The recent release of their new EP has confirmed what many have been thinking and openly saying, metallers Sertraline are becoming one of the UK’s most compelling bands. Their new five track offering builds on all the potential and prowess of its acclaimed predecessor and then lays down its own plateau of craft and invention which simply demands attention.
Emerging from Stoke-On-Trent in 2014, Sertraline has increasingly tempted support and thick praise through releases and a striking live presence which has seen the band share stages with the likes of Voyager, Sumo Cyco, Forever Still, Butcher Babies, Kobra and the Lotus, Skarlett Riot, and VOLA over the years. Second EP, Guilty was a potent moment in their rise up the ranks with its release in 2017 but we expect to be richly outdone in success and plaudits by Clouded Minds & Silver Lines.
Already rich in enterprise and imagination, the band’s mix of progressive and melodic metal has simply grown between releases, its snarl is more intense, melodic radiance growing inescapably seductive while the craft and imagination behind each aural tapestry within the new outing as captivating as the sounds they cast as swiftly proven by EP opener, Inside Out.
The track beckons ears with a melodic weave initially, one soon cradling the warm melodic tones of Lizzie Parry. Suggestive and tempting, it opens up to an even more intriguing and inviting proposition with a more steely weave of grooves emerging. There is something of a Voyager like hue to the song which only adds to its temptation before the predatory instincts and traits of their sound fully erupt. As the track expands Lizzie soon shows her growing prowess of blending guttural and melodic vocals to echo the mix texturing of the sounds around her, they also an evolving adventure in ears as the rhythmic dexterity and predation of drummer Si and bassist Hendo align to the adept enterprise of guitarists Mike and Wilson.
Mean to Me II follows, rising in a sonic breeze to sweep through ears with a sinister breath and magnetic agility. As in the first, the song twists and turns as it fuses contrasts in voice and texture, never feeding expectations but creating a fertile landscape of familiar essences and greater fresh invention while its successor 2205, also emerging from a calm distance, unveils a mercurial landscape as forceful as it is contagious. The song is less volatile than the first pair of tracks but certainly bares its teeth and shares a rapacious trespass within its melodic adventure before Screaming For Sleep similarly crafts a tempestuousness confrontation as infectious as it is imposing on the way to taking favourite song honours.
Isolation completes the EP, its name apt for the times we currently are embracing and also a major highlight rivalling its predecessor with every breath from its drama soaked entrance and subsequent raptorial stalking of ears and devouring of the imagination to its capricious prowl and tempting. It is a superb end to a release which impressed straightaway and has only grown in temptation and stature much like Sertraline themselves.
Clouded Minds & Silver Lines is out now.
https://www.facebook.com/WeAreSertraline/ https://twitter.com/wearesertraline
RingMaster Review 16/06/2020
Copyright RingMasterReview
Rude, Dumb & Anxious begins with the instantly riveting Can’t Get Over You and closed by its even more compelling title track. The opener breaks silence with a plaintive voice within a calm caress of bass. Swiftly Haakaas’ beats are stamping authority on song and ears as bass riffs deliciously grumble and share just as embittered grooves. The melodic holler and subsequent swing of vocals are a contagion in their own right, together it all making for a song which dances with the listeners inhibitions as they flee the occasion whilst roaring with punk endeavour.
Recorded, mixed and produced by Steve Bernard, the new EP opens with the outstanding Behind The Cobweb Veil, a brief but manipulative instrumental opening the curtains on the gothic clad show. Keys cast drama soaked on ears and thoughts in intimation, its theatrical breath as intimate as it is gothic picturesque and a captivating start to the release.
of grooves and antagonism of skate punk nurtured riffs compounding the attraction as vocals share their aggravation. Its political incitement sparks alienation and vex on the lyrical and emotive heart of the track, one shared by its contagious but abrasive sounds driven by senses scything rhythms.
Even in the individual character of their sound, Hallows reflect inspirations from modern peers like Soft Kill and Ritual Howls but equally there are certain aspects which bear essences of eighties bred bands. EP opener Out Of Sync is a lure of dark shadows and electronic suggestion, its web portentous in a way yet melodic radiant before the following title track consumed attention. Around the temptation of Vanee’s warm tones, its rhythmic touch carries intimation of early March Violets, almost concussive small explosions on the senses drawing that echo which is only enhanced by the dark throes of bass and Dom’s equally inky tones. This is turn brings thoughts to the likes of Skeletal Family and Children on Stun yet firmly Hallows set their own identity down, the track a striking persuasion.
Combos’ sound has something of a Shelter meets Swound! accosted by Bokassa to it. It is immediately infectious, just as swiftly aggressive and invasive, and an incitement of manipulation we could find few defences to. EP opener Boom Shakalaka tells you all you need to know about the holler and addictive nature of their creative stomping. Instantly rhythms are forcibly jabbing at the senses as riffs nag on punk instincts, their united incitement enough to have limbs punching even before the highly virulent encouragement of vocals and swinging rhythms. As shown across previous tracks, the band cast choruses which feed on one’s inner yell, easy to leap upon and share moments one’s own riotous body and roaring tones with. All the same, if not as bold as elsewhere upon the EP, twists and turns bring imagination and stirring enterprise, every second of the song listener orchestration.
As mentioned Epoché is the first part of the new album with Part 2, Ataraxia, due later this year. The four track encounter is a tapestry of progressive and melodic rock equally embracing an array of other flavours and styles within its inventive walls. Inspirations to the sextet of Chris McManus, Graham Morris, Kye Walker, Michael Anderson, Josh Ingledew, and Oswell include the likes of The Mars Volta and Tool and in some ways both can be suggested without that info by listening to the new release yet it firmly and swiftly sets out the individuality which has increasingly grown across the band’s records.
Recorded and produced by Rob Newman (Therapy?, Pet Crow) in Snug Recording Studios, Derby, Albania Away quickly fascinated with opener Picture on the Wall. An electronic thread led to a lively rhythmic shuffle and subsequent melodic jangle with an eighties indie hue. As Reilly’s vocals join the temptation the swing of the track is in full command, the song catching the imagination with its Lloyd Cole tinged character and boisterous sound.