Marble Ghosts – Self-Titled

By RingMaster Review on March 1, 2024 • ( 0 )

The Canadian music scene has never been slow in introducing some propositions that have become an itch and in turn very often a passion for our musical appetite here at The RR. Recently emerging Ottawa-hailing metallers MARBLE GHOSTS have certainly become the former in quick time and with more encounters like their self-titled debut EP are destined to walk the path to the latter.

In their EP’s press release, MARBLE GHOSTS is described as consisting of “A death metal drummer, an old-school metal bassist, a singer heavily influenced by 90s grunge, and a metalcore guitar player,” and one that blends ‘genres and generations’. It is a mix that is reflected in the band’s sound and release, not necessarily in those precise genres of its creator’s journey to now but certainly in its weaving of varied flavours and dextrous imagination. It is a sense of diversity though forging an individual voice and presence to music and band alike and soon casting a seam of rousing incitement within EP opener, Old School.

As each track shows there is a snarl and aggressive dispute in their respective lyrical examinations that is echoed in the rapacity of the sounds that embrace them with the first track rounding on those of vocal religious minorities that refuse to accept those of “different shapes and forms”. It is an anthemic contagion of sound and support, a track drawing on the instinctive nagging of thrash metal and the creative fire of heavy metal and forged in punk metal ferocity. It proved an immediate pull of ears and keen involvement as too, emotions with vocalist Dylan Gunnell a powerful and involving roar.

Paul R. Champagne’s thickly enticing bassline leads the following Lie to Me into view and is soon joined by the irritably crunchy riffs of guitarist Adam Hansen. It is an attention-grabbing start to the track that soon escalates with the subsequent drama-loaded predation of the latter’s guitar further courted by the pugilistic jabs of drummer Jérôme Renaud. A relative calm descends as Gunnell’s vocals cast their contemplation though there is still menace in riffs and the song’s rhythmic prowl. As its predecessor, the song also shares that multi-flavoured breeding with a Three Days Grace-esque breath sweeping through at times.

Alone is next up and quickly weaving a progressive-hued tapestry of sound and textures that continues to evolve through a dextrous fusion of rock and metal-inclined enterprise. As much a raucous trespass as a melodic musing bred in a sense of fear, the song soon and increasingly fed our growing appetite especially with its subsequent unpredictable twists and turns while False Heroes, a track in many ways echoing the band’s name and its inspiration from “historical figures revered by some as pioneers and trailblazers but who also committed terrible crimes”, aligns grunge instincts with alt and dark metal intimation and indeed at times intimidation. It is a track that crept up on us, making a potent first impression if not as dramatically as its companions but became a lingering haunt of the imagination over time.

End Of The World completes the EP and no lie instantly had us drooling with its air of nagging menace veined by swarthy guitar lures and a tension of creative distraction, an imposing coaxing soon evolving into a full incitement of animated temptation and keen adventure. Grabbing favourite track honours in its greedy fists, the song prowled like a predator and roared with punk dissidence, aligning both to melodic and sonic drama.

It is a striking end to a release that even as we write and listen to once more has only further grown in presence and impressiveness. MARBLE GHOSTS is sure to be a new proposition to a great many as they were for us but a band we have the feeling will soon be unmissable as they continue to make strong waves following this rather impressive debut.

The Marble Ghosts EP is released March 1^st