Prnounced Two Eyes, they are a very interesting ensemble. I have heard them referred to as being industrial, but Gothic chamber pop is a better description in some ways, as they have more in common with Rasputina than Skinny Puppy. They are, however, despite their melodic quirks, more aggressive than say Heartworms, who has been the most promising new act so far this year. "Digging For Blood" finds the vocal melody invoking a mood not unlike the Gathering. There is more brooding and less melodrama than what the Gathering once kicked up. I can also hear her emoting from a place not unlike earlier Tori Amos, when she, too, was angrier.
"Lotis" moves in a more industrial direction, with the carrying a more mechanical dissonance. There are also swathes of noise providing ambiance. We first hear her use a more gritty vocal tone on this song as well. The melodies do not grab me with the same urgency as the two previous songs, which have set the bar for this band. "Sisyphus in Red" finds rougher electronic beats churning under a lighter vocal melody. Moodier sounds come from the more simmering "The Fountain of Helicon". With most songs, I have to wait and see how things play out, so when it's a slow burner like this one, I listen for things like hooks to finally deliver and make the payoff worth it. Instead, here we are getting fewer releases; perhaps they felt it would be too predictable. It's like sonic edging.
They linger in the atmosphere, going into "Pearls Beneath the Embers." This one does find things coming together to find its groove and melody. They are back building slow-burning tension with "Where Diamonds are Hurled". The pulse is more deliberate and creates a sense of motion against the vocals. There are dynamics, though the chorus is not the hookiest, yet it works for the vibe they are going for. The album certainly leans in a darker alternative rock direction, similar to A Perfect Circle in terms of dynamics. "Sisters of the Coven" reminds me of in the 90s when Tori Amos had electronic remixes for her songs on almost every single. There is a riff that invokes Tool-tinged tension midway through the song. This provides a more song-oriented focus than when they slither around on the stormy atmosphere of "Under the Skin," which provides a clear example of song vs sound., that I am always carrying on about here.
"When Beauty is Crime" is another simmering slow burner. It does, however, build back up in a more prog-minded fashion. Which makes me acknowledge the prog influence of the album as they take you on an emotionally driven journey rather than shred fests. But the songs take you somewhere that is more progressive than most so-called prog bands show. The last song finds the vocals floating a more minimalist ambiance. I will give this album a 9, I deeply appreciate these beautiful moods; this project has tons of potential.
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