Title: The End is Only the Beginning
Label: Self released
Release Date: Available now!
Genre: Alternative Rock/electro
Los Angeles based multi-instrumentalist WVM releases his debut album The End is Only the Beginning. Bringing in contributions from ex members of Nine Inch Nails and Marilyn Manson (keyboardist/drummer Chris Vrenna) and A Perfect Circle (drummer Josh Freese), this multi-layered, bipolar work should have fans of the above hooked from early on.
The Echoing kicks off the EP, it is desolate yet epic, burning slowly yet insistently. Tormented despairing vocals sing out a down-tempo cyber ballad. This first track showcases an 80’s morose electro-pop/goth vibe (in sound and vocals) in the style of Depeche Mode, 69 Eyes and Sisters of Mercy. However there is a hint in the beats and melodies that something a little edgier, grittier may be lurking beneath.
Where Universes Collide comes out the box with a much more upbeat “band-like” sound, grinding metal guitars burst forth and the vocals take on clarity, upping in pitch but it is held together and taken to new heights by some incredible drumming - bold, multi-layered and inspirational as ever from A Perfect Circle percussionist extraordinaire Josh Freese. This track, in contrast to the last, shows WVM approaching a more late 90’s alt-rock/new metal vibe, reminiscent of Marilyn Manson or Korn circa the Untouchables album, with it's angsty lyrics and yearning wails.
Black Sun features several tempo and mood changes, and though it is a very well rounded, energetic electro-industrial stomp, these mood shifts make it seem a little like its not quite certain what it wants to be, although it does feel like a grower.
For a Better Tomorrow most clearly showcases the dualistic nature of this band - we start off with vocals not dissimilar to Pet Shop Boys, yet by the end we’re hearing furious metal screeches and shouts more like Disturbed or Danny Filth?! The transition is so natural that you look back and are not quite sure how it happened. WVM seem to be charting the evolution from moody 80’s electro-goth to furious 90s industrial metal in a way few artists (except a certain Mr. Reznor of NIN!) have done before.
Closer Escapism winds down the BPM, starting slower and more malevolent build to a heartfelt, morose guitar melody which could even hark back to some of Metallica’s more sombre moments. The sound does feel familiar and nostalgic, in places it is a bit “Queen-of-the-Damned-soundtrack” the alternating of musical cold and heat invoking images of troubled, tortured vampire rockers on the hunt for blood in the streets of turn-of-the-century Los Angeles.
I strongly recommend this album for those who are a) Marilyn Manson, Perfect Circle and Nine Inch Nails fans, b) Depeche Mode, Bauhaus, Ultravox fans or c) both!
Take a Listen: Escapism
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