On Thy Will Be Done’s “Thrash and Burn” tour in the summer of 2009 – where they warmed up the stage for Emmure and Devildriver – I personally had the pleasure of meeting J Costa (vocals) briefly in DC. They made a huge impression in their entrance on a bill filled with nothing but heavy as hell artists, which is something I didn’t forget about them. Although this was more than 3 years ago, I remember Costa as a super down to earth guy simplifying what it was like to go on tour in Japan with Killswitch Engage, and couldn’t believe that it was all real. I remember a statement parallel to “waking up and seeing Mount Fuji seemed like a hallucination.” Well, here they are nearly 3 years later on their new EP sounding even bigger and better than I remember the first time around. True artists are always surprised at success – and it’s nothing less than humbling to see them providing more of their work after their initial presence to the scene.
The first track “Liturgy” embodies a mix of painstaking vocals that seem to engage a sinister curiosity for the rest of the album. Abruptly ending and transitioning into a barrage of hardcore blast beats while blending a slower, southern style variety, entwining a wicked solo in the second track “Ways of Old.” The third track “The Great Rebuilding” embodies an interesting crescendo before busting out a rhythmic “take the power back” sort-of angst, rightfully displayed by the song-title. “You The Apathy Divine” is arguably the most powerful track on the EP. The classic slow and grueling commencement leads one to believe a lethal slew of power riffs and maybe even a malevolent breakdown will follow. Your hypothesis is confirmed.
Thy Will Be Done’s “The Temple” seems to infuse just enough harsh, yet tenacious vocals that appear as if Costa has embodied the sound of despondency and anguish through the strength of his delivery. I won’t be the first to admit that this is something that not many artists can accomplish, without sounding inauthentic. The vocals are extremely real and vivid in tonality. The rest of the members seem to follow suit while still somehow adding to the vulnerable context of some of the vocals, specifically in the last track “Epiphany,” to give the album an overall wrenchingly emotional resonance.
The album champions a largely elaborative technique. This EP is generally coarser with distortion, yet more clean and versatile than some of their previous work “In Ancient of Days,” of 2009, or their 2007 debut album “Was And Is To Come.” Sparing double bass increases the heaviness and brisk style, while maintaining their original, old school sludge sound. A large number of emerging artists, similar in denomination and timing of inception to the scene in this mix of genres haven’t quite found a balance between too much of a signature technique as a compilation of styles, and not enough (mostly the former being the case for most). Let’s all be honest here for a minute – most of us really don’t want to hear nothing but constant chaos and an overload of what I like to refer to as, “Castle” riffs totally void of substance that gives metal a clumsy image. Its excellent to see these guys integrate Thrash in a way that really works for them. The finality of the album “Epiphany,” is simultaneously destructive and agonizing in a sense that’s nearly pleading. A terrifically painful way of finalizing the album that leaves you at an impasse – wondering what will be next from them? As the beginning left us wanting more, the summation parallels.
