With a reputation well on the rise, UK metallers Earthbound have just released their new EP, an encounter which is going to do their ascent up the metal ladder no harm at all. Four slabs of the band’s melodic death metal nurtured sound, Desolate swiftly grabbed attention and only proceeded to tighten its grip thereon in.
Hailing from Hitchin, Earthbound emerged in 2017 and soon lured interest with their debut EP, Endure a few months after. Originally a quartet, it was with the recruiting of guitarist John Stacy to stand alongside vocalist Tom Watson, guitarist/vocalist Louie Penfold, bassist Chris Stroud, and drummer Richard Shearing that something “clicked” within the band. An acclaimed appearance at Bloodstock Open Air Festival and playing support to Doyle and Countless Skies followed to enhance the word on the band and a sound which within Desolate devours the senses and ignites the imagination.
With the likes of Trivium, Iron Maiden, Arch Enemy, and Countless Skies declared as influences, Earthbound create a tempest borne out of death metal voracity meets melodic metalcore dexterity. It proves a compelling proposition within their new EP, each track adventurous in intent and accomplished in invention. It begins with Of Suffering, the track looming from the distance with open ferocity to quickly explode upon ears. Riffs and grooves invade as rhythms blitz the senses yet immediately there is an instinctive contagiousness which escalates the lure of attention. The raw throated squalls escaping Watson are just as potent a trespass as the sounds around them, the backing yells of Penfold as forcibly eager, but it is with the clean delivery of the former that the track truly ignites. Both sides to his presence provide strong quality but his melodic presence is especially striking. The song itself continues to harass and tempt as it too reveals an enterprise of varying flavours and textures across its dramatic landscape, the EP off to a powerful and impressive start.
Solitude follows with melodic enticement as its coaxing, its atmospheric breath soon welcoming another emotion rich clean delivery from Watson. Drama soon lines every note and the subsequent rally of rhythms before dark clouds intensify skies encroached by equally darkening sounds. From within more classic metal spiced threads of guitar emerge as keys float across the air of the song, its ground a motion of volatile endeavour. Toxic breath also infests the vocals as the track continues to expand and blossom, its landscape as unpredictable and imaginative and indeed magnetic as its predecessor’s.
Similarly Worlds Apart opens up with melodic radiance to the fore, vocals and guitars a warm invitation though shadows still lurk and eventually step forth as the mercurial climate of the track sparks with greater tempestuousness. Nevertheless, its melodic metal imagination fuels every twist and level of intensity before Remnants grips just as thick attention with its steely wires and invasive ruthlessness. It is a tempest of sound and craft which leaves no second void of persuasion and moment lacking the drama of enterprise. With a passage of atmospheric calm and emotive intimation like an irresistible oasis in an ever compelling storm, the track provides a powerful end to an equally striking release.
There are certainly moments and aspects which excite more than others within Desolate but from start to finish it only impressed, Earthbound living up to their reputation so far and laying seeds to a far greater level of plaudits ahead as they continue to grow and evolve.
Desolate is out now.
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Pete RingMaster 15/10/2019
Copyright RingMaster: MyFreeCopyright
What’s Left of Me has an eighties metal breath to its opening holler which is soon immersed in the more voracious traits of the song but is never quite devoured to add further flavour to the traditional breeding of the encounter. Though not quite hitting the heights of its predecessors for personal tastes it is a magnetic affair from start to finish before being fully eclipsed by The Prophet. The following track immediately had the imagination engaged as its shadow thick crawl into view comes rich in intimation. The slowly revolving groove at its heart is pure melodic liquor, continuing to intoxicate as the track weaves its temptation and Blower unveils his guitar craft and enterprise to its fullest depths. The song is superb and quickly takes favourite track honours never relinquishing that spot to its following companions.
The EP opens up with Meet My Standards and instantly hits its stride and groove as riffs and rhythms cast a familiar thrash incitement upon the senses. Its voracious swing just as urgently got under the skin, setting up body and appetite for the subsequent trespass of familiar yet as suggested freshly animated thrash enterprise. As arousing as its assault is there is also a predatory essence which particularly stalks the listener in certain moments before One Mouth Two Faces brings its own rapacious canter and character to the fore. Forbes’ bass particularly grabbed the appetite but no more than the insurgent riffs and intrepid wires of the guitars and Kamal’s potent tones, it all resulting in a track which easily splattered the spot.
That predatory air retains its presence within The Demagogue, the following song also a court of threat and contagion which almost swaggers around ears as the guitars spin their sonic threads and rhythms pounce. Like a fusion of bands like Testament and Slayer, it hits the spot; increasing its temptation as calmer climes are ventured and melodic intimation embraced. It’s subsequent rising heat and intensity brings it back to its original sonic inference before Saviour explores an even darker trespass of menace and seduction. As we suggested, Infrared is not set on reinventing the wheel of thrash metal or even their core sound but there is a bold lining of adventure and imagination which makes their music and especially this track stand out.
It is a potent and enticing start Dead On Arrival continues with its bristling and irritable but fiercely infectious attack. Leading up to its virulent chorus, the song commands eager attention but grabs it like a puppeteer with a focal point which has neck muscles and fists as involved as vocal chords. Around that beast of a chorus, the guitars weave a web of enticement as rhythms again prowl and pounce with anthemic prowess, the track real evidence of the band’s growing and evolving sound whilst stirring up the senses and attitude with prime thrash volatility.
The opening whirl of guitar in The Answer had ears totally enthralled, its craft irresistible and continues to tempt across a song which to be honest otherwise did not make the same impact as its predecessors yet was the centre of attention in its increasingly enjoyable company before Crisis of Hope takes centre stage. It too makes a transfixing entrance, its hook fuelled lure Skids like and subsequently coring an emerging Jane’s Addiction-esque stroll. As the previous song, it was bit of a slow burner on ears though making a more than decent first impression, but grew minute by minute, listen by listen into another highly enjoyable encounter within Dawning if still missing the heights of the first trio.
The epic Thuribles Veil Part 1 is next, ten minutes of carnivorous riffs and grooves courted by just as predacious rhythms as throat raw vocals merge with harmonic beauty and melodic suggestiveness. The track is a cauldron of perpetual intensity, mercurial aggression, and compelling imagination, a playground for ears and thoughts even without the direction of lyric and voice. To be honest, that pretty much sums up the whole of Pallid Reflection and though familiar elements still emerge it would be fair to say they are treated with an invention and flair which defuses familiarity.