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Trita

The Good Night

Review by Gary Hill

The modern metal sounds on this are mostly aggressive and raw. I mean that in a good way. A lot of the vocals are more shouted than sung, but it fits the powerhouse music with which it's paired. There are only four songs on this EP, but that's enough to get me interested in hearing more from this outfit. That's particularly true because of the range exhibited here. Too much music today is set in one tempo and one volume level - especially in more extreme metal. These guys show that they have versatility, showcasing music of different intensity and completely different styles of vocals.

This review is available in book format (hardcover and paperback) in Music Street Journal: 2018  Volume 3 at lulu.com/strangesound.

Track by Track Review
Intend
Some noisy, feedback laden stuff serves to open the set. It has an almost space rock vibe on this introduction at times. They pound out from there to some seriously fierce modern metal. This is likely to get a mosh pit going and the heads banging. It has some intriguing shifts built into it. The closing section is just plain mean and fierce.
To Sisyphus

They bring this one in even more furious and mean. It's a killer modern metal stomper with some shouted vocals and killer riffing.

Saltless Sea
The shouted vocals at the start of this make me think of hardcore punk. The music is more screaming hot modern metal. This is so angry and aggressive. It's a powerhouse. Honestly, it seemed that after the last two cuts they had no place to go. This shows that they still had plenty of power to push beyond those cuts. There is a rather melodic part mid-track, though.
Bluer Sky
This piece is over eight minutes long. It starts in near silence. It works to sort of a melodic jam as it makes its way forward. They take it into some intriguing stuff from the first vocals. It gets an infusion of power after that section with some killer riffs showing up on it. It eventually makes its way to more mainstream modern metal sounds. After running through in that vein for a while, it drops back for a short false ending. It drives back upward with reiteration of the song proper from there. This is a powerhouse number that really works well. There is a bit of a percussion work out amidst feedback at the end.
 
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