Overpower - Any Given Day
- Any Given Day
- Release date:
- March 15, 2019
- Arising Empire
A little too facile
Overpower has it all: great production, talented musicians and a lot of energy – but unfortunately not enough strong material. The vast majority of the record sounds like other bands, and even the 11 numbers are very similar to each other. It is not necessarily bad; it's just boring. Practice.
On the way forward
Any Given Day is perhaps most famous for their cover of Rihanna's "Diamonds" and the track "Arise", which has Matt Heafy (Trivium) with which gæstesanger. In addition, the band has created a number of information regarding the band's numbers, but the breakthrough lets wait for itself. Now they are ready with the third full-length, and the question is whether it is this plate that really can shoot once in their career.
The empty calories
Let me just burst the bubble with the same thing: it is it is hardly. Overpower is 43 minutes genuine metalcore, but nothing manages to stand out and leave a lasting impression. It is empty calories, which saturates here and now – but after an hour you are hungry again. The style is a cross of Killswitch Engage, All That Remains and Five Finger Death Punch, and have you listened to a track with these bands, you have also listened to Overpower. Now. Let us look at the case.
Overpower is in no way a bad record – it is just too anonymous. The largest, and perhaps the only essential, the bright spot is the lead vocalist Dennis Diehl, who delivers an impressive performance. His clean vocals are both rounded and warm – in the style of Jesse Leach (Killswitch Engage) – and creates the perfect contrast to the otherwise dirty roar. Frontman Diehl is really a pleasure to listen to.
On Overpower , the band has chosen to experiment a lot with electronic elements, creating a little imbalance. In the "Lonewolf" is the electronics firmly planted in the background adds a fine mood, but in "Taking Over Me" and "Never Surrender", it goes much over the thread. We are suddenly technofest – and it's really not very nice. The electronic rhythms rumble of the place, and the effort seems both half-hearted and perfunctory.
Better it goes on "Loveless" and "Savior". The former puts out with a Slipknot-esque rap, after which the track explodes into a huge melodic chorus. Diehl excels with his beautiful voice, and the rest of the band backs him up with energetic riffs and solid rhythms. On "Savior," is it roughly the same template, there is in the game, and the chorus is sitting in the closet. Nice work.
>> Check the songs and lyrics here