Shadow Of Doubt - EP

It certainly is fulfilling to see a band creating original music which directly reflects the sound of their influences, whilst still maintaining a strong sense of personal identity. Shadow Of Doubt's debut EP combines piano sections which echo Fightstar and Muse, with harmonies between vocalist Hannah Brown and backing vocalist come guitarist Thomas Williams which supply a distinct pop-punk feel, drawing the obvious parallels to Paramore. Interestingly they combine the usually harsh and edgy sounds of the previously mentioned bands with their own acoustic melodic approach, consequently resulting in a band, and an EP, which has appeal across many musical tastes. 


Shadow Of Doubt have quite brilliantly executed the increasingly popular acoustic genre, emphasising the deconstructed dimension of the band. This natural feel only highlights the vocal quality of vocalist Hannah Brown, who in any case could hold her own as a musician, but in this case is backed by what appears to be an entourage of equally talented individuals. The key to this band's success is through their recording dynamic. Where other bands may use a piano or synth to reinforce their tracks, Shadow Of Doubt have taken an altogether different approach. Even in their 'heaviest' song Hide the piano is equally as, if not more prominent than the distorted guitar, the song as a whole reflecting and revealing an altogether different side of their unique acoustic roots.

The EP's opening track Let Me is more of a tale of teenage infatuation than an indie/pop song. The vulnerability in the lyrics made clearer by the delivery, accompanied by a backing track which is slightly left of folk and slightly right of pop. Similar sentiments are repeated in Through Time where the perspective seems to shift from teenage infatuation to a story overwhelmed in regret and missed chances, any subtle emotions implied in Let Me now set alight.  So is the EP a soppy field of flowery lyrics, decorated with equally flimsy acoustics? A delicately fragile candle in the wind? In short, no. It's a minefield of talent and creativity, more of a missile in a hurricane. And just when you think you and the EP are ready to settle down for a cuppa, it decides to hurl the kettle at you and shamelessly run away with your best friend, such is the surprise provided by closing track Hide.


The introduction of distortion or any effects for that matter, on the guitar almost seems perverse. However much like the rest of the EP it is exactly the right decision. And it's not just guitarist Williams who has decided to rebel, Reed now practically abusing his keyboard leaving bassist Luke Walker having to adjust to this apparent wave of insanity taking over his bandmates. As for drummer Dylan Walker it all seems to have got too much, deepest sympathies go out to his cymbals during the chorus, well what's left of them anyway.


Hide is most definitely the EP's alter ego, everything in this track from the somewhat exaggerated abusing of instruments; still musically tidy somehow, to the shift from the soft vulnerable delivery in vocals to a more powerful post-punk delivery, also still maintaining an immaculately clean execution. For me this is definitely the highpoint of the EP as a whole because it showcases that Shadow Of Doubt can contend with their peers in both the acoustic sense and the electric sense, and deliver equal prestige in both. I certainly look forward to seeing how the band can emulate their recordings into live shows. It is clear there is ample amounts of promise for Shadow Of Doubt and equally high expectations for what this band can, and undoubtedly will deliver. All in all, a stunning debut EP from a powerful and youthful collective.


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