London, England’s, symphonic black-death metal haunting hybrid She Must Burn might look and sound like a witches inquisition spell gone three times worse, conjuring darker forces than planned. She Must Burn say’s hello from jolly old England with its unrelenting and unapologetic self-titled EP via Artery Recordings, bringing the UK back to the uber-laced dark ages, in their own speaker-bleeding way. Touring with Cradle of Filth has no doubt influenced their sound, wardrobe and blood flow depending on the size of Dani’s teeth marks. They’re paving a new way down whichever path they seek or maybe starting their own.
“I expect big things from She Must Burn and they fit perfectly among our roster,” says Artery President Shan Dan Horan.
S.M.B. sounds like a laboratory explosion blend of genres, sounding like hell at times while possibly summoning up parts of it. Female vocalist, keyboardist Aimy Miller is the lone beauty among dark horded beasts in appearance and voice, lending pleasant ear breathers to the serpent lunged Sinclair’s forked tongue invasion.
“Our EP is really just an aggressive outlet for us all. Each song is about something different: personal relationships, everyday issues, things you can’t talk about with the people you know,” Miller says.
Hailed as the next generation of European metal, whether they’re considered aggressive, extreme and/or underground, this is just the beginning of their musical conjuring. With blended elements of black and death metal, mixed and merged into the potent gleam of acidic absinthe, black as their stage clothes with sprinklings of sludge and metal core.
Theatrical keys start “Ascension’s” ambiance as guitars grind away into the enchanted, decrepit night air.
“Possessed” starts the bludgeoning as Cradle of Filth meets Black Dahlia Murder with Joseph Sinclair’s demon screeching vocals with a cathartic, madly organized schizophrenic speed concoction. Complete with the unnatural cranks of hyper sped up Silent Hill nurses.
“The Misery” is a cluster of loud, mangled incantations as guitar strings twist and contort like forbidden lovers slam-dancing the hell out, before someone come’s home fresh and mouth torn from the grave.
On “Into the Light” Miller’s angelic vocals take over most of the song playing dark-laced lush waves of ethereal atmosphere like the dark oceans fluid call in the early morning hours to come take a refreshing inebriated swim, going out just a bit too far. Like lovers lost in an impassioned lake of emotional fire. Vocals and keys deliver an almost Evanescence, Eyes Set to Kill vibe.
The first minute of “Wish to Exist” is 10,000 electro-shock rapid fire bullets to the brain via blast beats and guitars strings, ricocheting off the mind and body without mercy. Clean vocals slow things down with the illusion of audio rest at the melodic mid-point, finishing with a clean/screaming double team. The forest welcomes the lonely, walking in with memories to share and shed, as creatures wait in shadows for mortals to seal their deals in the deathbed.
A total “Eclipse” of the tell-tale heart ends the frolic like a Poe-inked work of art. The voice of heaven sings among the lungs of hell walking the cliffs like a cursed countess screeching down fingernails to draw red as howling nocturnal creature fly above.
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