Tin Omen - Without System Control
2003 - Self-released
By Philip Whitehouse
Go to the Tin Omen website.
Tin Omen's latest EP builds on the promise of previous release 'Forbidden', showcasing the output of a talented trio ready to take their blend of electronica, industrial and goth-tinged metal to the next level. Boasting a much clearer, beefier production (thanks to being co-produced with the band by Gordon Young of Dream Disciples fame) and a more diverse approach in songwriting, Without System Control will, if there's any justice in the world, be the release that forces some labels to start paying attention.
Kicking off with 'Gone', immediately the progression from 'Forbidden' is noticeable. Bryon's guitars have a crunch and power to them that was sorely missing from the last release, and the electronic elements (provided by John)are more layered and attention-grabbing - in fact, there seems to be something of a Euro-dance influence on this release that puts one in mind of Celldweller. Second track 'Silent Scream' is the highlight of the EP to my mind, featuring a chorus which wouldn't leave my head for days after first hearing it. As with the previous release, the focal point of the sound is Kelly's voice, bringing together all the melodicism and emotion of the instruments and providing the linchpin for the seperate elements, fusing them into an affecting, captivating whole.
'Addiction' continues with a more down-tempo beat and a growling, palm-muted riff, before dropping down to a bare electronic loop and then just as suddenly exploding into a chorus which shows a heavier side to Tin Omen than previously seen. Sadly, 'Pin Point' seems to retain none of these song dynamics, and while not being a particularly bad song, it does seem something of a disappointment amongst the other tracks - more background music than attention-grabber. Starting with some promisingly evocative synths, it turns into a fairly repetetive trance-like tune, sorely lacking in both guitars and variety.
Luckily, the final track 'Past System Control' remedies the situation, crashing power chords and skillfully programmed drum fills combining with spiralling keyboard contributions to create an atmospheric and portentous intro. The long, slow-moving songs of Forbidden have been updated with a more upbeat, energetic style while losing none of the skill for creating evocative atmospherics.
Overall, an excellent document of the continued evolution of one of the Midlands' most promising bands. All major label A&R people should start forming an orderly queue...
8/10
2003 - Self-released
By Philip Whitehouse
Go to the Tin Omen website.
Tin Omen's latest EP builds on the promise of previous release 'Forbidden', showcasing the output of a talented trio ready to take their blend of electronica, industrial and goth-tinged metal to the next level. Boasting a much clearer, beefier production (thanks to being co-produced with the band by Gordon Young of Dream Disciples fame) and a more diverse approach in songwriting, Without System Control will, if there's any justice in the world, be the release that forces some labels to start paying attention.
Kicking off with 'Gone', immediately the progression from 'Forbidden' is noticeable. Bryon's guitars have a crunch and power to them that was sorely missing from the last release, and the electronic elements (provided by John)are more layered and attention-grabbing - in fact, there seems to be something of a Euro-dance influence on this release that puts one in mind of Celldweller. Second track 'Silent Scream' is the highlight of the EP to my mind, featuring a chorus which wouldn't leave my head for days after first hearing it. As with the previous release, the focal point of the sound is Kelly's voice, bringing together all the melodicism and emotion of the instruments and providing the linchpin for the seperate elements, fusing them into an affecting, captivating whole.
'Addiction' continues with a more down-tempo beat and a growling, palm-muted riff, before dropping down to a bare electronic loop and then just as suddenly exploding into a chorus which shows a heavier side to Tin Omen than previously seen. Sadly, 'Pin Point' seems to retain none of these song dynamics, and while not being a particularly bad song, it does seem something of a disappointment amongst the other tracks - more background music than attention-grabber. Starting with some promisingly evocative synths, it turns into a fairly repetetive trance-like tune, sorely lacking in both guitars and variety.
Luckily, the final track 'Past System Control' remedies the situation, crashing power chords and skillfully programmed drum fills combining with spiralling keyboard contributions to create an atmospheric and portentous intro. The long, slow-moving songs of Forbidden have been updated with a more upbeat, energetic style while losing none of the skill for creating evocative atmospherics.
Overall, an excellent document of the continued evolution of one of the Midlands' most promising bands. All major label A&R people should start forming an orderly queue...
8/10
