Following a successful stint in the goth metal scene, MySpace born and bred veterans New Years Day return with their latest EP, ‘Diary Of A Creep’. The self-proclaimed “hauntedmansioncore” outfit have earned their place in the echelons of the alternative scene over the past twelve years, most notably as a regular part on hugely renowned Vans Warped Tour.
‘Diary Of A Creep’ acts as a homage to the influences that have inspired the band over the years, and consists of one original song and five diverse covers from a handful of established names in the rock and metal community, including Pantera, No Doubt, and Linkin Park.
Sole original cut ‘Disgust Me’ is a strong opener for the EP, and encapsulates New Years Day for all that they are. Continuing in the same vein as the band’s 2015 full-length ‘Malevolence’, this new track is packed full of haunting synths layered over punchy guitar riffs, completed with a catchy sing-along vocal hook from vocalist, Ash Costello. It’s a full three minutes of head-bopping goth rock in its purest form.
From there, their cover of New Order‘s own ‘Bizarre Love Triangle’ is a bizarre side-step in approach and delivery. The band manage to adapt the song to their own style, but, in all honesty, it’s nothing to write home about.
The band’s take on Garbage‘s ‘Only Happy When It Rains’ features an appearance from Lzzy Hale of Halestorm, and together they help New Years Day claw back some lost interest. Embracing a goth-rock vibe coupled with Costello‘s powerful voice, this is a stomp-along track with a great breakdown encouraging a classic heavy rock clap-along feel.
By far the best track on the EP is the cover of Pantera‘s headbang-athon that is ‘Fucking Hostile’, during which the band showcase their heavier skills. Costello‘s rawer vocals are especially impressive, and the rest of the band go all out to pay tribute to the metal moguls who crafted the song.
‘Diary Of A Creep’ is a mixed bag from New Years Day at best. A couple of the tracks show promising potential for a new record from the band, and the rest feel as though they should’ve remained as gimmicky covers restrained exclusively for live shows, or even just the rehearsal room.