Back into to my teen years when I used to be a fan of what's commonly labeled as "scene", Hard / Metalcore and "Punk Extrême" music, genres which undoubtedly will cross the mind of any listener as soon as one's ears catch the "pathognomonic" (not in a pejorative context) "teen spirit"-like tenor vocals of the genre previously mentioned. Considering the above and for authenticity reasons, I'm reincarnating myself for this review as a former fan keeping in mind that some Metal fanatics will bash this artwork regardless of the band's self-identification as producing progressive / alternative metal material, a genre which is revealing itself - also progressively yet subtly - throughout the tracks, as it ditches the basic 4/4 time signature and puts emphasis on the bass line as the backbone of the compositions, backed by an ever-changing intensity of drumming from a basic sustaining role to the long break beats and the mini solo of "Call Me Crazy", or introducing "Violent Love" owing to heavier and more industrial-oriented bass drums beats. Consequently, the guitars actually played a relatively accessorial task notably in "Blink Blink Flash" with fluffy quarter note chords mainly tightly sticking to the snares/bass drums, though scratching and super distorted, somehow close to ASKING ALEXANDRIA's style before the distinction between the guitars becomes eventually clearer in the following tracks through fingering or better the captivating palm-mutes adding a touch of aggressiveness to "Speak Of The Devil" opposed yet complementary to the rather lyrical timber of the track. Despite the lack of any consistent solo, needless to mention the quasi- thorough focus on a mundane repetition of chords (recalling Jared Leto's early recordings), "She Sees Coulour" exhibits an atypical succession of chords spicing it with hailed new dimension of serene moroseness further depicted through lyrics finding their roots in the early existential crisis - as I remember brilliantly summed up in "Je Cours" by the split-up Kyo - genuinely matching with the youthful (nearly glam-ish) tenor range of the vocals dominating the sound of the whole set of tracks and fading into shallow screams, or often backed by harmonic vocals in a bid to diversify the riffs, rewarding effort to say at least.

More or less akin to their latest single "Casa", the snack-short tracks range in some points from groove to ballad such as in "Take Me There Tonight", or further in "Echoes" starting with more elaborate drums contrasting with basic guitar and bass, only to mark a transition from calm to heavy, from clean vocals to scream, the cheerful chords to melancholic scales. Cutting a long story short, contrast is simply put as the résumé of the whole "Eyes And Ears" album.

Sticking to the Metalcore genre despite the eventual stigma and self-producing an album with a high quality recording sound (which is a must for an album with a quite handful of instruments and requiring effects) doesn't seem the easiest task on Earth, for such an aspiring band has established the cornerstone enabling it to compose more complex stuff and consequently extend its targeted audience.