The main downside to releasing an album late in the year is that it won’t make many year-end lists. Our collaborative top albums, for instance, were being compiled even as far back as November.
But Echoes is a band you won’t want to sleep on, even if they themselves have been in a hibernation of sorts. The band released two albums and then vanished – until recently, where they released two double-sided singles: “Pyre” and “2029”. And if four new songs weren’t enough, the group have quickly followed up with a new EP, Ever After. It’s hard to know exactly where the chronology of these songs all sit, but the band have decided specifically to package them this way rather than release a single LP (or even just two EPs).
The Pursuit was such a foundational album for me. While a lot of people tend to solidify their music tastes in their teens, the internet hadn’t full bloomed into the music discovery service it is now. It wasn’t until college when I managed to sort out what I actually like (and ultimately, stop listening to djent). I realized that dynamic and atmosphere were two criteria that were critical. Echoes met my list with ease, and as their discography grew and they moved from a screamed-only melodic hardcore approach to incorporating clean vocals and even more drum-centered arrangements, they proved they were not comfortable staying in one place too long.
The latest EP captures all of this and more. “Night Shapes”, for instance, features processed vocals and some electronic elements that feel uncharacteristic for a band known for their post-metal sonic assaults. But this juxtaposes sharply against the ending track, “Spiral Gaze” (unrelated to Off Road Minivan’s song of the same name, I should add). This might be one of the band’s most aggressive tracks to date, and it definitely makes sense given the nature of the lyrics – more on that soon.
Thematically, there’s a lot to unpack. The tracks form a sort of chiasm, with “Ever After” and “Night Shapes” having a similar lyrical flow – the former shows a refrain of “overflow” while the latter sees a repetition of “pearlescent”. The discerning will note that “Pearlescent” was the B-side to “2029” and, while subtle, this cross-reference is helpful in tying together what’s going on here.
The EP’s story seems to be one of legacy and faith. Echoes, though never explicitly mentioning their position on such matters, have always had their lyrics peppered with biblical imagery and the beauty of redemption. This time around is no different, though it seems to be through the lens of paying respect to someone who has passed away. It’s definitely not a neutral statement to ask that the “devil be bound beneath our feet”, as “Spiral Gaze” notes.
Musically, the title track is definitely a highlight. It has the explosive energy you’d expect from the group and has plenty of closing track vibes. Rhythmically, it’s punctuated by a strong bass pulse and impeccable drum groove. Guitars, as typical, float between post-rock ambience and wall-of-sound aggression. It’s captivating, and the flow of the song is sure to keep you on your toes.
“Jacob” is the longest track of the mix and definitely shows the band’s full toolkit. Vocalist Joshua Thurbin’s voice basically drips with emotion, and even his screams are pretty comprehensible when it comes to making out the lyrics. But if you’re not so inclined, the crew have put all the words up on Bandcamp.
Ultimately, the band haven’t reinvented their formula but they’ve continued to build on a strong sonic foundation that was present even in their earlier years. The intentionality behind the track order and some of the motifs that persist throughout the EP (and the band’s discography at large) is certainly worth noting. And continued experiments with clean vocals and other production elements, while still odd to some degree, ultimately adds to the overall storytelling impact. It might be hard to pick a favorite between the EP and the singles, but whatever the case, Echoes is back and they’re proving to be more industrious than ever.
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