Epimetheus - Entropy

 

My first encounter with an early incarnation of Epimetheus was back in 2015, when at a university open mic night, a trio of musicians were playing amped-up classic rock covers and catchy twelve-bar-blues numbers, by far the loudest and heaviest band on the bill. Eventually, an 'originals' set began to materialise, and the band would unveil Mandalorian, a riff-heavy stoner rock outfit, at a show in the university student village. Still with an unapologetic classic rock flair, but with bigger riffs, catchy choruses and (even) more volume, it was a natural forward step from their covers act, finally with a firm lineup in place as groove-meister general James Jackson would take permanent residence on the drum stool. 

The Machetezilla EP would drop in 2018. Led by emotive, bluesy guitar work from Cillian Breathnach, Jackson's jazzy stylings and a screeching, soulful heart from Ben Price's vocal performance, it now appears - purely in hindsight - to be the sound of a band unfinished, and 'not quite there yet'. Were Mandalorian shackled creatively by their classic rock beginnings? Say what you like, the songwriting over Machetezilla is excellent, but over Entropy the band sound so much freer and explore new, uncharted sonic territory. Most noticeably is the new element of emotivity and vulnerability that the updated genre and approach to vocals bring with them, which was not really present in the band's past forms.

With shoegaze firmly established within the new sound and the new incarnation, and the legacy of My Bloody Valentine looming over Entropy, Epimetheus evoke post-metal bands at times, particularly over first three songs of the EP. The context is still very much within a stoner and doom metal setting, with elements of Sleep in the riffing, grooves that nod to Clutch, and vocal stylings not dissimilar to Conan - if more melodic - but Epimetheus have expanded upon the typical stoner and doom -isms to create something fresh. Their more innovative approach to doom metal is apparent from the first second of the EP to the very end - the opening guitar lines to 'Resonate', for example, sound like Sleep without being imitative of Sleep. It's a fine line, but Epimetheus straddle it well. 

Breathnach's guitar playing is particularly textural and at times builds a hypnotic wall of sound while Price and Jackson lay down the riffy foundations. The attentive listener will notice (not straight away) that their deep baritone range on the guitar adds some real sludgy filth to the EP, though without lazily chugging away at the low F string with recycled Sabbath riffs. Not that I'd want to berate anyone doing that, but Epimetheus don't need to anymore. The dirty, fuzzy guitar tone is well-complemented by Price's grinding bass sound. The Geezer Butler/Al Cisneros-inspired string-tickling makes you realise that he is very much naturally suited for this role in the band, after only assuming bass duties in 2020 as Epimetheus became a power trio. His licks also seem to fit the evolved style like a glove. He locks in well with James Jackson for some mammoth grooves throughout the EP, which helps retain the band's background in straight-up stoner rock. Jackson controls the shifts in tempo and performs some tasty drum fills apparently with ease. Each member has their place and owns their spot.

James Jackon (drums), Ben Price (vocals/bass), Cillian Breathnach (guitar)

Ben Price's vocal work shows a matured talent and performance compared to previous iterations of the band. Though the Robert Plant-esque howls of old were seriously impressive, he comes into his own more as an individual with this release, with a wider arsenal of timbres and an expanded lower range that works really nicely with the band's new sonic influences. The delicate undertones to 'Resonate' or 'Calling' or booming yells over the title track could not really have been delivered with his swaggering classic rock technique, and he bears the fruits of the hard work that had gone into adapting and evolving his own style over the preceding years. It's more of an expansion of his old style rather than a complete 180 degree turn. Additionally, Price's dual-vocal attack with Jackson at the end of 'Resonate' for a spine-tingling finale provides one of the strongest points over the whole release. As screams are layered on top of powerful melodic singing over the top of an odd-meter groove, you wonder with awe what could be around the corner for Epimetheus, so powerful it hits home.

Standalone single 'Guidestones' in late 2018 hinted at the more unrestrained and grander approach to songcrafting that the members of Mandalorian were capable of, but Entropy still knocks any kind of preconceived expectations out of the park. It is also interesting to hear a grittier, uglier 'Machetezilla', updated after four years. It was the most forward-thinking number from the Mandalorian EP, and so still works in the Epimetheus style. An underground anthem with a catchy coda, it rounds off proceedings with an element of fun - underrated in this style of music! - and helps to connect the dots for those longer-term followers of the band. The difference is only really a sonic one, and Entropy recontextualises the song, previously a heavy rock epic, to a confident stoner/sludge number that tail-ends the EP nicely.

I've said a lot. Why not have a listen and make your own mind up?

It's hard to pick a favourite, but I keep coming back to 'Calling' and 'Resonate'.

The past era is done. This is extremely bloody impressive for what is effectively a debut EP.

Fans of Sleep, MBV, Black Sabbath, Thou or Clutch - ideally all of these - will find something here. 9/10

Epimetheus links: Facebook | Instagram | Bandcamp

MN