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By JEFF MAKI
We interrupt this review for a special news bulletin. This just in: Metalcore has become a widespread epidemic, now reaching the far east. Please stay inside and lock you doors. If you hear any of the following, you have most likely encountered a metalcore band: Guitar harmonies reminiscent of melodic death metal; thrash metal riffs; good cop/bad cop vocals; and an overall sound similar to As I Lay Dying and Killswitch Engage. Members of metalcore bands reportedly have been seen wearing hoodies, ripped jeans and typically have several piercings, including large black ear plugs, and nose and/or lip rings. If subjected to multiple metalcore bands, victims reportedly have been unable to tell one from the other, sending them into a state of confusion. We recommend only listening to a select few, as too much metalcore can be hazardous to your health. So far, this is the only known defense.
This has been a Live-Metal.net special news bulletin. Thank you and god bless.
This brings us to Lost Eden, Japan's “best kept metal (core) secret.” The band formed in 2000 and signed to Candlelight Records for the release of Cycle Repeats. At first listen, the above bulletin is almost dead-on, save for the band’s use of keyboards, which to give credit, adds a different dimension to the standard metalcore sound. The music is mostly on par with Trivium's Ascendancy, especially the opening tracks “Squeeze” and “Equation 999.” On select songs, particularly “Time Damages Me,” the standout track of the album, the keyboard effect and vocal delivery bring Soilwork to mind. The closing track, “Before Burning to Ashes,” comes close to rivaling “Time Damages Me” with its speed metal pace and swirling keyboards. In addition to the bands I’ve already mentioned, similarities to In Flames are here, as well.
Lost Eden surely have the skills as musicians; now it needs to translate into new ideas. There are too many bands in the current scene with a sound almost identical to this. There's even the mandatory acoustic piece, “Sandglass.” Come on. Maybe this recording is genuine, but it seems too much like a cookie-cutter-type project using the band's Japanese origin as a springboard to somehow draw curiosity and gain popularity. While this is not a terrible release to be dismissed entirely, originality is virtually non-existent.
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