Unto Others have had a strong few years since releasing their second album Strength in 2021. Coming out the other side of the pandemic touring incessantly, finding themselves of tours opening for the likes of Carcass, Behemoth and King Diamond and picking up fans from all corners of the metal world. Known for channeling influences from goth heavyweights The Cure and Type O Negative, helpings of NWOBHM and touches of classic era Misfits/early Danzig, with new album Never, Neverland, Unto Others are clearly eyeing up the top of the mountain as they continue to hone their sound and take a decidedly pop approach to some of the songwriting, looking to capitalise on mainstream alternative appeal.
Album opener and single “Butterfly” is a stark contrast to the harrowing and brutal introductory track “Heroin” from 2021’s Strength. Sardonic musings of the frailty of a butterfly over moody, stomping goth rock is the perfect introduction to the band’s style. Delicate and purposeful melodies mirroring the vocal lines, an overly infectious chorus sink their hooks in deep in the opening track. Following is “Momma Likes The Door Closed”, picking up the pace a substantial amount and bring the punchy heavy metal worship in spades. A sample of a bong rip at the bridge leading into a blast beat laden nightmare shows off Unto Others style-hopping and tongue-in-cheek sensibility at its best.
Whilst a lot of the album sits in goth rock territory, the band do their best to keep things interesting by weaving some differing styles throughout their bread and butter. “Sunshine” is a straight summertime alt rock ballad, oozing a saccharine radio rock aura. Despite the mass amounts of cheese, it makes for a stand-out moment in the album run. In contrast, “Flatline” is a vicious sub two minute slab of almost blackened death metal, an intense frenzy cutting through the delicate atmospherics like a knife with melodic heavy metal breaks. “I Am The Light” gives off the impression of a The Stranglers-esque waltz, with new-romantic goth grandeur, the differing time signature breaking the mould from other cuts. Similarly, “Hoops” almost seems like Unto Others instrumental take on Blue Oyster Cult, with plenty of intricate, epic melodies and heaps of cowbell.
Alongside their cleaner songwriting, the band drafted in Tom Dalgerty (The Cult, Ghost, Green Lung) to produce. Known to take inspiration from the classic heavy metal sounds of 80s mega-producer Martin Birch, it makes for the perfect fit for Unto Others‘ melding of sub-genre types into their charming gothic heavy metal. The band have always sounded great, but the fusion of their style with Dalgerty’s is a match made in heaven, hitting the peak of their production so far in their career. There are no frills, no fineries, just two guitars, bass, drums and vocals treated masterfully, as has come to be expected from Dalgerty. Vocals from Gabriel Franco are a standout, from the deep lovelorn crooning, bombastic roars and chest beating “OOUGH”’s embodying the band’s character and charm.
“Suicide Today” has one of the biggest chorus’ and catchiest hooks on the album, which is saying a lot when it’s packed to gills with both. It showcases the bands melodic focus on the guitar and vocal lines perfectly. “Cold World” is in a similar place, the haunting reverb in Franco’s despairing vocals paired with the backing sound huge with the interwoven melodies. Big percussive handclaps ring through at the perfect time and it roots deep in your mind as one of the albums more powerful ear-worms. “When the Kids Get Caught” almost fringes on post-punk, taking its home in early goth style with nearly spoken word poetry for the vocals and a subdued instrumental. Finally, the closing title track fits the bill perfectly, slowly pulling you deeper in the dream-like atmosphere and gently (goth) rocking the listener to a calm and pensive finale.
It seems a little overwhelming on the surface with so many tracks included, but Unto Others have somehow managed to top themselves again. Never, Neverland is their most cohesive and approachable work to date, without losing any of the qualities that made scores of heavy metal lovers fall for them in the first place. With a renewed focus on writing the catchiest work possible, that band have achieved their intent with ease, it’s 46 minutes of pure gothic bliss for a band who have an incredibly bright future in front of them.