Review: Jack Price
We are well in the midst of the new era of heavy and alternative music. Move over, gentlemen, we have a plethora of new queens to worship. And while the likes of Jinjer’s Tatiana Shmayluk, or Spiritbox’s Courtney LaPlante, dominate the metal scene, and the rock world is absolutely represented with the amazing Lzzy Hale of Halestorm, the often overlooked middle child of part rock, part metal, all alternative shares a space for Eva Under Fire. When compared to heavier bands, sure they fall short of the mark. And when compared to the purist rock demigods, Eva Under Fire stands off to the side. But when given their own place, as with many solid alternative bands, they share the spotlight with no one. And with their third studio album, Villainous, Eva Under Fire is not only no exception, but a great example of method plus execution equals result.
Opening with a beautifully orchestrated synth intro to Awakening, the track showcases Amanda “Eva Marie” Lyberg’s powerfully operatic vocals, insightful and poetic lyrics and sets the tone and energy for the entire record. The power of words paired with the emotionally charged distorted guitars and rushing percussion encompass the turmoil of a tortured and fragile but healing mind – frantic, spiralling, repeating and hurried.
Given Lyberg’s psychological background, the overall message of the record screams personal growth and healing, with underlying harrowing stories that enter more personal veins are presented in the individual tracks. My Own Name is a valiant war cry for those downtrodden by manipulation and coercive control, complete with Maria Brink-esk howls in the final bridge with layered vocals stating “I’m not dead yet”.
Speaking of Maria Brink, the In This Moment’s very own sex metal Barbie features on the biggest single released off the album and title track, Villainous. Four tracks in and it is absolutely where the record begins to blend the alternative with metal and rock, the chorus is typically Eva with souring and soulful vocals, while the verses are headbanger central. The girl power on this track (emphasis on power) encapsulates the self-empowerment messages, with two vocal heavyweights holding their own in a male dominated industry.
Most albums detour with certain tracks, trying something experimental or flirting with genre borders, surprise feature artists or the like. Villainous seems to take a different approach, with the record feeling more like a “Greatest Hits” compilation, every song following the same tried and true value with different aspects throughout. This actually improved the listenability in my opinion, with every song keeping you moving through the record to its finality.
The mid-way tracks Don’t Tell Me I’m Ok, Hello Hollow, Dark Soul and Gasoline flow together nicely, almost like a perfectly synchronised soundtrack through scenes of a film. The last two tracks of the record are standout for me, both for different reasons. Teeth has cleaver, cheeky lyrics with some ingenious vocal choreography in the chorus. And A Violent End is exactly that, arguably the heaviest track of the record and a perfect close.
It’s harsh to try and frame Villainous as anything other than a well thought out, methodical record, especially when comparing it to other works outside of the immediate neighbourhood of genres. The album has zero lull and its quick WTF moments are genuinely genius. While the nuances and subtle depth are easily overlooked by those unaccustomed to looking beneath the surface, there are those who will find the messages in Villainous satiating to the mind.
VILLAINOUS is out now via Better Noise Music
https://evaunderfire.lnk.to/
