Since forming two years back, Welsh metallers TREP has earned potent support and reputation across South Wales. Now they are hoping to spark similar reactions further afield with the release of their debut EP, Lucian and with it offering up five slices of imaginatively woven alt-metal it is not too hard to expect decent success in the intent and hopes of the Cardiff based trio.
Lucian revels in the band’s mix of classic and modern alternative metal, its character nurtured in melodic dexterity and rousing choruses gifted with individual craft. Freshly breathed and individually natured it also embraces inspirational hues of bands such as Muse, QOTSA, Mastodon, Tool and Breaking Benjamin; the first pair openly spicing the EP and its song’s inventive flavouring.
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.
It is easy to hear why the song made a more than decent lure to attention when released as a demo in 2017, and is now flourishing in the band’s growth in sound and the surroundings of the EP; its rich presence matched by that of next up The Time You Have Lost. There is something familiar to the track which only adds to its swift lure and bold enterprise whilst welcoming an array of melodic and sonic hues to its creative breast. Arguably even more virulent than its infectious predecessor, the song equally has its own volatile instincts which just add to its drama and increasingly captivation.
The EP’s best track is followed by the equally enticing It’ll Never Happen. Rising on a calmer breeze of sound and attack, it strolls with inescapable catchiness but all the while is brewing up the next twist and turn which then breeds another moment of fluid but unpredictable adventure. Maybe more of a grower than its predecessor despite its swift persuasion, the song rises to set down one more highlight of Lucian before another potent bloom in Architect spins its own dextrous and resourceful web around ears. Classic metal spicing accompanies its rise, Avenged Sevenfold coming to mind a little as the song broadens its tempting but also there is something to it which carries an eighties rock/new wave flavouring. It is an essence which teased within earlier songs but is a rich scent here even if a direct comparison still evades our ears.
The outstanding Better World brings the release to a close, the song an alluring mix of melodic metal and stoner infused rock ‘n’ roll with rich grooves and versatile rhythms offering to references to the likes of Mastodon and Red Fang. Again the great vocal mix of the trio is a magnet within the captivation of the sounds set on casting their own adventure and eager temptation.
Impressive from the off and only increasing its stature and potency over time and listens, Lucian is a striking and rousing first proper introduction to TREP; so much so we are already greedily anticipating the next chapter in the sonic story.
The Lucien EP is out now; available @ https://trepmerch.bigcartel.com
https://www.facebook.com/TrepBand/
Pete RingMaster 21/03/2019
Copyright RingMaster: MyFreeCopyright
A calmer air is brought by TKO, its Three Days Grace meets Chevelle breath and emotive heart nothing less than captivating while latest single, Soldier Boy, whips up an earnest rock ‘n’ roll saunter with energy in its spirit and vitality in its craft. Vibrant melodies unite with warm harmonies, flying beats with an earthy bass rumble, all bursting through ears alongside creative resourcefulness which is as anthemic as it is intimate.
The haunting beauty and melancholic grace of brief instrumental Apparition leads the imagination into the waiting harmonic drama of Run. As guitars spin a beguiling web, Nichols croons with organic temptation being just as potently backed by the vocal chords of Hewson as the song flows evocatively through ears. It is a caress of aural sunlight with emotive shadowing which only draws the listener deeper into the heart and emotion of the album; a prowess as deftly conjured within the celestially warm and increasingly volcanic Waiting For You where progressive and melodic textures collude with metallic trespasses. With a capricious character and mercurial climate, the track is nothing less than thick enticement for ears and plaudits.
Running Back To Me leaps upon ears next, instantly winding tempting grooves around them as vocals and riffs unite inside. Boireau again commands attention though sharing it with the creative exploits of PC and the firm hand of De Sousa’s energetic beats. Carrying more of a mix of Three Days Grace and Poets Of The Fall to it, the track eclipses its predecessor with its emotional intensity and creative drama; again big surprises absent but enjoyment felt full.
It is a great start which barely waivers over the next stretch of songs starting with the album’s title track. The band’s hard rock bred sound is in feisty mood from its first breath, almost irritable in its sonic jangle backed by attitude lined rhythms. Increasingly fiery yet equally catchy, especially around its sizzling chorus, the track has feet and emotions quickly involved and in time exhausted, though they get a chance to relax with the sultry smoulder of Good Die Young. The fiercely energetic tracks always emerge as personal favourites across an Adelitas Way encounter but as proven here, the band is very accomplished at creating emotively and sonically incisive balladry. Expectantly it does come with a raw edge and dramatic intensity which only helps it make a potent impact as enjoyment flies high.
rhythmic swipes which awaken attention and imagination instantly. It is a feisty entrance by the song which is soon entwining senses in taught grooves before relaxing into a melodic and emotive caress clasped by evocative shadows. It is a fiery relaxation though which is soon aflame as the rigorous chorus erupts with similar vocal causticity from Childers. It all combines for a gloriously magnetic lure aided by the great throaty prowl of the bass and those firm swinging rhythms which punctuate every twist and emotional expulsion of the song. As lyrically gripping as it is in sound, the song is like a mix of Johnny Wore Black and Sick Puppies, and a scintillating start to the release which alone fires up a hungry appetite for more in the passions.
and emotional caress with the vocals of Green taking little time to impress amongst sturdy beats and sinew driven riffs. The melodic heat and expressive voice of the track equally lays a reflective enticing lure and with an element of Seether to it, the song makes an excellent lead into the heart of the release which is straight away backed up by Time is Running Out. Again there is a familiarity to the track, something which applies to the album as a whole, but equally there is a flourish and intensity which marks it as Emphatic bred. The addictive sonic groove and continuing to impress vocals and supportive harmonies capture the imagination alongside a solid resource of invention and enterprise which parades across the song to bring forth a strong appetite for album and band.