Everyone Dies In Utah – Self Titled [REVIEW]

Texan metalcore outfit bring a blast from the past with a modernised twist.

Being a veteran band in the more modernised metalcore that a lot of new fans are a part of now, Everyone Dies In Utah have been a mid-card mainstay for many years with their albums featuring strong electronic influences and chugging riffs and the ‘by the book’ screams/cleans you’ve probably heard a dozen times before. With every album they’ve been maturing and growing a lot and whilst their music has always been a ‘hit and miss’ between audiences, their latest self titled record is a surefire way of bringing something new from the EDIU camp that will please their old fans as well as turning a few heads of new fans.

Opening the record with ‘Relentless’ flows into a more aggressive post-hardcore regime that already shows a more structured flow to the bands music compared to the years gone by. The synth elements still play a major part in the bands repertoire, but its a much more solidified and less garish for the most part. The next few tracks give off the same similarities as the opening track but incorporate a bit more from their past. The high-octave electronics don’t overpower the rest of the band and actually help boost up the rest of the instrumentation. Danny Martinez’s vocals are a nice fit in to this new age of EDIU and have truly improved since 2011’s ‘Seeing Clearly’.

As soon as you get used to hearing the first few songs on the new record, you start to notice a trend in their writing for most of their music on this self titled. One thing they don’t emphasise a lot on the record is that their breakdowns are a more prominent feature. Even with them throwing in a fraction more of what was considered a crucial part of metalcore/post-hardcore back in 2008-2010, it doesn’t completely dampen down the sound and actually shows more of their aggression within their guitar riffs and their beautifully monikered chord progressions in their choruses. ‘Simply Free’ shows this off perfectly from start to finish and could be considered to be the more ‘standout’ track.

The second half of the album sadly doesn’t have much left that you haven’t heard time and time again. ‘Three Pointer’ brings you more chugging guitars / tremolo picking which the electronics adding a lot more to the simplistic sections of the record, which the tracks following suit feeling more and more like filler than anything. This puts a dampener on the first 50%, as with this newly defined era of the band and having moderately changed their sound, they are still somewhat closed off with a new found look on the genre. With that being said, one of the final tracks on the record ‘Dr Fishy, No!’ feels like such a blast from the past you will almost certainly feel like you’re wearing those colourful Asking Alexandra shirts browsing MySpace once again.

With everything the band has brought to this record they have definitely found something new and improved that makes them more flavourful. Unfortunately this seems to be the starting point as with most of the album being an enjoyable listen, there are a few songs that aren’t gripping enough after a few listens. This is Everyone Dies In Utah 2.0, but this model needs a few more upgrades before it reaches its full capacity.


Released: October 7th 2016
For Fans Of: Like Moths To Flames / Crown The Empire
Label: InVogue Records

Everyone Dies In Utah - Self Titled

7 out of 10
Positives + Newer Sound + 'Simply Free'+ Enjoyable Opening + Negatives - Lacklustre Second Half - Structure Overused -
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