Not to be confused with the excellent US alternative rock band of the same name (though they may not be going anymore), rockers Resin are stepping forward to find their place in UK rock with new album Embrace The Fall. Nine tracks of accomplished and adventurous grunge and alternative rock, the album is a strong and enjoyable piece of honest sounds and thoughtful invention though not flawless and at times not equipped with enough to have the passions firing on all cylinders compared to other bands and releases. The album nevertheless is overall an enjoyable slice of musicianship and imagination.
Formed in 2006 in Hinckley, Leicestershire, from the meeting of guitarists Mark ‘Chez’ Roseby and Sime Yarwood, Resin was soon a trio with the addition of vocalist James Botha, who had just relocated South Africa. After a search the line-up was completed by bassist Dave ‘Sev’ Seville and Mark Abbott who plays drums, cajon, and cello. 2010 formerly introduced the band to the public soon backed by a wealth of live shows and numerous festival appearances. Since then they have shared stages with bands such as Voodoo Six, Fearless Vampire, I am Giant, and Dr and the Medics, whilst honing their sound and craft. With inspirations worn proudly on its sleeve, the music of Resin has loud whispers of bands like Seether, A Perfect Circle, Alice In Chains and more to it, whilst coincidently also reminding of the other Resin mentioned previously and smaller US bands such as Damsel Down.
Listening to the album the qualities and skill of the members of Resin is undeniable each offering an intelligent and intriguing narrative which many bands could take note of. This makes each song a passage of emotive and personal discovery wrapped in sounds and imagination that strengthens the musical drama and lyrical potency. From the opener Entropy onwards you feel every song comes from the heart and every note and word is bred from reflective passion. The song opens up the release with an introduction of almost melancholic guitar paced by the excellent call of the cello from Abbott. There is warmth to the slowly emerging atmosphere being cast by the track, a heat accelerated by the joining vocal harmonies and tight guitar flames. Into its heart the track ambles nicely along with enterprise and infectiousness but also immediately shows the weak points of the album. Firstly as with the majority of the songs there is a too close a familiarity to others which influences have sprung from for the band, then there are the vocals of Botha. His voice and delivery is great it has to be confirmed but within the song and album, and primarily down to the third issue of the cloudy production, there is a missing snarl and depth to ignite the songs further. For all of that though the track makes a pleasing start to the album and ensures continued participation of its course.
The following pair of Carpe Diem and Fallen flounders a little in the wake of the opener but again do enough to keep attention firm, the first a Pearl Jam like blaze of sonic and melodic empathy with thoughts and the second an inventive breeze of strings alone caressing the delivery of Botha whilst adding their own emotional hues. Both though suffer from the production of the album which defuses their potency and impact. Their successor Fake does finds good company in the dulled sound, riffs and bass carving out a formidable presence veined by crisp beats, but equally the surface production tempers the success by blunting the cutting edge of vocals and guitars with a seeming lack of understanding. It is a shame as the song itself is full of promise.
After the fiery Instinct the album’s pinnacle opens up its declaration. Beskadig, meaning damage, injure, spoil, is sung in Afrikaans by Botha and in its acoustic delivery offers a charm and deep emotive presence that defies producer and mix to create a real gem of a song. Acoustic guitars and touches have a ready and welcome place on Embrace The Fall but nowhere else is it as impressive and thrilling as upon this enthralling song.
The highlight is followed by the Nirvana bred Clouds, a song which again has all the attributes to satisfy and leave the listener hungry for more but its close proximity to the Seattle band in sound ensures it fails a little flat especially when it opens up the burners. The raucous aspect of the song has no definition to its fire but with the smouldering croon which surrounds the expulsions offering strength and seductive temptation, the song is another showing the potential of the band and the wish with no disrespect to those recording the album that Resin finds understanding hands ahead on their releases.
Completed by the very decent and melodically vibrant Poison and an acoustic version of Clouds which fairs stronger than the full version to be honest, Embrace The Fall is a pleasing album but one which could have been much better, a lost opportunity in many ways. It does make for an encounter that marks the band as a rising proposition and one hopefully finding a studio able to exploit their certain talent.
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