As maybe for many others, American-French hardcore outfit One Life All-In have evaded the radars here up to this point but certainly now explode on screens with the release of new EP, Letter Of Forgiveness. Unleashing six tracks which rip at the senses whilst inciting ears and appetite, the release is a stirring and striking incitement ensuring the Cleveland based band will be given rich attention ahead.
Back in 2016, One Life All-In was formed as a side project when, after former The Spudmonsters / Run Devil Run vocalist Don Foose appeared as a guest singer on the Seekers Of The Truth album Oldskull Revenge that band’s guitarist Clem and bassist Franco invited him to join them in a new adventure. The following year saw the release of One Life All-In’s debut EP, The A7 Session; praise carrying reviews followed by tours across Europe the result of its success.
Now the quartet, its line-up completed by drummer Kevin Foley (Abbath, Benighted), have returned with the second assault on the senses and imagination, and we for one are now keenly giving them attention. Hardcore tagged, the band’s sound soon reveals itself a richer mix with alternative metal and rock essences entangling with punk within a forceful incitement, as uncaged by the EP’s opening title track.
Letter Of Forgiveness instantly erupts in a harassment of invasive riffs and concussive rhythms, its initial trespass soon a purposeful stride through ears with authority and attitude driving every note and stirring step. Straightway the multi-flavoured character of the band’s sound is an open incitement as too the strong presence of Foose’s vocals and the great earthy snarl of Franco’s bass. In truth every aspect of the track proved a magnet for ears, its fusion of metal and hardcore with a classic rock bent a thick lure we soon eagerly chewed on.
The excellent start to the EP continues with Cold and Struggles, it too an immediate attention grabbing enticement with a vocal holler as manipulative as the nagging sounds around it. The senses swiping swings of Foley allow no escape from a quickly found addiction, nor the hook laden enterprise of guitars and bass matched in tempting by the band’s singular and united vocal incitement. Hungry and inescapable contagious, the song soon took favourite track honours though seriously challenged throughout the release, its moments of Shelter like rapacity that extra telling temptation.
Sacred Heart is next up, a dark tide of riffs following rousing drums the opening gambit for attention, one soon rewarded by the track’s brewing cloud of intensity and lively imagination. Again Foose provides a potent weapon and lure for ears and thought, guitars casting a sonic web around him as rhythms stalk the senses with matching infectiousness. The track is a predator, a threatening arousal as irresistible as it is barbarous, that ruthlessness growing and erupting with contagious hunger as the track evolves.
Melodic invention is just as potent an aspect of the song and again an alluring hue, if less prominent, to the emotionally erratic and creatively psychotic Hey man!, an outstanding track which from start to finish of its brief but dramatic presence aligns provocative control and urgent frenzy in one gripping proposition.
The EP concludes with firstly 83rd dream, a weave of melodic intimation and vocal suggestion which brews its own particular tempest of sound and drama, and lastly Discharge. The penultimate song epitomises the ability and agility of One Life All-In to align contrasts and diverse textures in an equally mercurial landscape of trespass while its successor revels in the band’s dexterity in going for the jugular whilst inciting spirit and defiance upon world ills. It’s anthemic energy and fervour again echoes that of all songs within Letter Of Forgiveness whilst forging its own greedily devoured moment of utter enjoyment.
Letter Of Forgiveness has been described as the best thing to escape One Life All-In yet and with a hindsight listen to its thickly enjoyable predecessor we can only agree. Finally the band has erupted on our radar and left an indelible mark and we suggest, if you have not done so yet, giving the band a moment to score your hardcore appetites too.
Letter Of Forgiveness is out now; available @ https://onelifeallin.bandcamp.com/album/letter-of-forgiveness
https://www.facebook.com/onelifeallin
Pete RingMaster 04/07/2020
Copyright RingMasterReview
How would you say your sound is evolving so far?
EP opener, Pieces, immediately demanded attention, the rapier like swings of drummer Ross Curtain landing with contempt as the song forcibly stirs with the bass of John Brodie beginning its grievous grumble. That alone has us more than attentive and with increasing focus as the guitar of Micheal Germon began unwinding its sonic wiring. Out the senses challenging start, rousing grooves wind around ears before, within a breath or two, the melodic tones of Lorraine Brodie complete the creative palette as the track’s imagination really takes off. It continues to prowl, severely growl, and harass but equally weaves a deviously infectious tempting which is echoed in the dual styled vocals of Lorraine.
Nothing Dramatic opens up with its title track and immediately had ears pricked with its initial spindly riff, a hook even more enticing as a mass of noise bred temptation brews up around it. Straight away an infectious coaxing is at play, becoming even more mischievous as the band’s alternative rock bred sound erupts with a devilish swing and melodic tempting. The vocals of bassist Jake Tilley are just as magnetic as the enterprise around them, his and drummer Stevo Somerset’s manipulative rhythms caging the inventively magnetic exploits of guitarists Josh Pearl and Alex Young. Blending muscular and forceful textures with more poised and seductive hues, the song sets a high bar for the release and a moment which remained our favourite though closely nudged throughout the EP.
Too Dead To Dance sets the EP off and alone convinced there was something special going in within ears, its declaration subsequently echoed across its companions. The outstanding opener instantly had its hooks under the skin as the rich clean vocals of guitarist Caleb Freihaut align with the rapier swings of drummer Kai. The guitars of Jake Morgan and Nathan Simpson add to the emerging theatre with the waiting throat scathing roars of fellow vocalist Jarett Clark poised to erupt upon the already alluring mix. With every passing second the track simply escalated its captivation, the grumbling swing of Patrick Reuben’s bass adding further threat within the melodic enterprise embracing Freihaut‘s expressive dexterity.
It is a great start to the release driven by the rhythmic powerhouse of drummer Frazer Parker and bassist Pete Cook; their muscle complemented by craft as echoed within next up Epitaph. Similarly the prowess of Allison’s delivery and tones are a potent essence in the track’s adventurous stroll, the guitars of Jamie Parker and Lewis Wheeler writhing and creating around all with sonic and melodic dexterity. As all tracks; it too is an offering which revels in its mix of metallic and melodic strains which teases of others yet never shares anything less than individuality.
The first of two EPs which together unveil an elaborate story with themes looking at “dystopia, a dictatorship, and the use of technology for a chance at a better world…but at what cost?” the swiftly fascinating Lucian opens up with the single Silence the Crows. Immediately a guitar cast wire entangles ears, winding around their flesh with intimation and dexterity as rhythms gather their bait and in turn the quickly captivating vocal blend of guitarist Rhys Evans and the supporting tones of bassist Sam Green and drummer Max Hill steps forward. There is a flirtatious touch and lure to the song from its first breath but equally a snarl in its melodic almost deceitful smile, an edge which is as much threat as it is sonic enterprise as Evans guitar reveals greater flavouring and invention by the passage.
The increasingly magnetic and impressive start is easily continued by the album’s title track. It too springs from a seductive sonic lure if one which lances the senses rather than caresses them. The emerging web of guitars ensnared ears with swiftly nagging and devious intent; a strength of coercion matched in voice and rhythm. There is a touch of Mudvayne to the track at times which does it no harm or indeed the atmospheric winds which bring haunting melodies amid seemingly calm but dark aural intimation.
Through the equally tense Bareknuckle Lover, the mercurial attack of the track as alluring as it is resourceful, and the lively emotive roar of For Kingdom For Glory, Chasing Dragons continue to add fresh adventure to their release. The second of the two in some ways promises more than it delivers, certain inventive moments not exploited as much as personal tastes wished yet is still a gripping snare of sound.
Bring Out Your Dead opens up with new single I Collide. Instantly voice and guitar link up in a rich melodic lure as darker rhythms keenly prowl. It is a warm enticement though swiftly showing its volatile nature as irritability surfaces through djent natured trespasses and rawer throated vocals. Similarly there is an increase of fire to the melodic enterprise as the pair creates a cauldron of contrasts and emotive intimation in the music alone, Whitmore’s ever alluring vocals sharing that internal conflict within the exploration of the external one perpetually working away through our lives.