EP Feature: The Radicant, Manes, Revis

There have been so many great EPs this year. Some of them are pretty close to being full albums, honestly. Here are three more terrific EPs to consider: The Radicant, Manes, and Revis.

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Vincent Cavanagh needs no introduction to readers of this site, I think. He is the ex-lead vocalist for legendary band Anathema. The band disappeared during the COVID pandemic, and it’s been years since we’ve heard anything from Vincent. He’s back now, though, with a new project called The Radicant and an EP called We Ascend that released on July 12^th.

This is much more than an Anathema clone, however. Vincent has created something completely different, though you will still hear the warm and nostalgic tones from his former band. The music here is a blend of styles, from trip hop to electronic to ambient to post-prog to post-industrial to art pop. There are five tracks, and each one of them is significantly different from the others. Vincent’s voice is as vulnerable and psaltery as ever, and the harmonies he reaches with guest vocalists Sarah Derat and Amy Wood are terrific.

We Ascend is more of an art piece than an album. One needs to understand what it is they are going to experience before taking the journey, I think. The opening title track, for example, is a looping, melodic piece that revels in ambience, sparkling electronica, and beautiful textures. On first listen, you might think it is repetitive, but as you delve more deeply, the quivering ambient synth and glorious harmonies become something truly spellbinding.

The EP continues with that effect. “Zero Blue” is the single, and its trip-hopping, catchy art pop style is a true joy. “Anchor” could be an Anathema song, honestly, in its slow-burning vocal atmosphere that explodes into electronic pop rock near the end. “Wide Steppe” is absolutely amazing, being a hovering piece that focuses on haunting, operatic female vocals set against an electronic sheen. It reminds me of Eivør’s new album, actually. It is a beautiful, introspective, and layered experience. Finally, “Stowaway” closes with a melancholy, subtly catchy piece that slowly adds layers and hooks; I love how the nuanced synth joins in the second half, and how the song eases into a finish with reserved and thoughtful effect.

I’m really excited about The Radicant. Vincent has created something truly gorgeous and haunting with We Ascend, something artful and true to himself, I think. There are many different styles at play here, and I suppose that fans of his heavier side might be taken aback, but those of us who love the melody and the pensive brilliance of his writing should be thrilled.

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One of the more underrated albums of 2018 was Slow Motion Death Sequence from Manes. The album is an eccentric, eclectic affair with lots of ideas that really deliver. The band is back with a new EP called Pathei Mathos. The band includes Tor-Helge Skei, Rune Hoemsnes, Asgeir Hatlen, Torstein Parelius, and viNd.

The band plays music that blends electronic, metal, and pop influences. Some of their songs can be heavier, and some are catchy and colorful. For this EP, I do feel like the eclecticism is reigned in somewhat, but all those genres are still present. The band seems to focus on writing good songs without as much fluff, but the accents they do add are effective.

The EP has four songs, all of them over five minutes long, though. “Submerged” opens with quirky melody and a slowly building anticipation. I like how the last couple minutes bring in a low-key metal sound with blast beats and subtle riffing. It’s a cool song. “Fallen” follows with more of an electronic atmosphere truncated by a heavier sound; the song riffs its way into more and more chaos before dropping off into an electronic outro, which I think sounds great.

“A Vessel for Change” might be my favorite. It is again a mix of metal and electronic, but both sounds are equally balanced and even accentuated. I like the anxious sort of transitory sound the song offers, almost like a horror movie. The final track is “End of the River”; this piece fluctuates between ambient haunts and metallic portions. I like how unpredictable it seems, and how the vocals hover above it with unnerving yet beautiful precision.

Manes needs more attention, and this EP is a great extension of their sound. I like how they pretty much do whatever they want, and how they blend genres so seamlessly. This EP takes a couple listens, I’ll admit, but it really grows on you, and you’ll hear more and more layers every time.

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Back in 2003, I heard a song called “Caught in the Rain”. I remember exactly where I was standing when I heard it, mainly since I was a junior in high school, and the sheer cinematic force of the song immediately gripped me. The band released their debut album Places for Breathing that year, and I consider it a masterpiece of alternative metal. Well, after 20 years, the band is back with an EP called Bottles of Lightning, and I still like their sound. The band includes Justin Holman on vocals, Robert David and Nathaniel Cox on guitars, David Piribauer on drums, and Bob Thiemann on bass.

I can’t over-emphasize how much my wife and I love Places for Breathing. I mean, we’ve been listening to it consistently for 20 years. It was the combination of the amazing vocals with the dynamic music, I think. Justin’s voice is rich and deep and powerful, and he still carries that tone. The band still has some of the cinematic force of their debut, too, though it is, perhaps, lessened somewhat. I mean, who still has the same youthful energy they once had? Still, the music here is alternative rock/metal, and it is done very well.

What the band hasn’t lost, however, is their ability to write terrific hooks that make for songs you will find yourself singing throughout your day. Bottles of Lightning has six tracks and is almost a half-hour long, so it’s only a few songs shy of an album. All six tracks are winners.

“Play for Keeps” is the opener, and it is amazing. Justin hits some higher notes and the band throws in a memorable melody that reminds me of something Collective Soul would have done back in the day. It’s so catchy. Of course, “Ultraviolet” is just as addictive with its layered vocals and driving pace. “Taste in the Flash” slows things down a little, though it might be my favorite overall. I love how nuanced the chorus is and how warm and comforting it feels.

“My Imagination” is so good; I love how earnest the chorus feels, vocal inflections and all, and it reminds me of their debut in how the verses are more reserved but the chorus breaks out. “One More Day” is spacious and quite expressive. I love the chorus because you can really hear the emotions. The title track closes the EP with possibly the most dynamic song. I like the hushed, whispering segments and the louder moments that break in from time to time. The song feels more mature, somehow, like the band has grown and become wiser. I don’t know why I feel that way.

Revis has released an EP that is both nostalgic and excellent on its own merits. Bottles of Lightning has six great songs with big hooks and emotional impact. Honestly, the first time I listened, I didn’t think much of it. As I’ve revisited it, the EP gets better and better, possibly because my expectations of a lumbering wall of 2000s alt metal were corrected to expect something more interesting and human.