We’ve covered Canada’s London, Ontario on multiple occasions recently. With that being said, readers are sure to see a lot more from the Forest City’s insanely vast music scene. Up next, however, is what we might like to call Ontario Canada’s “hidden gem”. Atria are here with their brand new independent sophomore release Ground Zero.
Combining elements of old school Metalcore with a more modern Progressive Metalcore styling, they’ve managed to put out something we are sure both older and newer generations of Metalcore are going to enjoy. Using bands such as Killswitch Engage, Mudvayne, Tool, and Slipknot as just a few influences in not just this new release but their music as a whole; there’s a reason this Canadian five piece not only won this years Forest City Music Awards Best Metal Act, but has also managed to grab opportunities to share the stage with the likes of Goatwhore, Upon A Burning Body, The Agonist, and As The Structure Fails. Ground Zero is the only reason one would need for this success all in one EP. Mixed, mastered, produced, and engineered all by Jon Howard over at Woodward Studios in Hamilton, Ontario, who was clearly putting in the work and showing it on every second of this EP. It really goes to show that when you get a great band and pair them with an equally talented producer, fireworks can be made. Alas, that just may be the case within this 25 minute piece of Metalcore art.
Opening the album out is the title track, ‘Ground Zero’. Talking about the moment one prays to God and realizes there is never going to be an answer; it not only sounds heavy to the ear drum but is also may be heavy on the conscience. Lyrically, our leading man Tom Emmans comes in and out with a chorus melody that’s soothing enough to sleep a baby. A clean vocal similar to Breaking Benjamin while also throwing in some heavy verses that sound close to the likes of Wage War with a bit of Meshuggah tossed in the mix. This will not be the first Meshuggah reference in this review by the way.
Although it may seem like the weirdest combination to some it’s actually some of the more unique vocal sounds Canadian metal has heard all year thus far. Instrumentally, in a sort of biased opinion on this writers part, this track may have one of the more catchy instrumental styles on the album due to drummer Jared Sterling‘s insane skills behind the kit. There couldn’t possibly be a perfect track, out of the five on record, more suited to open up for the listeners.
Track three, ‘Dysmorphia‘, follows in the same path as the first track with its more dark and heavy meaning. Focusing mainly on body dysmorphia and how media (social media, television, radio, etc.) have no shame and are so quick to sell a dream or image that a small minority knows will never come true. A meaning that may hit home with quite a few people. Statistically, as of March 2021, as many as 350,000 Canadians suffer from a type of mental illness known as BDD or Body Dysmorphic Disorder. Upwards to 57.8 percent of these numbers experience suicidal ideation. Not only men and women, but within all genders, BDD usually is caused by what’s referred to as “lack of symmetry” or the idea of “perfection” when it comes to body image. This idea being blasted at everyone through their screens almost 24/7.
Atria hit the nail on the head when talking on this subject, while again the instrumental department absolutely delivers with ferocious intent. Insane guitar riffs coupled with blasting drums, giving off almost an amalgamation of Trivium‘s first few releases with a hint of newer Bullet For My Valentine. Not nearly as progressive as the last couple seemed to be but it doesn’t have to be because it got straight to the point and absolutely delivered on all fronts.
If that djent style is more up your alley though, we highly suggest you do not hit the skip button before you manage to hear track four, ‘Just A Number’. Focused heavily on a bouncy, syncopated rhythm section; the Meshuggah influence runs deep. Not to mention the subtle hints of Periphery‘s P1 album and Trivium‘s Shogun sneaking its way into the underbelly of this absolute monster of a metal track. ‘Just A Number‘ discusses the idea that we as the human race work our lives away like a cog in a machine, forever stuck in a lifetime of pointlessness. Listeners can almost feel that exact cogwheel turning when that leading rhythm section pounds with a fury we don’t usually hear unless we’re listening to the all-time classic, ‘Bleed’. Again, another unapologetic Meshuggah reference. But that is mainly due to how similar some of these riffs slam the way they do.
Nearing the end of this masterclass five track album, we reach the fifth and final song, ‘The Brightest Lights’. Even though this record has been a beating after beating, we seem to slow down and end on a softer note. Almost like the classic trope used on many Metalcore records, and even some Deathcore records, of previous years. Soft so you aren’t over exerting from headbanging, but you’ll need to catch your breath after all the crying you’re going to be doing after this one. Musically led by some beautiful piano playing, while Emmans graces us again with a voice that may bring a tear to the eyes of some listeners. ‘The Brightest Light’ is written to be a lullaby to Emmans own unborn, deceased child; the most emotional song on the entire album.
Many people, not only in Canada, but around the entire globe have had to deal with this subject personally. Statistically 1 in every 250 pregnancies ends in stillbirth in the just the United Kingdom alone. That means about 8 children a day in one continent. This statistic makes this one of the more relatable and emotional tracks on the record for possibly a few people. Giving credit where it’s obviously due, Emmans took a lot of courage to open up like this on the record. With the support of the Atria team behind them, this courageousness obviously paid off.
Ground Zero contains a lot of pent up rage, sadness, and other negative emotions which is clearly aimed at the writer(s). But it also projects the same types of rage and emotions towards the world we reside in, in 2022/23. Coming from a place that seems to be a bit more deep down and to the core than the groups last venture, it’s never going to be all laughs and good times. That is on full display for listeners to take in. Honest, real, and relatable content are the words we’d use to describe this EP at the very the least. If readers haven’t gotten bored yet, they’d be reading that they should defiantly be streaming this record wherever they listen to music. Especially if what we’ve talked about above appeals to you at all.
Members Tom Emmans (vocals), Tim Ross and Brody King (guitars), Joe Mullen (Bass on EP, not live), and Jared Sterling (Drums) clearly worked effortlessly on this piece and deserve all the attention right now if metal music is what you’re looking for. Atria have managed to borrow all the good bits from the best parts of metal and worked them in their favor plus more. Canada is unrelenting right now in the metal music community which means you almost need to stand out. Atria don’t seem to be worried and are only proving that with Ground Zero.