“We wrote this high-octane material in late 2019 with the intention of a spring release to coincide with touring. Best laid plans eh? Sonically, it’s all action, but lyrically the songs reflect a rollercoaster of emotions that many will be familiar with (especially now): anger, sorrow and stubborn defiance.” ~ vocalist, Ritchie Murray Jack
Crossing sub-genres with the elegance and grace of a death defying leap akin to those in the 1992 science fiction platform based video game Flashback (for those enough to remember it) are Crostpaths, a Kent based quartet who started out at the end of 2018 citing influences in Papa Roach, Linkin Park and even Fever 333 in their early works. The aforementioned Ritchie Murray Jack is joined by Owain Lewis who provides bass and vocals alongside guitarist Michael Edwards and percussionist James Mason in the group who, have recently signed to Enso Music Management and have collaborated with local artists including Dohny Jep, WeatherView and apatternimperfect to produce remixes of their self-titled EP before turning their focus to their sophomore effort “Mutated“.
As you might expect with those influences, Crostpaths sit between Alternative and Nu-Metal genres, something which is air apparent from opening gambit “Rampage” which crosses the lyrical rap flow of Linkin Park with the clean melodic vocals of grungier outfits. Everything is highlighted by burning undercurrent of electronics which provides a soundscape upon which the guitars sit with a certain amount of Enter Shikari vibe to their offering; these range from the polished to the more primitive in “Hiding In Plain Sight” which is deliberately stripped to allow for a punchy staccato guitar riff to carry the vocal rantings. Different elements pop out of the mix during each listen which gives the second cut in particular more legs; you could be looking at the next gateway band for a new generation of Metal Heads, the choruses giving everything a sing-a-long ability which will suit festival crowds. “Defiant” steps up the heavier guitar tones with some punchier riffs and meatier hooks; elongated instrumental parts and big breakdowns give something you can hang your hat on. Going places? Most definitely [7/10]