EP REVIEW: The Dead Rabbitts – Break The Static

Release Date: December 6th 2019
Label: Morla Records/Tragic Hero Records
Website: None available
Facebook: www.facebook.com/thedeadrabbitts
Twitter: www.twitter.com/deadrabbitts


Metalcore outfit The Dead Rabbitts are skidding back into the realm of shorter releases with their new EP, ‘Break The Static’.

Initially formed as a solo project by Escape The Fate frontman Craig Mabbitt and later join by fellow bandmate TJ Bell, The Dead Rabbitts was set to serve as a outlet for heavier material for Mabbitt, akin to his previous stints in both blessthefall and The Word Alive.

Opener ‘Dead By Daylight’ is reflective of the EP’s title, glitching and crackling among Bells‘ chunky bass lines, reminiscent of a dying TV screen. Reds and blues flit between the dazzling static and embed themselves in the blackness, while Leila Rose Mabbitt‘s (Craig Mabbitt‘s daughter) vocal feature cuts through the muffles with a tart venom.

Each track begins with a minuscule interlude that gives the instrumental hit a shot of caffeine. While this does become somewhat repetitive through the course of the EP, it gives each track the character to be enjoyed when played alone. It’s evident that The Dead Rabbitts have clenched the idea of a concept release in their bloodied fists and relished in every track, as ‘Victim Of Circumstance’ is vicious. Erik ‘Shredz’ Jensen dons the guitar components, harnessing a blistering velocity.

‘Viennu’ is briefly silent, inciting the illusion that your heartbeat’s reverberations in your headphones are actually the introductory beat. The percussion throughout this feat, however, courtesy of Blake Bailey, is simply breathtaking. Punk beats perforate refreshing clean vocals with fists of impenitent fury, gripping the shirts of the audience to remind them just who they’re bloody well listening to.

’24:7′ sets sail with a similar, techno-fashioned introduction that soon swells into an almost surprising excavation of melodic brilliance. This track appears disjointed from its predecessors as the heavier veins are concealed until its middle section, and even then, the gravelled deliveries are short and sour. Aside from its subtle disconnect from The Dead Rabbitt‘s previously established style, ’24:7′ is a slick, idiosyncratic listen.