Deep Covers/LOCKED IN
Deep Covers
Dark World // Independent
The Calgary-based dark synthpop project Deep Covers has returned with a second album titled Dark World, which was released on September 4, 2020. Deep Covers is the project of multi- instrumentalist Daniel Wilson, also known for his side project Annals. Deep Cover’s Self-Titled (2019) was a polished introduction into the sort of sound that Wilson wants to cultivate for the project, often featuring various textures of synth, effected guitars, and electronic drums. Dark World was written, performed, produced, and mixed by Wilson, and the record was mastered by Tom Nunes at Atomic Mastering based out Salem, Oregon. With those general foundations, Dark World takes a thematic exploration leading the artist’s focus into a dedicated reflection.
Dark World is the soundtrack to a post-apocalyptic 80’s film known as today’s contemporary world. “Oblivion” was the only single for the album, and it returns as the opening track for the record. Simply put, “Oblivion” remains a banger track that showcases the direction and perspective that Wilson is delving into in this record. Thematically speaking, all of Dark World revolves around the notion of sustainability in both physical and mental spaces while travelling expansive sonic landscapes that incorporate analogue synth tones, icy guitars, and mechanical percussions. The second track “Repeater” introduces themes of repetition and reliving a moment over and over. And, as Wilson has noted, the record took inspiration from his time in Iceland, where he took notice of the effects of global warming and climate change. The track “Dissolve” draws out a metaphor about a glacier that Wilson witnessed fall into the sea, in thinking of his position as the glacier’s, he delivers the brooding chant: “I am waiting to be a part of the sea.” It is a strong metaphor for the sense of oceanic indeterminacy that confronts us upon beholding this notion of the end that the album presents. “Illusory,” “Body // Double,” and “World of Noise” double down on the implications of the problem that the album draws our attention to. The track “Alarum” comes across as moment of reflections on all these threads and what they mean to the artist.
I realize that for this particular album I got thoroughly invested in the words, and that I’ve yet to remark on the musicianship. Daniel Wilson knows what he’s doing in cultivating a crisp sound between analogue synthesizers, guitars, and drum machines. “Repeater” is enveloped in wailing synths, while the song’s bass and drum give it a sense of pacing direction. “Body // Double” has energetic melodies that build up to a solid harmonic chorus. “World of Noise” is certainly named that for a reason, as the song lets itself breathe in the instrumental and is one of the most upbeat moments in the album. And if there is one track that really lets the musical composition speak its own piece, the instrumental track “How to Exit a Dark World” sinks down into building an looser atmosphere that makes space for a final proposal that concludes the album through the last track, “In Vein,” as if this were the answer to a question.
Deep Covers tries to take in a journey with its travelling sound, as every track feels like you are in the move between different scenes of the same film about the creeping sense of decay in everything. And even then, there is a sense of moving on and along with this eternal recurrence with a symbolic reclamation of something that feels entirely lost, as in the last words of the record: “If I had to choose / I would do it all again / Found a life / In world that’s gone insane.”
Deep Covers offers a strong, uncompromising reflection on the infinite bargain of what it is like to decide to live today. Musically, I knew that I would be invested in this new record by Deep Covers; however, what I was not expecting was that I would get this invested in its thematic outlook. Deep Covers’ Dark World is a profound and reflective album, musically and thematically cohesive through and through.
- Simone A. Medina Polo
LOCKED IN
Seeing Red // Independent
Do you ever find yourself missing Nu Metal? Do you love that punchy, ultra catchy brand of modern hardcore? Well if you aren’t already down with Winnipeg’s LOCKED IN, now is the time to listen up! Seeing Red is LOCKED IN’s second release, following their 2017 debut EP Mind Games. Their first EP is certainly a heater of a record, but Seeing Red takes what LOCKED IN did in 2017 and steps it up a couple notches, with the same fiery line up! Vocal duties are still passionately executed by front man Josh Buors of Ceilings and Witchtrip! The guitar riffs are still extra spicy thanks to Spencer Pries, who also lays down riffs for End Game, and runs Scoped Exposure. The rhythm section sounds monstrous on this record with the help of drummer Josh Unrau, and Bassist Sean Kaye. Sean plays in Witchtrip and Ceilings with vocalist Josh, along with too many other bands to mention. There is tons of experience in this band and it shows on both of their releases!
The 12 minute adventure begins with a short but sweet rager by the name of “No End”. The title is referring to trials and tribulations in life than can seem at the moment like there is no end in sight. Up next is the icy cold “Extinction”. Sonically, this song is tough as nails, and the subject matter of the lyrics is a perfect fit. Its about being more resilient than your enemies, especially during a blistering cold Winnipeg winter. The third track is a mind splitter titled “Smash”. This track has some nice bouncy riffs while maintaining that malicious LOCKED IN style, packed with attitude and flare! “Snakebite” comes in at track four with a punch. This song is about trusting non loyal friends, and being bitten in the end because of it. This track also features my personal favorite breakdown on the EP, exclaiming “six feet under isn’t deep enough for you!”. Last but not least, “The Truth”, finishes off this gem of an EP. This ending track is jam packed with attitude in every aspect! If you weren’t moshing to this record already, you certainly will be when you hit this one.
I say this in every review, but this EP makes me desperately wish we could all go to shows again and get rowdy with our friends to wicked heavy tunes such as the ones laid down on Seeing Red. LOCKED IN is like a train packed with chuggy riffs and no breaks, and Seeing Red is a perfect example of what these boys are capable of!
- Justin Olson
