Under The Deep starts off with a eerie noise and backing trap compilation which provides the backing steps for what is to ensue in the coming moments. Sort of a long dark hall way persistence with the pending future uncertain. The ending scream that sends off the intro track leads your ears right into the full on assaulting throat tearing scream that James greets you with as “Arise From The Ashes” takes off. The vocals are met with almost a completely different backdrop of sound that you may perceive as playing in the background. The screams and growls are progressed by not a thrashing or speed metal sound yet more of a melodic and rhythmic tone. The Solos in this track and throughout the album are well simply put beautifully placed. The pick harmonics that hit are placed nicely as they are pushed more into the background and not used as a standing point, but more of a backing sound. Frederick and Vincent use a few different techniques throughout the song and really express this in the solos.

The title track “Under The Deep” greets your face with another full scream and full assault from Evertrapped. The lead and backing vocals are put together with force in the track. The use of different levels and tones help ascend the song into a deeper tone and enclave. The tempo changes throughout the song which could be met with a few discresions depending on how you look at the song in a overall technical sound. The tempo changes give “Under The Deep” a breaking point so Evertrapped can evolve the different techniques they are expressing.

It would be interesting to learn how many different vocal takes and vocal ideas Evertrapped had while going through each song. Especially with the use and changes between the growls and Screams. Timing also plays a large fraction with the success of the album and every track on Under The Deep. Eric on drums really impressed me throughout the album. Between the ferocity of the kick drum he retains full control of the crashing of the cymbals and use of the snare and toms. Even the recording and mixing of the drums and vocals are well conceived neither one overshadows or over powers either one as one may expect with the smashing of the cymbals.