March 17
Rockfest Records
I have to admit when I first saw the debut album from World Gone Cold cross my desk with the word “supergroup” attached to it, I nearly scrolled straight past.
Not because I’m a snob or anything like that, it’s more because generally when a promotor feels the need to add that one word to a press release it is mainly to hide other deficiencies within the music.
But for some reason I opened this one and I’m glad I did!
World Gone Cold are a hard rock band out of the states boasting members of bands like P.O.D, Demon Hunter, Disciple, The Letter Black and Attack Attack! but to prematurely judge this band based on the output of those just mentioned would be a mistake.
While all of these guys bring certain flavours from their other bands to the table with World Gone Cold the musical disparity within their DNA conjures another beast entirely.
Having only listened to their first two singles Opposites Attract and Apology – both of which are ball tearers for their own reasons – expectation for the rest of the EP is already pretty high so without dribbling any more let’s get into it!
Left To Save opens with a swirl of electronics, almost making me regret my decision instantly before a drum roll kicks vocalist Rayland Raus (Inhale Exhale) in the guts, and he screams like a man possessed (or in pain) and away we go!
Raus displays great vocal chops here, alternating between clean and harsh with minimal fuss while around him his band mates set about creating musical carnage.
There’s elements of electronica, rock and metal on display already, justifying guitarist Mark Anthony’s claim that World Gone Cold’s music was capable of reaching more of a cross-over audience.
The harmonics are sweepingly poignant while the moments of aggression come from the depths of despair. Great way to start things off!
Opposites Attract shows its face next courtesy of an extended electronic intro that leads into a smooth, almost tough boy band style opening that is surprisingly tough as fuck. It’s kind of whiny in parts but for some reason – unlike 99% of the time – this doesn’t shit me.
Maybe it’s the oomph of the rhythm section that adds that touch of attitude?
Burn stutters to life on the back of some guitar play before Raus soothes “are you asking me a question?” and judging from his angry response the question isn’t one he feels like answering.
This track oozes aggression and contempt, the moments of levity surpassed by measures of chaos that are somehow woven together by Raus’ layered vocal attack.
Anthony and fellow guitarist Andrew Stanton (Disciple) come into their own here, exchanging sonic blows with each other that threaten to overshadow whatever question is pissing Raus off as drummer Yogi Watts sits back and noisily decimates his kit in support of his vocalists plight.
Turning my Attention to the next track things start off with an industrial feel before the guitars swarm in and dominate proceedings.
By far the most aggressive song to date and I’m loving it.
Raus kicks in with vocals, and even they drip with venom. Musically, it’s not worlds apart from the songs before it but for some reason sonically Attention is a crushing, seething pit of suffocation.
The rhythm section is on point here, with bass player Traa Daniels (P.O.D) laying down the groove and forcing the others to follow.
A stuttering, almost nu-metal style guitar riff breaks the tempo, also lurching the track into another direction before catching up to itself, only to be shattered once more by an unexpected guitar solo before suddenly coming to a halt.
Worth the price of admission alone.
Again eases into play next, a more measured track that builds gradually into a tempered aggression that is kept in check superbly by Raus’ calming presence.
The tempo changes in this track perfectly capture the musical diversity within the members ranks and elevate them from being just another meanless attempt at commercial success into a platform from which to unite genres.
Apology begins with what can be best described as musical raindrops before quickly blowing into a storm of petulance that suggests the apology may not be heartfelt.
The anguish in Raus’ voice suggests otherwise and seems (deliberately) at odds with the far from apologetic accompanying music.
Every time Raus threatens to have his apology heard the rest of the band stir the hornets nest up again in an awesome display of sorry/not sorry where the only victor can be music.
Reality kicks in as the EP draws to a close, and it seems to have even World Gone Cold depressed as they deliver a softer, definitely not hard rock finale which I am guessing is there to display another side of their musical psyche.
The track has its moments where it threatens to explode but for some reason doesn’t. Not a bad track, but not one which will be going on my playlist any time soon.
All in all but this is a great debut album from World Gone Cold and offers enough in the way of potential for growth to suggest the word “supergroup” might be missing from the next presser.
They definitely don’t need it.
