Sheffield metal practitioners Immension have sorted out their early line up issues, knuckled down in the studio and released their new EP. The Enemy Within builds on the template set down by last years’ Shadow Of Yourself, in honing their lean, muscular stride into fighting form. Sharper, focused, and more adventurous, …Within is looking to up the ante.
Right from the get-go, there is no confusion about the content the listener is about to experience-deftly played melodic metal, carved from the old school, when thrashing and melody were common bedfellows. The title track starts with legs open, heads down, arms up, harmony work in full view. Jonni Sowter’s drums get busy and we’re transported effortlessly to thrash town.
Immension wear their influences clearly on their sleeves-Metallica, Arch Enemy and In Flames are mentioned in the press release, but there’s something else. Jake Kearsley has, at his core, a deep, deep sadness, something that manifests all across this record. The extremely personal nature of the lyrics to Forever More give the band a real human depth, something sadly absent from many other artists cut from a similar cloth. The final line ‘as I fade into the dark/I hold onto hope‘, gives over something of the true nature of the man.
The production is crisp and taut, but despite listening on different headphones/systems, the bass is almost non-existent, reduced to a low, growling rumble during the fast sections and vanishing completely during the slow ones. However, this pales in comparison to the biggest problem.
Kearsley, while possessed of a fine singing voice, has a dreadful scream. Some investigation sadly also confirms this in a live context, and makes the inclusion of harsh vocals baffling. If The Enemy Within had contained no screaming at all, it would have stood out more in an era where even toddlers are pig squealing, and as a result the vibe is one of submission to expectation. Convention be damned; when you have a solid set of pipes to work with, don’t sully it by screaming like everyone else. The harmony work(which seems to have been performed by Kearsley)shows his considerable ability, and renders the screamed side obsolete.
Despite a rasp like wet gravel being dumped in a plastic bucket, there’s little to fault elsewhere. The later stages of In The Dead Of Winter contain some intriguingly characterful sections, and hint at where the band will grow to. Though containing some very noble and commendable sentiments, the lyrics to this final song are clumsy, but the adroit, heartfelt delivery sells them well in the songs’ rampant, well-crafted context.
This is a good EP, held back only by common production issues and superfluous shrieking. The solos are hilarious-absurdly fast, but well thought out and melodically astute. Dialling back the wah would lessen the insinuated Hammett-worship, and Tim Dolan doesn’t need to copy anyone, as there’s an abundance of skill tingling through his fingers.
Immension are a talented, able band, with goals in mind and a truly loveable heart. Whatever sad and painful circumstance has resulted in these songs, the agony has not been in vain, and there is a great deal here to be proud of. Keep one eye on these four, as they’re one record away from something truly special.