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Since the cover, followed on that of Teen Horror “The Uninvited” (2009), “I'm done with self care, it's time for others' harm” is a disc that seems to get to us from a sort of space -time tunnel, connected directly to the metalcore boom and death of the first decade of the two thousand.
An adventure that started from the garages and school desks, passed for the spread of the MySpace platform and culminated, for a handful of landslized adolescents, on the stages of all worlds, of which the spoke Zarathustra thus – a bit like colleagues Dying Wish, Wristmeetrazor and Your Spirit Dies (among others) – become contemporary heralds to reproduce them Scrupulously the stylistic dictates, as proof of the eternal return to which the phenomena of life are subject.
The engines with the EP “The Sun Will Never Shine Upon Upon Upon” (2022) and the Debut Album “Act Like You Don't Know” (2023), the Maryland Quartet then enters the Prosthetic Records roster with ten songs with a slender and furnishing cutting, were warned. Repertoire of people such as All Shall Perish and first Job for Cowboy, who highlight their ability to move in balance on that embankment – often insidious – placed between technique, melody and taste in the songwriting.
A catchy sound, but not cloying; virtuous, but without this feature prevailing on the concrete foundations of the songs; Rhythmic, but far from the stunning in formulas of the deathcore from flat encephalogram, for listening where enthusiasm and nostalgia chase each other with perhaps not extraordinary results, but certainly vital and captivating.
In short, we feel how the boys 'recovery operation is the result of a careful and aware study of the sounds called into question, and that behind the lightness of the titles (“Gage Lanza 2: Return of the Red Hammer” or “I Didn'T Believe in Magic Till' My Dog Turned Into A Snake” are an example) there is a writing worthy of the name, within which the comparisons arise with the Blood Runs Black and the most inspired August Burns Red.
Just like the aforementioned groups, taken at the time of the debuts of “Allegiance” and “Messengers”, our installation install a series of riffs and dynamics from the Swedish School of in Flames and at the gates on a deathcore/metalcore matrix system, for a tracklist where the memory comes to life without expanding in the demodé, and in which the points of reference (very clearly) do not turn into. Paces that drag thoroughly what is produced by the combination of sparkling and bombastic rhythmic guitars.
Obviously, it will be necessary to be great fans of the vein to appreciate and grasp in its entirety a work like “I'm done …”, but taken note of the thing, and waiting for a further focus (especially at the height of the more square and ignorant situations, less effective than the melodic ones), this is what is said to be a pleasant and heartfelt dive to the heart, perfect for returning to when the sound of the last summer bell was leaving with anxiety.
Daniel D`Amico for SANREMO.FM
