British Pride
Believe it or not, we reviewers don't really like giving bad reviews, we live in hope that one day the album we've been waiting for, arrives on our welcome mat. Writing a review for a likeable CD, is not only easier, but also gentler on the ears. Although the bad reviews maybe more interesting to the neutral party, for the person writing the review, listening to the album over and over can be a soul draining experience. I don't want to say that Interlock's debut release 'Crisis/Reinvention' is the album I've been waiting for all my life, but out of all the new artists I've reviewed for Room Thirteen, it has the most potential.
The metal media is always on the look out for something new, a band that pushes the boundaries of conformity, a group of musicians who have a different take on the usual metal formula. 'Crisis/Reinvention,' although not totally different to current musical climates, (mix some cyber thrash and a little nu-metal and you're half way there) they do have one asset to their frenzied assault, and that is the way they use their two vocalists.
Although having two vocalists in your band is nothing new, having a male vocalist and female vocalist is nothing new either. The usual un-written rule is that one vocalist does the shouting, whilst the other handles the clean vocals ala Caliban. (Although there exceptions to this rule) When you have a gender mix, as it is in Interlock's case, the style tends to be the 'beauty and the beast' syndrome, the man sings like a demonic beast whilst the woman contrasts this by sounding angelic. Interlock has made the bold and inventive decision of utilising every aspect of both Emmeline May's and Hal Sinden's vocal techniques. Both can scream, shout and roar, but they also add those simple sections of clean vocals that make the band sound unique. Not sticking to the 'you sing the verse, I'll sing the chorus' technique, they swap lines of dialogue as if they were locked in a vocal duel with each other. Emmeline, in particular is quite a talent, she can be within Angela Gossow territory one minute, treading of the toes of Otep the next, and for those subtle parts she has the feel of Cristina Scabbia.
Opener 'Skinless' is a brutal slab, with Matt Platt's drumming sounding inventive and full of flair, although perhaps a little over produced at times. The use of programming and electronica is always a key for contention, whereas some bands use it pointlessly, Interlock use it to enhance the depth of the album. 'Never/Lost' is a stunning tune perfectly complimented by the sampled additions, whereas 'Straight' suffers from too much programming. It's a difficult aspect to get right, Interlock have almost mastered it but I must admit the songs with less of such industrial glitter, such as 'Cause', come across much better as they sound less cluttered and allow the guitars to hit home.
'Crisis/Reinvention' isn't one song written ten times either, the band have intelligently mixed the album up with pace, power and sombre moments. It was a delight to hear the subtle trappings of 'This Waking Moment' as the third track and not just hidden away at the end. (The male choir section in the middle was a stroke of genius) 'The Hold (CDW)' utilises some doom piano and smooth strings interlaced with gentle melodies from both singers. It's a timely change of pace, helping to break up the aural assault, which is rarely found in a lot of cutting edge music. The band have made the album they wanted to and not an album the record company wanted them to make, because of this it has depth, variation and perhaps most of all, it's own identity.
The building blocks and resources are all here to produce a stunning metal band. 'Crisis/Reinvention' sounds fantastic, it has great vocal interplay, instantly appealing songs, heavy production and some inspired programming. Of all the bands I have listened to over the past few years, Interlock sound one of the most fresh and inventive. After watching the 'Making of' documentary on the excellent multimedia section of this disk, I was appalled to see the band playing on such small stages, to what looks like an empty working mens club. A consequence of being British I feel, a band this good deserve more, they need your attention, they need your support. If there was any justice in this world they'd be snapped up by a major label and stuck on a world tour, but this is Britain not Sweden or America so I fear for their future. I wish them all the luck because they're perhaps the best new band I've heard this century.