It is probably fair to say that Take Your Aim, the second album from UK melodic metallers Everything Burns, has been a lesson in determination, patience, and dedication for the band such its traumatic emergence. Through the likes of an injury to the drummer, shock departure of the bassist, long studio delays due to a refit, and several changes of mixing engineers, it has been a long drawn out process to the point of release. Add to that the delay due to vocalist Tim Kellow being run down by a car after a gig it has not been an easy ride for the release and quintet. Thankfully and miraculously the singer stepped away from the accident with only shoes flying down the road rather than him, and apart from being pissed that by the time he picked himself up the KFC he was heading to for a post London show feed had closed, the band is ready to make a big mark with their Meshhead released gem.
Everything Burns emerged from the ashes of Seven Days Awake in 2007 and signed with Rising Records the following year. 2010 saw their debut album Home released, the Mark Daghorn (Orange Goblin, Trigger The Bloodshed) produced earning strong positive responses. A mix of post hardcore and melodic metal, the eleven track album set the band up as ones to watch and bred a couple of hungrily viewed videos. The first release with their new label, Take Your Aim with its tightly carved aggressive traits and even more emotive progressive potency is set to take Everything Burns to a new level of awareness. It has a sound which is familiar, already the release pulling strong comparisons to Bullet For My Valentine with its voice maybe too close to the Welsh band for some, but also there is invention which intrigues and suggests the band is well on its way to finding its own true stance.
From the intriguing Intro, a very brief piece of combustible sonics and fiery vocals with metalcore tendencies, the release opens up its melodic arms with Ghosts & Angels. Initially it has to be said that there was a tinge of disappointment as the intensity and commanding first track suggests something similar ahead to what the second track delivers but song and band soon with a potent mix of crisp rhythms from drummer Jez Marshall alongside sonic flames of guitar from Chinn Lawlor and Vince Finch inspires concentrated attention. As the excellent vocals of Kellow light up the already bright encounter with strength and expressive melodic poise, ably backed up by the equally strong tones of Finch, it is impossible not to be excited by the first single from the album and release after all.
The skills of the guitarists and vocals easily impress at this point and only further their status as the title track steps up next. From a music box beckoning the song pounces with melodic elegance and inciting temptation, their seductive fire finding the equally inviting bass of Aaron Robins prowling the outskirts of their imagination. It is a captivating and contagious mix which spreads open the invention and thoughtful songwriting of the band into clear sight and though again you could claim the song is heavily whispered with the BFMV spice, it more potently reveals the promise and creative enterprise and class of Everything Burns, whilst again the vocals of Kellow and Finch leave a smile on the ear such the solo and combined talent and raw harmonic delivery they find.
Both Our Story and Interlude fall beneath the impressive stance set by the opening trio of tracks but at the same time reinforce the quality of band and sound especially the second of the pair where emotion and passion drips from every note and syllable. Neither find something truly new or distinctive to engage deeply though as the release is one which gets better with each and every listen, it has to be said to dismiss anything about this pair is wasteful with both revealing plenty to be enthused if not exhilarated about. The same can be said of Battlefields, another track where a flame of beauty accompanies undeniable passion and creative intensity. With almost carnivorous riffs and snapping rhythms the song is a formidable proposition but fails to find a strong snarl behind the wealth of melodic triumph. It is a thoroughly pleasing song though and one easy to return to, like the album itself.
Shadows and Whomper finish off the release, the first an excellent blend of growling bone splintering, riff guided antagonism in league with tempestuous emotive harmonies and searing melodic invention. It is an easy rival to the opening songs and again leaves only keen to endorse impressions of the band whilst the closing track is an unpredictable tempest of ideas and rhythmic shuffling honed with metal cursed invention. Both make a final persuasion which is pleasing and ear catching, something you can throw over the whole of Take Aim.
Yet to find their true voice, Everything Burns sets a satisfying and exciting base for their future endeavours whilst lighting up the appetite right now.
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