EP REVIEW: BLACKGOLD – BLACKGOLD
Nu-metal, at its best, is a true, unabashed celebration of life. Its bouncy riffs and stream of consciousness songwriting symbolise truly living for the fun of the moment. It’s that feeling when all sense of daily stressors are lost on a theme park roller coaster, or running the killstreak of a lifetime in a Call Of Duty match with friends. It’s backyard beers and barbeque and the cheap thrills of a demolition derby. When the bounce of a nu-metal riff hits, nothing matters other than that moment and the sheer desire to live – and to live is to jump like mad. But the caveat with nu-metal, for all its joy and charisma, is that to truly stand out in a genre built on theatrical gimmick and performative angst, a band needs an X factor. Enter BLACKGOLD.
A brand new nu-metal quintet out of Sheffield, England whose mystery enshrouded past and secret, mask clad identities make for an immediate draw. But like the influences of nu-metal past, the bark only works when the bite is up to par. For the most part, their debut self-titled EP fits the bill and is a solid, bounce-worthy good time – but it also demonstrates they have a long way to climb.
Opening track It’s Art kicks the record off with a snarl befitting LIMP BIZKIT, which certainly bodes well. The guitar tone and production is crisp and crunchy, and it gets the adrenaline pumping. It brings to mind vibes of a band like TRUST COMPANY. But at least in this early phase of the EP, including the next song Sound Of The Underground, it’s apparent there’s just something missing. Despite technical proficiency and an adherence to the nu-metal fun formula, there’s something missing, but it’s hard to pin down. There’s a slight lack of bite in vocalist Spookz‘ delivery, but it may be that nu-metal has evolved so much in this modern metal era that a more traditional sound just doesn’t hit as hard.
There are definitely very positive qualities to these songs though, and the next two tracks, Sorry and Rhythm, are the highlights of the record. The former has a dark and more melodic vibe to it with a head nodding tempo that shifts things up, and it just feels more real. The latter features excellent turntable work and hooks for days, making it the catchiest and most fun track on the record, thanks also in part to the ending skit which feels in line with classic bits from bands like DEFTONES.
These back-to-back tracks offer the most authentic slice of what BLACKGOLD are capable of on the EP. After those, final track Hold It Down does feature some true story, personal experience lyricism that is certainly a welcome addition from Spookz. However, the track doesn’t hold up to the previous two and there’s a definite lack of hooks in this one. It feels like a bit of a lacklustre ending, and is the track with the fewest elements that work.
BLACKGOLD have gone on record regarding their name, in that it refers to reaching the riches after coming from the dirt. And just like searching for real gold, it’s often buried in places that don’t often shine so bright. That’s the story with this EP. There is fun to be had and the band has a lot of potential in front of them and talent behind them. They demonstrate here that they know the principles and fundamentals, they just need to work on consistency with hooks and trim the fat. Once they do, make no mistake, they will strike gold.
Rating: 7/10
BLACKGOLD is out now via self-release.
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