Review Summary: Welcome to the party, pal.
Attila’s problem was never the fact that they wanted to take an often self-serious genre like metalcore and make it silly; it was how ham-fisted the approach was. Metal at its base already possesses some inherent zaniness—lot of tough guys growling and sh*t, much dissonance, super-serious lyrics, heaviness overdose, very kvlt costumes—to where an artist need only lightly acknowledge it to tap into the potential. A bold neon sign of “WE LOVE BEER AND SEX AND I’M JUST THE BEST AND AREN’T WE FUNNY” defeats the purpose. In contrast, Eyes speak (scream?) softly and carry a big stick; they have bouncy rhythms, robust grooves, a thumpin’ bass, and a suitably unhinged vocalist that can easily command a crowd. No need for disingenuous theatrics, all killer, no filler, loud and proud of being loud. F*ck it, that’s the formula there and I’m sold. The Copenhagen lads aim not to dazzle with technical flair, but to captivate by targeting the simple adrenaline rush that brash metalcore can provide, leading to a style that feels loose, carefree, and incredibly easy to dance to. On their now third release as a collective, the Eyes gang refine their already exciting sound into something that has managed to become more vicious, perfecting the wacky antics of
UNDERPERFORMER to craft a catchy, punishing metalcore opus.
The Danish quintet have somehow managed to package their lighthearted metalcore into an even smaller package, with their latest 10-song effort barely clocking in over the 30-minute mark. Once “Generation L” kicks off the disc, however, that half-an-hour duration hits an intensity that never abates, continually assaulting the audience with relentless jams intent upon imposing a reign of ceaseless headbanging. The dissonant, jangly guitars that begin to run amok possess a certain swagger not distant from the mystical lands of Every Time I Die or Greyhaven, occasionally leaning into a slight twang that recalls the Southern aesthetic both acts are known for. As alluded to previously, this isn’t a case of virtuosity overload; Eyes’ songwriting is incredibly focused, typically emphasizing a particular melody or groove to serve as a foundation of a tune, then lettin’ it rip for as long as its addicting qualities last. The band’s compositional strengths often emerge from their seamless tempo transitions; aforementioned opener “Generation L” frequently accelerates and stops on a dime, only to immediately elevate the intensity once more. These rapid transformations never sacrifice momentum or serve a cheap jump scare-esque breakdown, instead maintaining the flow of a tune admirably as the band’s noisy, claustrophobic instrumentation marches forward.
With a deliciously prominent bass in tow, Eyes’ ability to spawn countless grooves is considerably augmented, and it undoubtedly does wonders for their punishing low end. The delightfully bouncy proceedings of the title track ride on the instrument’s charismatic performance, with the jagged central riff using it as a veritable trampoline to create a beautifully dance-ready bop, and an anthemic, wonderfully sardonic refrain acts as the cherry on top. The breakdowns of this crushing environment hit with impressive force; the abrupt collapse of “IT’S HAPPENING” feeds off of the bass’s raw power, dragging the tune to a sudden stop and letting the distinctive woodwind darken the surroundings, and the likewise heavy finale of “Tearjerker” relishes in its dominating presence. Throughout these excursions, there’s a noise rock element tossed into play that can be felt in the group’s rollicking style, most notably in entries such as “Value” that let scratchy guitars wind along unrestricted, allowing their resonance to invade and rock out the remainder of the duration—not unlike the noise leanings of fellow Europeans Zapruder. The bass’ cooperation with the dual-guitar assault makes these examples massive to experience, delivering a plethora of layered grooves that keep the tension of
CONGRATULATIONS high while boosting its climactic moments, be it a noisy jam session or a cathartic breakdown.
Its style may be comparatively straightforward to peers, but
CONGRATULATIONS ultimately contains enough variety to invite plenty of happy returns, in part due to the complexity lying in the collective’s dynamic shifts. The group’s willingness to construct a catchy premise and let it breathe is also a boon for memorability; they refuse to trample over a song with shoehorned technical skill or awkward motifs in an attempt to experiment. Every track is given its own distinguishing factor, be it that scream-a-long chorus to the title track or the runaway riff of album highlight “dull BOY,” consistently providing enjoyable thrills that promote moshing and dancing in equal measure. This type of release is much more in line with the underground metalcore purveyed by the likes of Kickback and similar artists—that being no gimmicks, no trend-chasing; only concentrated, steadfast aggression. Whether shot out of a cannon or embarking upon a slower pace, the pure energy coursing through Eyes’ latest work is palpable, and it’s made all the more compelling by a booming percussion kit and a brilliantly filthy vocal performance.
CONGRATULATIONS is as unassuming and unpretentious as metalcore of this strain can and should be, and it’s stocked to the brim with destructive, groovy adventures that refuse to pause their attack. These Danish dudes know how to properly kick back and rock the f*ck out; no theatrics required.
