Megosh – Apostasy
For Fans Of: Ice Nine Kills, Issues, Bring Me The Horizon
By Louis Giannamore
The vibes are strong with this one – Megosh are already proving themselves powerful forces in the metalcore scene, having the ability to combine all their musical aspirations into listenable music, crushing everything in their path. With their debut album Apostasy just around the corner, there is a hidden treasure full of wonderful things laying in store for this Baltimore-based quartet, y’all better sleep with one eye open.
Apostasy is cheerful, eerie, bright, dark, loud and quiet all at the same time. The heavy bits are undeniably heavy, the melodic bits are undeniably melodic and its ‘out-of-the-box’ bits are questionably something you’ve never heard before. Megosh can proudly say that they’ve found their own sound from capturing the best bits of other music and blending it all into a living and breathing album. I find the concept of having all three members of this band contribute to vocals a solid point to make as it gives the option of creating epic and memorable harmonies, a great tool for the Megosh toolbox. Apostasy opens with “Checkerboards & Cigarettes,” which immediately presents the band’s metalcore and prog-rock prowess with some totally awesome riffage, setting a tone for the rest of the album.
Apostasy too has a pop characteristic to it, due to the outstanding range of Josh Grosscup, with a voice and lyrical style that shines above the rest of the music, to be heard especially on songs like “I Stole From The Dead,” “Okay So This Song Is About You,” and “Carrying Fire,” which features vocals from Garrett Rapp of The Color Morale.
Megosh are clearly a talented bunch. They present not only their incredible songwriting abilities but too their chops on their instruments – Jackson Pollock’s “Portrait of Kennedy” is an ever-changing piano ballad, even so only being one minute long, it is filled to the brim with dark emotion.
Also, not necessarily being metalcore, but Apostasy projects the atmospheres of a heavy thrash metal record, with fast riffage and destructive breakdowns. Don’t believe me? Listen to “War Drums” and don’t think it wasn’t totally radical.
But wait! There’s more!
Megosh clearly show interest in the use of electronics and orchestrals, as presented in the intro of I Stole From The Dead and These Go To Eleven in the form of analog synths and bright strings and twinkly pianos – the little things that clearly had lots of thought inflicted into such, that expand the music.
Megosh will reflect back on this record and a few years time with the thought – ‘Damn, we did pretty good.’ It’s memorable album to say the least, with lots of potential for the future of the band and will certainly pave way for better and more impressive music. And, my own personal message to Megosh; why stop here?! Go out there and but the heavier bits heavier, the melodic bits more melodic and those ‘out-of-the-box’ moments something truly jaw-dropping and make your music the most original it can be.
Last modified: October 25, 2016