Band : The Crinn
Album : The Crinn EP
Release Year : 2007
Genre : Mathcore / Grindcore / Experimental
Tracklist:
1. Tearing Through Synoptic Skies
2. Grand Theft Death
3. Barbie Smells Like Band-Aids
4. Fight Fire with Water, You Idiot
5. Slaughter, War, and the Guillotine
2. Grand Theft Death
3. Barbie Smells Like Band-Aids
4. Fight Fire with Water, You Idiot
5. Slaughter, War, and the Guillotine
The first noticeable change on this EP compared to their debut is the prominence of the musical technicality which is quite similar to that of Spiral Architect. However, this, for me, is a positive aspect of the album, as the vigorous nature of this album shows the progress of the instruments that hold a certain prowess that was absent on “Kills Curiosity.” That album, in comparison to this one musically, seems almost unsubstantiated or shallow. The staccato tremolo picks on the guitars are of such tremendous speed that they add depth to the music. The bass is oddly prominent, and really only adds more richness to the music. The drums are just the same as the guitars, and stop and start almost randomly. They suit the guitars' dissonance very well, and portray more of a experimental grindcore, or perhaps experimental metalcore, feel than their earlier work more akin to avant-garde metal.
However, along with the unique vocalizations, most of the experimentation and spastic eccentricities are lost. No longer are there any baby screeches that segue into random ambiance. No longer are there any grind sections reminiscent of Naked City. No longer are there violin-driven soundscapes or random, obnoxious moaning. Instead, technicality reigns supreme throughout almost all of every single track on this five-song EP. And the vocals here show less range than they used to. They also do not possess the ever-so-present charismatic charm that was so evident on “Kills Curiosity.” Instead, they have a less eccentric vibe, which is albeit more accessible. And the accessibility spreads like wildfire on this EP to all of the tracks.
However, along with the unique vocalizations, most of the experimentation and spastic eccentricities are lost. No longer are there any baby screeches that segue into random ambiance. No longer are there any grind sections reminiscent of Naked City. No longer are there violin-driven soundscapes or random, obnoxious moaning. Instead, technicality reigns supreme throughout almost all of every single track on this five-song EP. And the vocals here show less range than they used to. They also do not possess the ever-so-present charismatic charm that was so evident on “Kills Curiosity.” Instead, they have a less eccentric vibe, which is albeit more accessible. And the accessibility spreads like wildfire on this EP to all of the tracks.
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