for the new record; you must be really proud of it?

Yeah, we are. It was something really different for us, musically. We try to never repeat ourselves so the fact that people like it and support us is giving all of us a pretty incredible feeling.

When you’re in a band like BTBAM that have so many ideas going around, how do you decide between what’s working and going to work and what should be discarded?

There’s always a lot of ideas because everyone in the band contributes but the process is a fairly straightforward one: if we like something collectively, it’s in. If a piece doesn’t fit quite right in one place but is going to fit in another then we simply move stuff around: it’s pretty democratic and open.

Did you have any arguments you had when making the record?

You know, we don’t have arguments. At all. We are a very rare band in that regard. I guess we are like brothers, like family. Don’t get me wrong: we are all brutal with each other from a sense of humour perspective; we have a very dark sense of humour, but there’s never ever been arguments in our entire career – we just don’t do that.

When it comes to the live show, given the vast range of styles, how do you pick what should go into the BTBAM set?

Dan (Briggs, bass guitar) keeps a log of every set list from every tour so we look back and remind ourselves what we have been doing and what we have missed out on. Obviously, we are trying to promote  a new record so we will be doing stuff off that, but we kinda just try to play the bangers off the important stuff. Stuff everyone likes. There’s songs from every record – almost- and a fun little encore that we do (Queen’s Bohemian Rhapsody, fact fans).

 

Between The Buried And Me, by Jessica Lotti Photography

Between The Buried And Me, by Jessica Lotti Photography

You’re known for having a fan base that is passionate and, dare we say, a little bit anal about everything you do; what’s the song that they always ask about that you don’t play?

Well,  obviously you get some people who yell out once in a while who want some really, really old shit that was from before, like three of us were actually in the band.

So some people will shout for some stuff off the first record but those kids are like maybe 1% of our audience and we have done that and the majority of the crowd have joined us from the newer stuff, so when we are doing really old stuff they are going “Hey, is this new?!”

We understand that some people want the old stuff but, to be honest, it’s not actually that popular with the majority of our fans. Some people ask for ‘Swim to the Moon’ but that’s like 19 and a half minutes…or people ask for the full length version of ‘White Walls’ or ‘Selkies’.

We have done a version of ‘…Moon’; we do from the clean break which comes out cool. Mind you, having said all that, if people yell stuff and we are in the mood, we’ll usually find a way to play it.

byJustinReich_03

Between The Buried And Me (2015) Photo by Justin Reich

When you are travelling from town to town, concert hall to concert hall, how do we keep yourselves motivated?

Honestly, it’s what we chose to do with our lives and so it’s not that much of a burden but there is another thing – there are so many bands who do so much amazing music and no one gives a shit about them and we have just this amazing opportunity to play music for a living- we aren’t rich or anything in this age of the music industry – no one is getting rich – so it cannot be about money.

I just want to play my fucking guitar. I have this great guitar company that make me my dream guitars and they customise them just for me and this band. These are the best people I could be playing with and people like us and support us and come to see us and they go nuts when we play and that’s what keeps you motivated.

We have the rare opportunity to create whatever the fuck we want and you know no one questions it. Our fans almost expect us to do weird shit now. Honestly, we all love to play music and we love our instruments and the fact that we can pay our bills just by doing this is a blessing.

You’ve spoken before of being a band with a wide range of interests and influences. What have been the things that you have loved this year?

I really, really love this new Ghost album. I was never really a fan of their older stuff – it didn’t really grab me – but the new record in particular I listen to a lot. I love it – I’d like to play with them one day. I listen to a lot of shit that people probably wouldn’t think I would listen to. For example, I have been listening to this Casey Musgraves record a lot; she is fucking awesome; I love her. I’ve been listening to a lot of SG Lewis too – really relaxed, ambient electronic stuff with pretty melodies, he’s just smooth and cool. The other band that I have been spending a lot of time listening to is Happy The Man from Washington DC. I’ve been listening to their records from the 1970s; I have been into them for a while and their album has been played A LOT.

I like a lot of country blues because the players are sooo good; I actually play with a Nashville artist when we are not on tour just to try and develop myself as much as I can and be as well rounded as I can be as a guitarist. Working with the Nashville guys is good because you have to change your phrasing completely to do that kinda stuff, it’s completely different to everything that I had learnt. I want to be good at all kinds of music not just a good metal guitarist so it’s good to test yourself; it’s good to able to improvise over a blues scale for example: that shit is important to me.

Between The Buried And Me, by Jessica Lotti Photography

Between The Buried And Me, by Jessica Lotti Photography

 

If you weren’t playing in BTBAM, who would you want to be playing with?

I have some friends from North Carolina who are in a band called He is Legend; I’ve always really enjoyed their records and Adam (Tanbouz, guitar)  is a sick, seriously underrated guitar player and…. (mimes guitar picking) his hands, man – no one can sound like him. It would be cool to play with Casey Musgraves, for sure. There’s a guy in the USA called Sturgill Simpson who has this unbelievable guitar player from Estonia – can you believe that – this incredible, authentic Southern country playing and it’s a guy from Eastern Europe! It would be cool to play stuff like that….

As a working musician, have you found people more open-minded to different types of music or less so?

Oh with some bands, for sure. There still a lot of bands who keep writing the same record over and over; but over the last five years, there have been some bands doing new and interesting records. I’d say a lot is down to location and the fan bases. Fans are a lot more open-minded and accepting. Take us is an example. People totally accept us for who we are and what we do. Having said that, we are definitely taking time to build our audience. We are not an overnight sensation and we have been on a steady incline.

Do you think that is because you are not an easy band to define and because there is so much going on in your music?

Yes for sure; people have been telling us that they would listen to the record for 10-15 times and not like it and then – bang! – something happens and they are really into it. That’s cool by us. Over fifteen years we have realised that we are not doing this to get rich. We are doing this because we love music and we love playing and we hope, ultimately, that people like us.

 

 

WORDS BY MAT DAVIES


TesseracT – Polaris

Posted on by

Album_cover_for_Polaris_(Tesseract_album)

The history of TesseracT is very disjointed and confusing in places, both sonically and in terms of personnel. With a continuous base of founder and guitarist Acle Kahney alongside Jay Postones, James Monteith and Amos Williams, the vocalist has changed more than Doctor Who, now with Daniel Tompkins returning after his initial stint on the band’s first full length One. Since his first tenure the band’s sound has changed from the, at the time cutting edge djent metal sound, to one that focused towards a more expansive arena while diminishing their metallic influences on follow up Altered State (both Century Media). Now with Polaris (Kscope/eOne) they are venturing even further down the rabbit hole.

The albums opening song will prove the most familiar and easing track for those who crave a return to the crunchy metal of One, with a prominent, chugging bassline throughout, it shows signs of an underlying trait of their sound that has been there since day one, but less so through a Meshuggah lens. Instead Polaris shows an increasingly mellow and even ambient sound with a dreamlike atmosphere, punctuated by increased tempo and thundering basslines, a prime example being the ever building ‘Hexes’.

Of course, many ears will be on what Tompkins brings to the table again, and even with him still firmly on the radar during his TesseracT absence with a host of other projects, his evolution since then is staggering. Completely void of the harsh vocals that powered One, Tompkins clean vocals soar to new heights here, and his time with Indian prog metallers Skyharbor has elevated him even further, hitting new, astonishing high notes and ever improved vocal lines show his flawless adaptability to the band’s changes.

It has often been challenging keeping up with the changes TesseracT undergo, but for every roadblock that hinders their path they always come out the other side stronger than ever; this line up feels definitive as Tompkins proves even with the significant steps the band have made forward, that he still fits like a glove. Polaris is yet another important and impressive leap forward by one of modern prog’s most important alumni.

 

9.0/10

 

CHRIS TIPPELL


No Consequence – Vimana

Posted on by

a2308137450_10

In their brief history so far, UK tech metallers No Consequence haven’t quite reached they heady heights of some of their djent peers. Despite some decent critical acclaim – especially for previous release IO (Basick) – they have been far from the top of the pile alongside the likes of TesseracT and Monuments; perhaps in part due to their lack of a genuinely formidable release that stands up to some of the genre’s greats. With their latest effort, Vimana (also Basick), it feels they are beginning to live up to their true potential.

Always managing to combine both the atmospheric, drifting sides and the sheer heaviness of the tech metal genre with great fluidity, Vimana is the realization of these two sides and the chemistry being honed. In fact, at their most visceral they are perhaps the most convincing and ferocious under the djent banner, bringing to mind the recent Murdock release when it comes to their dissident nature. Perhaps their more melodic moments are used more sparingly, and often as introductory passages; and as seductive as they prove it is a drawback that they aren’t explored further here. When they are married together more overtly, such as on the glorious “Disconnect” it really shows how they have evolved, with Kaan Tasan really showcasing his vocal talents in both arenas.

Whether or not this album will see No Consequence reach the equal footing with their peers remains to be seen, but for the first time they genuinely seem deserving to be put into that bracket. With a great reliance on their heavier side for the most part, it would be desirable to seem them explore further into their softer elements that have been done so sumptuously here. A career best for them so far and one that should bump up their profile, and it still feels that there is a whole lot more to come.

 

7.0/10

No Consequence on Facebook

 

CHRIS TIPPELL


Eschar – Nova

Posted on by

0004623494_10

When it comes to instrumental outfits, metal bands tend to tread a fine line between fret wankery and songs with actual resonance and heart. In their short existence, Woking’s Eschar have sat firmly on the right side of this tightrope whilst forming a strong reputation, perfectly encapsulated on their latest release Nova (self-released).

Eschar’s sound is one that invokes the dreamlike serenity of progressive metal and post genres; never daunting or overpowering, whilst proving almost purely ambient in part all the while retaining emotional power. Album opener ‘Aphotic’ really embraces the softer elements of such music, proving a comforting, mellow opener which slowly reveals the rest of the album’s busier sides. Further revealing shades of progressive metal’s more technical counterparts, Nova shows intricate layers which even bring to mind the softer sides of the likes of Tool and A Perfect Circle. This technical underbelly never proves inaccessible however, making this an easy listen for newcomers with plenty of deeper segments to find for those with a more trained ear.

Nova is an impressive feat which manages to hold a strong emotive presence despite the lack of vocals, proving an embracing and even comforting effort. Yes some people may be put off by the sheer duration of some songs, most of which surpass the 5 minute mark; but there is no one with an interest in prog or metal that shouldn’t find some pleasure in this. Whether it is to fill the background void, or to totally immerse oneself in, Nova is an archetypal effort in music that is not in your face, but is simultaneously hypnotic and drawing.

 

8.0/10

Eschar on Facebook

 

CHRIS TIPPELL


Corrosion – Corrosion EP

Posted on by

11002632_350184511848982_1990598584243895098_n

Having suffered the ignominy of being asked to leave modern metal behemoths Trivium mid-tour, drummer Nick Augusto has wasted little time in pulling together a new project with old school friend Christopher Cussell, Corrosion, who within 12 months of forming, and despite the logistical difference of living in different continents (vocalist/bassist Tommy Hjelm and second guitarist Martin Rygge, both formerly of Intense, being based in Norway), have released their debut EP.

Yet, as the phrase goes, “marry in haste, repent at leisure”, and Augusto’s gusto may be a mis-step, as rushing out a debut release before developing a cohesive style and sound is a sure fire way to put people off and to bury your band. You only get one chance to create a first impression, and all that.

For while Corrosion (Mas Kina) may only be 3 songs, it’s a mess; hopping from Scandinavian based extremity, to ‘core, to chug, to groove, to Tech Metal, but forgetting to bring the songs with them. If it hasn’t been made clear, this is swimming in a different pool to Trivium, and possessing a progressive Thrash bent, but with the jarring juxtaposing sections and Hjelm’s vocals falling short of the standards you’d expect, slipping off key and losing bite in some of his barks, this trans-Atlantic proposition needs to head back to the drawing board and put some hard yards in, not just in terms of working out a style and what they’re trying to do, but also in how to bring their myriad ideas together while raising the overall standard of their output. 

 

5.0/10

Corrosion on Facebook

 

STEVE TOVEY


Vod – Tuurngait

Posted on by

10624627_1530570123882463_8581774694263346947_n

Tuurngait (Independent/self-released) is the second album from Quebecois one-man project Dave Tremblay, otherwise known as Vod. I tried to locate the font or alphabet the album’s titles are primarily given in; really I did. But I have a life, my wife and daughters were beginning to forget me, so enough: you’re getting the inuit-looking subtitles instead.

It’s a slow beginning but a crushing one, the brewing portent of opener ‘Inutuuvuq’ exploding into a sludgy morass of noise. The delightfully nasty atmosphere is graced by curious and inventive jazz structures especially in the soft, trumpet-led interludes of ‘Unnusarataaq’ and ‘Aqhaq’, displaying a creative freedom which initially proves compelling and magnetic, if a little difficult. ‘Itji’ shows a leaning toward the more progressive Post aggression of Isis and Cult of Luna with subtle, gradually swelling interludes, those freeform undercurrents not quite reaching Mathcore complexity but twisting the sound through a number of polyrhythmic stages.

The album really gains identity when the pulverising rhythms and swirling, plunking basslines kick into the riff and Tremblay’s terrible roar. The soft noodlings of ‘Ikuma’ are surrounded by barely controlled, brutal intensity, perfectly characterising the capricious moods of the sound; some phenomenal stickwork morphing grotesque atmospherics, robotic sampling and eerie tones into a somehow cohesive whole.

Unfortunately, Tremblay’s undoubted talent appears to grow too self-indulgent for his own good. The gradual influence of strings and a developing harder edge isn’t enough to detract from the fact that this evolves into an experience only fully enjoyed by the real muso. This apparent need to display technical ability starts to supersede song structure and by the closing, oscillating horror of ‘Unnuak’ it’s begun to grate rather seriously.  It’s staggering stuff of course, the quality cannot be denied, and there remain shows of power from the drums at least, but the rambling complexities wash away much of the interest long before the lazy horns of the closing ‘Anirniit’. Dampening that early promise, Tuurngait proves to be just too much hard work.

 

5.5/10

Vod on Facebook

 

PAUL QUINN

 

 


Oceans Ate Alaska – Lost Isles

Posted on by

10888557_807960792593775_3860936252431761516_n

 

Making waves (see what I did there…) following two introductory EP on Density Records, talented quintet Oceans Ate Alaska, from Birmingham, England, are a schizophrenic psychotic tick in musical guise. Dubbing themselves as progressive metalcore seems to undersell and mislead, as Lost Isles (Fearless) showcases a high degree of technical proficiency, spurting spasming rhythms of meticulous, systematic precision and understated melodic britcore (yes, I’m using that phrase and with no apologies – British metalcore sounds different to its American counterpart).

As if adamant to prove that under the sea lives all manner of chaotic life form, within 43 seconds of opening track ‘Blood Brothers’ (we’ll ignore the inevitable, ubiquitous, unnecessary “intro” track) we’ve been treated to convulsion of rhythmic battery alongside vocal paroxysms that spit out three different styles, screamo, death metal growl and sung, over three different riffs, before the song lurches off-kilter into yet more spasmodic sections.

The process of bursts of rapid-fire arrhythmic violence continues throughout, seeking to cuff the brain into submission with unyielding sonic ruptures, a tech metal death by a thousand guitar stabs, before Oceans Ate Alaska open up their sound on ‘Vultures and Sharks’ and start to truly display the potential within.

There are inevitable comparisons to Bring Me The Horizon, mainly in that James Harrison’s sung tones and the melody lines used are not a million miles away from Oli Sykes, but Oceans… are a different beast; there’s added Meshuggah and spice to their stylings. Fellow scribe Chris Tippell coined them BMTH meets The Contortionist and his radar is as tight as the intermittent punch that permeates ‘Over The Edge’ on his tech-prog-core.

It can be difficult setting out to try and differentiate yourselves from others, and Oceans Ate Alaska perhaps push things too far in setting their stall in the kitchen-sink side of headfuck music, though they can take credit from the fact that not only are they ploughing their own furrow, but they have the technical chops and ear for melody to make it happen for themselves. Lost Isles is a sensory overload that will make an impression on the ears and minds of those who like their discordance delivered as a staccato premeditated cudgelling, while with tunes like ‘Downsides’ in their arsenal, the band have the breadth to push into more melodic and conventional streams.

So, now they’ve consumed Alaska, it’ll be very interesting to see what they fancy making for dessert…

 

7.5/10

Oceans Ate Alaska on Facebook

 

STEVE TOVEY


The Voynich Code – Ignotum

Posted on by

a3864153676_10

In a genre so saturated and over crowded as tech metal, it’s a mammoth task for any fledgling band to make a mark and stand out from the masses. Hailing from Lisbon, Portugal, The Voynich Code have youth on their side as they release their debut release after only a year in existence, and at least show signs of wanting to make their mark on Ignotum (Self Released).

Opener ‘Antithesis’ builds some suspension as it gradually forms with the help of Eastern instrumentation, hinting that this may be a unique prospect at hand, before it erupts into a ferocious but sadly generic take on technical death metal. Those Eastern sounds are present throughout but tend to get buried in the mix, highlighting their technical proficiency but their lack of real imaginative style. Herein lies the problem as they certainly show they are capable and talented but aside from these foreign influences there is little that has not been done countless times before; even vocally this is very one dimensional.

Put their lack of originality aside however and this unquestionably stands up well to many of its ilk, full of aggression and energy especially for such a young band. Far from a misstep for a band just starting out, Ignotum is a strong release, sadly suffering from the sense that they could have done a lot more to become a more recognizable presence.

 

6.0/10

The Voynich Code on Facebook

 

CHRIS TIPPELL


Neberu – Impulsions

Posted on by

a4027487402_10

In a pretty short space of time since their inception, German progressive metaller’s Neberu have achieved an envious amount already. Sharing the stage with likeminded peers such as Monuments and Eskimo Callboy, plus signing to Famined Records and a debut album expected early next year; all whilst maintaining their boyish looks… the swine! Revisiting their debut EP Impulsions (Famined), as imperfect as it may be it is clear how and why these youngsters have ascended so far already.

Touting themselves as an experimental entity with a vast array of influences; Impulsions doesn’t give this air of breaking the mold at first, seeming to fall into the echelons of djent/metalcore influenced bands out there – a huge bulk sees the transition between harsh and clean vocals and the use of breakdowns that has become generic staples in such climes.

Over time however their hints of diversity begin to shine through. ‘Autoconstant’, for example, drops its pace halfway through for a dreamy, atmospheric passage of subtle ambient electronica before it erupts once again, while EP highlight ‘Alleviate’ even veers into a brief jazz interlude towards the end.

These are flashes however and the majority is still styles and sounds we have heard many a time; even vocally it sounds reminiscent to hordes of acts out there. Still this is a very formidable EP for such a young entity in a very crowded field and by building further on their diverse influences this quintet can become a significant presence in tech metal’s slightly stagnating waters.

 

6.0/10

Neberu on Facebook

 

CHRIS TIPPELL