ENTHEOS SHOW THEMSELVES AS WORTHY SUCCESSORS TO ANIMOSITY'S THRONE

Reviewing a release like Entheos' Primal EP is a difficult thing, ever since Evan Brewer announced his departure from the infamous Tech Death group The Faceless I was half begging for the bassist to reform San Fran Deathcore legends Animosity and with Entheos, that is basically what he has done. It would be rather safe to say that I am perhaps a little too invested in Primal.

...All that said, I would be amiss not to talk about it.

In a very real way Primal is exactly what everyone expected from Entheos and in that way alone could it be said to be disappointing. Considering all but one member of the band hails from the aforementioned Animosity, it is not surprising that Entheos sound rather a lot like the later works of their precursor. Animosity were known (or not as the case may be) as an OG Deathcore band, and are one of the few, in my mind, that successfully merged Deathcore and Hardcore into one whole. In the same way 90s Metalcore ala Earth Crisis, Deadguy, Shai Hulud and similar were Hardcore bands playing Slayer, Animosity were a Hardcore band playing Cannibal Corpse; they took the technical aggression of Death Metal and added Hardcore elements to an even greater extent than Suffocation did before them.

It was a very different world back then, when genre names actually had some basis in the music being played and Screamo didn't just mean angsty Pop-Rock.

As has already been said Entheos share many similarities with Animosity, especially their Animal era, though the Hardcore influence has been lessened somewhat. These riffs from Entheos are equal parts pin-point precision technicality and bone breaking, ear destroying heaviness. Guitarist Frank Costa has seemingly lost nothing since his days in Animosity. The rhythm section is comprised of technical and progressive heavy weights Even Brewer and Navene Koperweis. Since their time in Animosity Brewer played bass with The Faceless and Koperweis drums with Animals As Leaders, there are arguably few better places that each could further refine their chops. It is possible that the perfectly balanced production makes it more obvious than the murky fuzz of old Animosity albums, but Evan Brewers bass work reaches dizzying heights on this release. Never content to keep it simple, Brewer manages to find new and interesting ways to match the progressive ferocity of Costa's riffs. The EP’s name sake track, Primal, shows perhaps the best example of this, where Brewer unleashes a slap bass part unparalleled in modern Death Metal. Koperweis’ beats fit in perfectly too, with drum patterns often sounding deceptively simple when compared to their actual complexity. Some of those timings make my head spin. If you don’t believe me, check out this play through:

The odd player out in Entheos, is vocalist Chaney Crabb, who isn’t just in the band because she’s dating Navene Koperweis. Her vocals are absolutely monstrous and Veil of Maya really missed out when they didn’t hire her after Brandon Butler left in 2014. Her audition performance was so good it was considered news worthy by Metal Injection and it’s not hard to see why. Crabb is a great choice to front the second coming of Animosity and I’m sure Veil of Maya are regretting their choice now.

As I said before the only complaint that can be truly leveled at the Primal EP from Entheos is that a band comprised of mainly members of Animosity, sounds basically like Animosity. For those who have missed Animosity has much as I have, this EP is a perfect return to the heights of that band. For those who have never heard of Animosity and like heavy music that knows how to groove as well as tech the fuck out… well where the hell have you been. Don’t wait another second, listen to the Primal EP... and then some Animosity.

4.5/5

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FREE MUSIC MONDAY:19/01/2015

Free Music Monday does exactly what it says on the tin. Every Monday I will scour BandCamp for only the best free albums.

Free Music.

Every Monday!

Got that? Good.

Let's begin. 

Cowards - Rise To Infamy

There are some albums that are difficult to write about intelligently. Though I don’t mean that in a bad way. It is difficult to write intelligently about an album like Rise to Infamy, for example, because it has no interest in being intelligent itself. That is not Cowards’ intention.  What these Parisians would rather do is tear out your throat and stare into your eyes while you die.

Have I made it clear that this is one violent album yet?

Cold and heartless Cowards have built this album on a simple Philosophy of aural terrorism. From the off it’s clear that the Parisians are here to revel in Sludgy Blackened Hardcore, the slow stomping rhythms of Shame Along Shame acting as the introductory punch to a 10 track beating. The discordant riffing of Never To Shine shows of the more unhinged side of Cowards. No less aggressive, but infinitely more insane. The Black Metal influence perhaps comes through best on Bend The Knee with the huge slab of bleak atmosphere it forces down the listeners through in the last two minutes.  Ultimately it returns to my original point. Rise to Infamy is a heavy, brutally angry album. It feeds back as much as it riffs and doesn’t really give a damn about what you think.

This album could have easily been released on Deathwish Inc. For a band you may never have heard of Cowards are every bit as talented and bloodthirsty as Trap Them, Rise and Fall, The Secret and any other band you may care to mention that merges Black Metal evil with Hardcore Sludge groove. Perhaps even more so.

Entropia - Vesper

I feel I should make something clear to all those who believe Deafheaven were the first band to mix Shoegaze and Post-Rock with Black Metal.

They weren’t. Not even almost.

I could honestly write an entire article about how much about that album digs at many Post-Black Metal fans in small, niggling ways. Though, until I throw away regards for semi-decent journalism and do that, listening to an album with the quality of Vesper from Polish then-quartet Entropia is a good start.

Just in case the small rant relating to Sunbather wasn’t a giveaway, this Post-Black Metal release draws heavily from Shoegaze, mixing it with Black Metal to make something that is depressive and bleak, as Black Metal should be, but without sacrificing the ambience and atmosphere of Shoegaze and Post-Rock. With any Post-prefix style of Metal, or even Rock, there is a tendency to lose some core of what the style original was. Few bands manage to keep the intensity and darkness of their original genre, Alcest, for example, as great of a band as they are, would not fit the descriptor “intense.” Entropia manage to cling on to these aspects of Metal, making an album that is both aggressive, heavy, dark and beautiful all at the same time.

Perhaps the most impressive thing however, is the band’s ability to mix in Shoegaze and Post-Rock elements without feeling repetitive. Repetition is core to the Shoegaze sound, as Kerry McCoy, guitarist of that band I’ve mentioned so much that it’s even starting to annoy me, told d'Addario, it kind of works on a Kraut Rock principle. That repetition forces the listener to go through something akin to the 5 stages of grief, but for guitar riffs. Vesper certainly includes repetitive sections, without them there would be no Shoegaze influence, but somehow, it never feels repetitive. Call that a wishy-washy bit of analysis if you will, because it kind of is, but what I’m trying to get at is that this is a great album. Entropia, with Vesper, masterfully bring together separate elements to a coherent, wonderfully satisfying whole.

Snowmine - Laminate Pet Animal

Laminate Pet Animal is the best Psychedelic Indie Pop album I’ve ever heard. Well, to be fair it’s the ONLY Psychedelic Indie Pop album I’ve ever heard, but Snowmine have written an album that makes me wonder if I really have to check out any other bands in the genre; I get the feeling most other efforts would pale in comparison.

With all members having backgrounds is Classical and Jazz, it is no surprise that the Brooklyn quintet have the ability to write incredibly tight songs, nothing is superfluous and nothing seems over the top. While my focus on the band’s measured approach may put some in mind of a stilted or endlessly theoretical album with no enjoyment to be found beyond dusty analysis, this is not the case. While Snowmine know how to give you exactly enough and no more or less, the sonic pallet of the band is ever shifting and experimenting. All songs are related, but no songs sound the same. Songs are exciting and varied and wonderfully detailed without becoming over-complex; this is certainly a pop album, but a pop album written by people who have incredible song writing ability.

The one weak spot on Laminate Pet Animal are the vocals. Thematically the album deals with some interesting themes, according to an interview with NYC’s The Deli, the album is centred on the concepts of direction and preservation of comfort. It’s all very Camus and philosophical, but in practise, on a pop album, the vocals fall a little flat. They are pleasant enough and the music would be slightly worse off without them but they just can’t hold a candle to the wonderfully written instrumentations behind them.

If the other albums on this list are too heavy for you, or even if they aren’t, Laminate Pet Animal by Snowmine is a stand out Indie Pop record that is really worth your time. 

Interested in having your band featured on this weekly article? E-mail us at pyramidnoise@gmail.com with the subject line "Free Music Monday" with links to your Bandcamp page. 

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