Rocker (feedbot)
Gold Member
Let’s talk about birthday cake. It’s the ultimate party food, it’s exciting and it’s inherently special. ‘This Hell Goes A Long Way Down’. the debut from Wrex, has a tasty looking cake on its cover, and that implies a lot about its contents.
First, some background. George Donoghue was an experienced sound engineer and Mae Seaton needed an outlet for her vocal talent. Combined, they are the duo known as Wrex. Their sound is best described as pop-punk; It hits all the right beats, it’s fast, energetic and catchy. With their full band sound and dual vocals, it’s not unfair to compare them to Hot Milk (despite not sharing the same sense of party-fuelled nihilism) so if you’re looking for similar music with big hooks and a hard edge it’s easy to recommend them.
Now, let’s talk about genre because although Wrex’s use pop-punk as a framework, they’re indebted to alt-rock sounds from the 90’s. Indeed, the choice of synths and beats give the songs a flavour similar to early Garbage or even Republica which are great choices in this context. This slightly grungy sound enhanced by Donoghue’s almost Britpop flavoured vocals which make an effective contrast to Seaton’s. So it’s clearly pop-punk but that’s quite a loose description. The opener ‘Take A Walk’ is an exhilarating song with a strong chorus hook and cleverly illustrates how the duo can use their vocal styles and delivery in interchangeable ways. The EP’s consistent tone and feel is largely due to the way they carefully deploy these different elements. Lyrically, they’re preoccupied with the idea of doorways as the line between good and bad; be that beliefs, mental health or the idea of both, and the mix of male/female vocals proves to be ideal for exploring this duality, particularly on ‘Heaven’s Gate’.
We also need to about being ‘punk’ because there’s a certain rough quality to the recording that gives it a captivating texture and unruly bite. Surprisingly, the EP’s highlights also prove to be the most abrasive, like ‘S.A.D.’ which welds an ill-fitting guitar riff to its verses and creates brazen (or indeed, brazed-on) energy. Similarly, ‘The End’ uses a heavy-handed, drum & bass-like beat to give it a powerful rebellions streak. Ironically, it doesn’t really work as a closing track as it’s too scrappy and abrupt but would work anywhere else in the running order. In fact, the band’s greatest strength is being able to maintain a consistent quality while throwing unusual ideas into the mix. So, conversely, ‘Shallow’ is allowed to drift on its vocal melodies, proving they’re not afraid to slacken the momentum, and in doing so show off their range and songwriting skills.
‘This Hell Goes A Long Way Down’ is a treat. Just like the cake on its cover, it’s bright, colourful and a cause for celebration.
IAN KENWORTHY
First, some background. George Donoghue was an experienced sound engineer and Mae Seaton needed an outlet for her vocal talent. Combined, they are the duo known as Wrex. Their sound is best described as pop-punk; It hits all the right beats, it’s fast, energetic and catchy. With their full band sound and dual vocals, it’s not unfair to compare them to Hot Milk (despite not sharing the same sense of party-fuelled nihilism) so if you’re looking for similar music with big hooks and a hard edge it’s easy to recommend them.
Now, let’s talk about genre because although Wrex’s use pop-punk as a framework, they’re indebted to alt-rock sounds from the 90’s. Indeed, the choice of synths and beats give the songs a flavour similar to early Garbage or even Republica which are great choices in this context. This slightly grungy sound enhanced by Donoghue’s almost Britpop flavoured vocals which make an effective contrast to Seaton’s. So it’s clearly pop-punk but that’s quite a loose description. The opener ‘Take A Walk’ is an exhilarating song with a strong chorus hook and cleverly illustrates how the duo can use their vocal styles and delivery in interchangeable ways. The EP’s consistent tone and feel is largely due to the way they carefully deploy these different elements. Lyrically, they’re preoccupied with the idea of doorways as the line between good and bad; be that beliefs, mental health or the idea of both, and the mix of male/female vocals proves to be ideal for exploring this duality, particularly on ‘Heaven’s Gate’.
We also need to about being ‘punk’ because there’s a certain rough quality to the recording that gives it a captivating texture and unruly bite. Surprisingly, the EP’s highlights also prove to be the most abrasive, like ‘S.A.D.’ which welds an ill-fitting guitar riff to its verses and creates brazen (or indeed, brazed-on) energy. Similarly, ‘The End’ uses a heavy-handed, drum & bass-like beat to give it a powerful rebellions streak. Ironically, it doesn’t really work as a closing track as it’s too scrappy and abrupt but would work anywhere else in the running order. In fact, the band’s greatest strength is being able to maintain a consistent quality while throwing unusual ideas into the mix. So, conversely, ‘Shallow’ is allowed to drift on its vocal melodies, proving they’re not afraid to slacken the momentum, and in doing so show off their range and songwriting skills.
‘This Hell Goes A Long Way Down’ is a treat. Just like the cake on its cover, it’s bright, colourful and a cause for celebration.
IAN KENWORTHY