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record reviews grayceon

DEAD HOOKERS

The Burial/The Rebirth
(Dead Beat)

BIRD EATER
Utah
(Exigent)

JESU
Lifeline
(Hydra Head)

EVILE
Enter the Grave
(Earache)

STINKING LIZAVETA
Scream of the Iron Iconoclast
(At a Loss)

WOLVES IN THE
THRONE ROOM
Two Hunters
(Southern Lord)

RED FANG
S/T 
(Wantage)
 
PURE SOUNDART
Emo is Dead
(Lockjaw)

MORE REVIEWS

GRAYCEON

S/T
(Vendlus)


 

There is definitely some depth to the work of this San Francisco tree-piece. Formed by Amber Asylum’s Jackie Gratz and two Walken members (guitarist/vocalist Max Doyle and drummer Zack Farwell), Grayceon makes the kind of metal that lacks most of the typical traits of metal; heavy guitars, dumbass macho attitude, chocolate cookie monster vocals, incessant and senseless arrangements, an air of sameness that’s making the scene stale, mopey hairdo’s and chick jeans, etc, etc.  The list is endless.   Instead, they give much space to the electric cello work of Gratz, whose tender vocals along with her histrionic playing gives most of the personality, color and texture to Grayceon.  Unlike Amber Asylum, who seem to straddle an invisible line between classic and metal-by-default, Grayceon’s work is far more blunt in its approach.  Take for instance “Song For You”, the cut is metal by all angles; alas there is no bestial riffing, instead the drums keep the beat and provide the energy from all fronts while the electric cello, along with the occasional guitar of Doyle snake their way through the almost stop start tempo. Was this loaded with heavy guitars, staccato riffs would have been the clue.

This debut EP is comprised of four songs, the shortest of which last 3:54 and the longest of which extends exactly to the twenty minute mark. Clearly Grayceon is at its best when simmering. “Into the Deep” is concise; its disgraced changes are an attempt at beauty, a quality that only turns into truth when their sound avoids tricky tempo changes. The vocals of Gratz step in and the song enters its second phase; there is a melancholic vibe that would approximate them to the doom genre, but truth be told there is plenty of light to Grayceon’s work. Perhaps is the production work of Jack Shirley who has kept the instruments pretty organic, but the heaviness implicit, even when directly played, mostly by drummer Farwell. This fact keeps their work at a respectful distance of the strict definition of doom. Enter the eleventh minute, it is obvious that the culmination approaches; energy sips in and an air optimism signals the up tempo speed and improved mood. It is good to see bands like Grayceon, who simply by existing are stretching the minds of usually close minded metalheads. The work of a band like this has many potential markets; fans of doom, post-rock, gothic, black metal and even a few of those mopey haired and chick jean wearing boys have here one record with a sound that’s bound to stretch their heads a little bigger.

 

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