Emerging from Green Bay, Wisconsin, A Coup De Grace plays odes to multiple waves of deathcore from the first wave of melodic power-running to the latest form of ultra-aggressive tendencies.
Their latest EP, Tyrannicide, starts off with the eerie feedback and atmosphere of anticipation most metalheads are accustomed to in “Insanity Holds.” Derek Pamonicutt’s guitar work has no hesitation in pumping out Through The Eyes Of The Dead‘s unrelenting fashion of riffage on the aforementioned song. They can be as melodious as they are unrelenting at the same time. This album is sprinkled with The Black Dahlia Murder influences but is not overdone in conjunction with a lot of the scene. The main melodious theme found on “Earthbound,” is very reminiscent of As Blood Runs Black.
Fans of the traditional style of deathcore will also appreciate the EP for good measure. A good example is the boasted breakdown in “Virus,” it just gets slower and slower really playing with the idea of half timing. Alan Greenberg’s drumming on this record is authentic but you can hear the very minor slip ups on the kick drum at times. I can see this being a turn off to some, but it adds a human element. One thing is for sure, it takes balls not to quantize the drums and over polish at those doubles bass speeds, kudos to that.
“Saltwater Tyrant” is the most eclectic track on this album, specifically for Dan Goheen’s vocals. Throughout most of the EP, the timbre is more on the high-pitched end/hardcore, nevertheless, he lashes out like a tyrant drowning in saltwater on this track. The introduction and general feel of this song has a very ominous and sinister feeling to it.
Tyrannicide ends with the emotional roller coaster that is “Concrete.” It starts with atmosphere and although Jose Whiting’s bass is well-rounded and finds the sweet spot between the guitars and drums on most of the album, his bass playing really shines through on this track. Most of the riffs are classic-era At The Gates worship on this one (good thing). Anders Björler would be quite content.
This EP is a great showcase of the bands influences shining through without being a mimic. I find the production good for what it is, and as I mentioned before, some people might get faintly put off by the kick at times. If Dan acted more bat shit crazy on the universal vocal approach like he did on “Saltwater Tyrant,” I think it would add an extra element if anything. They are actively looking for a keyboardist as well, which explains why “Concrete” had more of an atmospheric direction. I’m definitely agreeing with this direction, and would have more anticipation for the next release if I saw a keyboardist in A Coup De Grace.
Written by Peter Lountzis
*edited by Mike Milito