Dimension is a frequently used word when talking about music (i.e., “layering the harmony and melody like that gives the song dimension”). Well, Spiritbox took the term more literally in their new EP The Fear of Fear.
Spiritbox is a heavy metal band based out of Canada, and they are known for their record Eternal Blue. One of their identifying factors is their rough, female vocals. The band has described this EP as a continuing story, repeating different words and phrases throughout with a seamless transition in between tracks. In a way, it is meant to be one long song.
Lead vocalist, Courtney LaPlante, talks about the concept of the album here:
The selling factor of the EP is the vague yet intricate story that is being told. In the beginning track “Cellar Door,” the narrator seems to be in two worlds. Many assumptions can be held about the worlds, whether it be life and death, heaven and hell, or even two universes that are only of Spiritbox’s design. The beauty of it is that it is up to the listener’s interpretation. Each track holds a similar topic matter
As far as the actual music is concerned, LaPlante knocks it out of the park vocally. As previously mentioned, there are very few female artists who go all in on screaming vocals. She is a trailblazer in that right, since her rough vocals are not typical. They are reminiscent of masculine growls, and if someone did not know any better they would think it is a man doing them. Her range is insane, and that is to the highest compliment.
While this is meant to be an EP, it feels like it could have done with the full LP. There is enough nuance in the record that could have spread over about ten tracks. The EP is great, and it would be even greater if there was more.
The downfall about this work is that the “ongoing song” theme makes it so there is not much variety lyrically or musically.
This EP is a 7/10
Spiritbox's EP "The Fear of Fear":
Kasper Mielke is a music reviewer for the Eastern Echo. He is a women and gender studies major with a minor in creative writing. He has worked for The Echo since the summer of 2022, and has stuck to writing music reviews.