The elevator pitch for this band is pretty solid. If you’re me. Which I am. Current and previous members of Dead Swans, Throats, Brutality Will Prevail, Last Witness and Bring Me The Horizon. Sub 25 minutes over 8 tracks. And pitched, at a base level, as being basically a UKHC supergroup of sorts. Putting side the fact that with a few exceptions, supergroups tend to be dramatically less than the sum of their parts, I obviously wanted this to be good when I pressed play. I mean, I want that to be the case every time I press play, but this time I had a disproportionate degree of hope. Shame on me and my lack of journalistic integrity.

So, as at least some degree of control over my opinions, I’ve listened to this record a lot. Over quite a lengthy period. And the result is maybe a more moderate impression than I would have had (maybe a good thing?) but also one that is potentially less interesting for you, dear reader. Because this is really bloody good. I don’t think calling it hardcore is particularly accurate, however. The record covers and includes D-beat, modern metal, metalcore, past-hardcore - all of which are more prominent than hardcore in the typical understanding of the word. That does mean it doesn’t fit into mine, or anyone else’s genre sweet spot that easily, but that’s not a bad thing. Being basically uncategorisable is to be applauded. The only thing with this record is that somehow most of it sounds similar, despite me being able to highlight myriad styles or genres it borrows from.

I don’t think it’s the production, per se. The promos one receives for records tend to be very hi-fidelity, to the point that when you listen to a record post-release on Spotify you can sometimes think you’re listening to a re-recorded version. But there is a uniformity to the sonics, if not the songwriting which i don’t think helps the record in terms of songs being distinct from one another. And that’s a shame because there is a whole heap of stuff here that if, for example, you recorded with it’s own production, and released as singles, might sound incredibly varied. It’s the mix, I think. Maybe even the commitment to an absolutely immovable guitar tone. I know that’s a really pernickety thing to whinge about, but it pervades the entire record. the sense that this material could be so much more engaging if only the actual sound of it matched the musicianship and urgency in which its delivered.

I’m reminded of the debut record by URNE. Superb in its craft, songwriting and delivery. But personally, I found the sonics of it left me a little cold. Their second record? Amazing. Greater textural dynamics and as a result, emotive impact. Let’s just hope the same happens with Still In Love, because 80% of what you need is here, and to an objectively good level, but it’s currently missing that ‘secret sauce’ for me. If they find it (and I have a sneaking suspicion they might with the personnel involved), this could be something great. Case in point being the last track. It’s the longest on the record (as is the style…) at just over 5 minutes, but actually the breadth of the structure does legitimately grow and the song feels like it benefits from the longer runtime. I’m not delighted that it fades out if I’m honest, especially considering there are scene luminaries here. Do more with that experience and potential and I think people will want to hear what could emanate from this group. Myself included. Don’t get me wrong though, every constituent element (the mix aside) of this record is consistently excellent. But a clear identity could make it so much more.