Metalcore has become a genre for the masses over the past decade. Bands like Parkway Drive, Bring Me The Horizon, and The Devil Wears Prada have all played intrinsic roles in the effort to globalise what was once a niche blend of metal and hardcore punk.
Architects now headline stadiums instead of dingy venues that double as quaint pubs. You could even argue that metalcore has, in some sense, become a pop genre, as in, pop-ular.
It’s with this expansion that acts like the Copenhagen’s Daze Of June have begun to arise. 2018’s ‘Heart Of Silver’ was a fairly respectable debut, wearing its influences firmly upon sleeveless tees, with clear inspiration taken from the For The Fallen Dreams‘ school of pummelling yet soaring melodic metalcore.
‘Tainted Blood’ hints at a focused recalibration, imbuing the material with a sharpened focus and awareness. That is to say, the band sound like they know who they’re targeting now in terms of demographic. From the glossy production to the electronic flourishes, complete with chugathon breakdowns and bendable riffs, there’s an evident fondness for both the genre’s roots and to where they’ve branched.
Frontman Benjamin Julian Ganzhorn is easily the most valuable asset, teeming with a confidence and commanding presence that majorly elevates what are admittedly not the most complex of compositions. It’s his impressive range from harsh, urgent “urghs” to excellent, anthem-friendly cleans that ultimately has allowed the band to put aside any preconceived parameters in order to craft catchy, effective, dare it be said, pop-core.
‘Four Knives’ is unashamedly awash with glistening synths and an ethereal melody that recalls Bring Me The Horizon‘s ‘Sleepwalking’, while the duet style interplay of ‘Hypnos’ (featuring Spiritbox vocalist, Courtney LaPlante) is an ever-shifting, groove-laden banger somehow matched by its swaggy, pop sensibilities.
‘Tainted Blood’ isn’t a particularly memorable album, nor is it remarkably effective or emotionally challenging, but it doesn’t desire to be be. Daze Of June appear to be set on making metalcore for the pop fan, and there’s nothing wrong with that. Lead single, ‘Son’, is testament to just how studious a knowledge of the formula they already possess, while their innate ability to switch from slamming hardcore energy to soaring stadium choruses has the potential to put them firmly en route to venues of a similar nature.
Lover of choons, flums, bukes and such. I like making music. I like writing about music. I like burgers and emo-trap. Also suffer from a slight case of knowitallism. I wish every song had a breakdown.