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The life of the children of artists is tough: of course, there is the advantage of being born in a wealthy context full of stimuli from a young age, but at the same time the privileged status itself can give rise to a healthy hunger to emerge, so like the surname it has a weight proportional to the fame of the illustrious parent. Over the years – from sport to music, a little less in cinema – we have seen many offspring choose other paths or stay far away from parental glories, but lately perhaps something is changing.
If there is no shortage of recent examples in football – from Thuram to the Maldini dynasty – even in our favorite music, after years of relationship with The Raven Age and Lauren Harris, we are witnessing interesting phenomena such as that of Vended, a group led by Griffin Taylor and Simon Crahan, or the sons of number 8 and number 3 of the nine most famous masquerades in Iowa.
Strengthened by an EP and an intense live activity (supporting groups like POD and Jinjer, but also with headlining tours in small clubs) the five debut with a self-titled album which, as expected, carries forward the house style throughout and for everything. They are certainly not the first nor will they be the last to move in the wake of seminal works such as “Slipknot” and “Iowa” – let's mention Red Method, Graphic Nature and Tallah in no particular order – but in this case the comparisons are even more evident especially for as regards Taylor Jr.'s singing, almost a clone of Corey especially on the clean parts, as evident from the opening track “Paint The Sky”.
The parental similarities, from the melodic openings of “The Far Side” to “Am I The Only One” to the blast-beats of “Nihilism” and “Downfall”, passing through certain Stone Sour style passages from the most recent works (“Serenity ”), are a constant throughout the album's full half-hour duration, even if at the end the impression is that of wanting to lengthen the story a bit between instrumental interludes (“Ones”) and outros (“As We Know it ”).
In a dystopian future it is not a gamble to imagine a handover behind the masks – Michael Myers docet – and in this sense Simon Crahan's percussive talent also gives us hope (we are not yet at Jordison's level, but certainly better than his father) while the rest of the band does their job as gods admirably nameless ghoulwhich is just missing a few sample workers to close the circle.
While waiting to see what the future holds, we can talk about a debut that is certainly derivative but has that sound damn which allows you to go beyond the identity card: good blood doesn't lie, but above all it boils with that anger partially dormant in the family business.
Daniel D`Amico for SANREMO.FM