Creating a plaintive post hardcore roar with an emo tinged heart, British outfit One Last Daybreak release their debut EP this April. Offering up five ear luring tracks, A Thousand Thoughts is a potent introduction with a strong ability to grab attention while revealing the potent potential within its creators along the way.
Essex hailing, One Last Daybreak is as fresh as they come, emerging this past January. Whether they have taken time before then honing their style and sound we cannot say though it would not surprise such the accomplished nature of their first release. It has the great rawness which comes with a first endeavour from a newly uncaged proposition but equally a sure touch and imagination which suggests bigger things ahead even at this early stage. With inspirations including the likes of My Chemical Romance, Architects, and Underoath, One Last Daybreak quickly make a persuasive statement which to be fair becomes even more compelling by the listen.
A Thousand Thoughts opens with its first single According to Pleasure, I Was Low on the Food Chain. A lone guitar makes a keen melodic invitation and is quickly joined by bold rhythms amidst a colluding sonic jangle. Vocalist Connor Catchpole is soon in the midst of the lure with his melodic, angst lined proposal; his strong delivery just as potently backed by that of guitarist Jack Smith to create a fiery and enticing union. Quickly the song has the body bouncing as familiar strains meets fresh endeavour, the strings of Smith and lead guitarist Matt Pike creating a captivating weave over the darker moody hues of James Hicks’ bass. It is a strong start to the release enticing ears and intrigue with ease if offering elements of predictability but for personal tastes is soon outshone by the following track.
The Sand In The Hourglass, The Life In My Lungs instantly makes for a compelling affair, the resonance of drummer James Hart’s first swings ringing around the enticement of guitar before driving the blossoming track with boisterous energy as vocals and sonic imagination brew their winning persuasions. Swiftly there is a freshness and spark to the song less noticeable in its predecessor, its character and imagination bold with a fire in its belly which erupts with lava-esque intensity. Short and voracious, the song grabs and firmly retains best track honours though the EP’s title track soon makes for an eager rival with its infectious nature. Though it misses the keen creative invention of the last track it makes up for it with its rich catchiness and eager energy aligned to that natural flair in sound the band seems to have.
The release is brought to a close by firstly In The Movies, a blaze of sonic causticity and temptation further fired up by vocal ferocity and melodic infection, and finally A Coffin For Two. It is an assault of wiry grooves and voracious riffs backed by rhythms with the intent to split bone and a major rival to that top track title. With metal, punk, and rock essences all become embroiled in its physical and emotive furnace; the song is an irresistible predator which alone sparks a real appetite for more.
As suggested, A Thousand Thoughts only gets more enjoyable with every play as too anticipation for the potential it reveals. It is a great sign that the band’s strongest and most striking moments is when they replace familiarity with bold adventure and an edge of unpredictability and though too early to declare One Last Daybreak as the future of something or other, the ingredients to make a mark are brewing nicely.
A Thousand Thoughts is released April 7th.
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Pete RingMaster 04/04/2018
Copyright RingMaster: MyFreeCopyright
The EP opens with Skeleton Boy which quickly shows the vocal and melodic prowess of vocalist/guitarist Alex Cortright. As the darker hues of Brandon Washington’s bass unites with the swinging beats of drummer Arun Bose, a great blend of brooding and lighter sonic hooks ensnare ears as Cortright’s roars continue to flame and impress. There are elements which really grab attention but equally from sound and the raw side of the vocals things are a touch too formula; failing to ignite personal tastes beyond being contented and firmly intrigued.
The potent beginning continues with the predatory prowl of The Downfall Pt. I: To Feel Alive. Initially it smoulders within imposing walls with mellow melodies and vocal coaxing but is soon building a volatile atmosphere and intimidating lining of textures, though still dipping into its elegant reflective heart throughout. Once more Manson is an obvious comparison to a song which at times has you drooling and in other moments simply fascinated by its adventurous nature and spicing.
The Path That Sadness Paved opens with new single/video Sleeping Pills, immediately covering ears in a wave of melodic enticement and sonic coaxing punctuated by firm handed rhythms. The rich tones of vocalist Alex Taylor make an equally potent impact on first impression, flourishing in the embrace of the song’s resourceful drama and imaginative enterprise whilst the track seems to only blossom further with his melodically honed impassioned roars. It is a fiercely magnetic start to the release, as suggested not a song breaking down boundaries but, as the EP, powerfully leaving ears and appetite hungry for more; a success in anyone’s book.
The lighter and warm infectiousness of The Road swiftly shows there is more to the songwriting and imagination of the band than vociferous intensity. An electro bubbling lies in the belly of the proposal, whilst the melodies cast spring emotion and warmth in song and ears. The harsh assaults of vocals are not as successful for personal tastes against the excellent clean delivery of Boyle and the flow of the encounter, but do not prevent ears and satisfaction being captivated before making way for the bands new single, Others. The song is a lively, emotive stroll of pop rock with dramatic shadows and a fiery enterprise leaving only satisfaction in its wake.
