EP REVIEW: MMXX – Eskimo Callboy

2020 sees German electronic-tinged metallers ESKIMO CALLBOY reborn with a brand-new vocalist and a fresh perspective on their future going forward.  

While the band has never set the world alight with their brand of electro-core, what they have done is created some catchy, light-hearted rock night jams with their own blend of tongue-in-cheek humour thrown in for good measure. The band show off the first the glimpse of new recruit Nico Sallach in the hilarious throwback video for the EP’s opening track Hypa Hypa.

For anyone unaware of the bands’ style from previous works, they could be mistaken for thinking they’ve purchased an EDM record or an album by the latest chart-topping pop star with its catchy refrain and electro hook. That is until second vocalist Kevin Ratajczak bursts into the fray with the familiar bark the band have been known to use in the past. The guitars join him and the ante is upped considerably in a huge left turn that brings the track from the club to the pit. Moments of silly serenity show Nico’s vocal abilities which prove the band were right in his appointment. It’s bouncy, infectious and endearing while also being reasonably heavy and brutal in places (see the scream-laden outro). 

In the past, ESKIMO CALLBOY has been known to sway from the ridiculous to the serious and it can sometimes be a little jarring with the band not particularly knowing which way they want to lean towards. While you could argue that they can offer a multitude of fans numerous options, it can also be a little off-putting if you are more of a fan of either end of that spectrum. After the outlandish and enjoyable Hypa Hypa follows a more straightforward and serious track in Hate/Love. It’s a little bit more by the numbers and falls a bit flat after the interesting opening. It’s by no means a bad track and features an earworm chorus which bounces in a similar fashion to THE OFFSPRING‘s Can’t Get My Head Around You and also features a satisfying breakdown into its final chorus.

MC Thunder II shifts back into the bands more frenetic and comical sound akin to Hypa Hypa and features a heavy screamed verse that gives way to a poppy chorus that is full of the cheese you come to expect from the band but it’s at the three-quarter mark where things get interesting. The track opens up into an acid trip section that sounds like it’s straight out of The Matrix soundtrack with an ending breakdown that will crush in the pit.  

Monsieur Moustache feels like a throwback to the mid-2000’s scene-core with its synth breakdowns and stabbing riffs but the less said about the lyrics the better. While it’s obviously supposed to be very tongue-in-cheek, it comes across more immature than humorous. Music-wise it showcases the band’s ability to create catchy and hard-hitting, if slightly outdated, metalcore.

Dramaqueen sees the band channel their inner ASKING ALEXANDRIA, holding on to that 2010’s vibe but generally ends up feeling quite forgettable. There is a considerable curveball however for final track Prism, which features the band in uncharted territory and features the band going full acoustic and heartfelt. While it feels very out of place on the EP in with the synth-core and breakdowns, it is a very classy track and features writing credits from Tobias Rauscher. It’s an interesting end to an otherwise bog-standard metalcore affair and shines a little bit of hope for future efforts from the lads. The vocals prove once again that the acquiring of Nico was an inspired move and shows that the band can write serious tracks with real conviction.  

ESKIMO CALLBOY have been reborn with a new vocalist but still struggle to find their path in the metal world. A muddled mix of comical and serious tracks mean that this can be a tough sell for those unfamiliar with the band’s previous work but when they fire on all cylinders the band are capable of creating some memorable and exciting tracks. MMXX shows there are glimpses of hope for the future of the band going forward.

Rating: 6/10 

MMXX is set for release on September 11th via Century Media Records. 

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