Sylosis: ‘The Path’ Review
The album artwork for The Path
Sylosis have gone from strength to strength since their return in 2019. Last year’s A Sign of Things to Come was a rare example of a band delivering on the promise of their heaviest material to date but such a progression begs the question of where they could go next. However, fans weren’t expecting that question to be answered quite so quickly as Sylosis have released a surprise new EP barely a year after the launch of the aforementioned album.
Written during the same album sessions yet presenting a distinct sound, The Path is a less heavy and more melodic proposition than its predecessor. It feels like a conglomeration of Sylosis’ different eras, touching base with metalcore, thrash and death metal. This blend of styles is what distinguishes the band from their peers and it’s a testament to their writing capabilities how varied these five songs feel.
The production is polished and the mix is clear without stifling the brutality of the heaviest moments, avoiding an all too common pitfall of increased production values in heavy music. Unlike a lot of metalcore, the bass is given moments to shine through the mix, though the parts themselves largely stay in a supportive role. The drums sound a little plastic in places but this doesn’t have a major impact on the overall sound.
Whilst mainman Josh Middleton is often praised for his guitar solos, and there are plenty of showstoppers to be found here, his vocals are the star performance on this record. He pushes both his clean and harsh vocals to their limits during the chorus of Soured Ground, bringing the anger and despair of the lyrics into contrast. His utilisation of a variety of different vocal styles means that the songwriting choices are never as formulaic as alternating between singing and screaming.
The opening title track sets the bar high with a short but sweet vocal feature courtesy of Debbie Gough from Heriot, her distinctive bark enhancing the bridge before Middleton unleashes a solo any self-respecting thrash band would be proud of. Fans of crushing breakdowns will want to turn their attentions to the groove-laden outro of As Above So Below whilst the blastbeats interspersed throughout No Saviours will satiate listeners looking for the opposite end of the speed spectrum. The highlight of the EP is closing track Disavowed which features the record’s most anthemic chorus, twin guitar harmonies reminiscent of classic heavy metal and a mournful solo that brings things to an emotional close.
Make no mistake, these tracks are not merely leftovers. The material here is strong enough to stand on its own two feet and it would have been a shame to hide them away at the end of a digital deluxe edition of their latest album. It’s unlikely that this EP will be a commercial breakthrough for the band but it will maintain their momentum in an industry that now demands new content more regularly than the traditional album cycle. This is an almost relentless 25 minutes that will both satisfy diehard fans and work as a great introduction to the band for those who are yet to dive in.
