Consistency is an essentiality of progress. Continuity bridges the gaps of error, while repetition builds strength and resolve breeds achievement. In my reviews I frequently choose to shine light upon a given record's 'consistency', for it can truly be considered as one of the major back-bones of a band's effort; and can often be the difference between a crumpling fossil and an adamantium-laced endoskeleton.

Consistency can manifest in a variety of ways - be it style, conceptuality, songwriting competence or just pure performance - but regardless of its root, one can always notice when a record sounds like a mountain trail instead of a smooth highway. And whilst the majority of NEMESEA's "Uprise" moves fairly swiftly through the tracks, there are a few bumps in the road.

I must admit that this was surely an illusive one. "Uprise" certainly proved to be a cerebral workout when it came to analysing the wayward influences of the songs; they are deceptively varied. Unlike their contemporaries in the like of XANDRIA and SIRENIA, NEMESEA steer away from symphonic inclinations and in their place apply their keyboard-driven sound to achieve a much more Synth-Rock influenced discipline; more KILL HANNAH than EVANESCENCE. Tracks like the opener "Hear Me" - along with "Get Out" and "Bones"(which arrive later on in the album) - offer straightforward mid-tempo rhythms across a prominent synth backdrop. Although such numbers are solid in their intentions, they often sound a touch bland and overly familiar.

It is at the core of the record, however, that things get a little bit more interesting. Scattered somewhere throughout the middle of the album are a couple of tracks that seem to be carried by winds of inspiration from a multitude of cardinal points.  On "Twilight" the band breezes through a trance-pop influenced 90's throwback filled with ambient textures and ecstacy-spliced keyboard arpeggios. NEMESEA then aim to become the powdered toast of the 80's with "Forever" and "Time To Make It", both of which seem to draw inspiration from Synthpop bands in the likes of DEPECHE MODE, KRAFTWERK and even SANDRA; all whilst adding a heavier rock flavour to the raindrop keyboard chords. The band also catch a drift of Post-Punk on the grittier strummers "Get Out" and  "Can't Believe It", bringing a rather PLACEBO-esque, "eyeshadowy" dimension to the table.

The production is extremely crisp - perhaps even to the point of being too sterile; though given the sonic pursuits of the record it is rather appropriate.  The songwriting is good - even though it is somewhat uneven in terms of stylistic direction; the band would benefit from picking a particular theme (their 80's tinged numbers have some real potential) and carrying it out in full. The performances of the band, whilst musically tight, feel somewhat jaded and uncommitted, and the vocals of Manda Ophuis unfortunately lack the presence and range that a lot of the songs require, and thus fail to make an impact; being best suited for gentle, acoustic numbers as heard on the additional bonus tracks.

Overall - "Uprise" is solid but uneven. It is indeed quite breath-taking and gorgeous at times, but it is fleeting in its resolve, thus ending up being an angel that hasn't quite yet learned how to take off the ground; nevertheless, the feathers show potential.
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