{"id":68364,"date":"2018-08-16T17:00:29","date_gmt":"2018-08-16T16:00:29","guid":{"rendered":"https:\/\/alreadyheard.com\/staging\/?p=68364"},"modified":"2018-08-16T22:00:27","modified_gmt":"2018-08-16T21:00:27","slug":"review-annisokay-arms","status":"publish","type":"post","link":"https:\/\/alreadyheard.com\/staging\/review-annisokay-arms\/","title":{"rendered":"Review: Annisokay – Arms"},"content":{"rendered":"

\"\"<\/a>Established metalcore act\u00a0Annisokay<\/strong> have a modest presence outside of their native Germany but will hope that fourth album ‘Arms’<\/em> lets them reach a breakthrough.\u00a02016’s\u00a0‘Devil May Care’<\/em><\/a> was a solid, if not, unspectacular collection, displaying a crisply produced offering of glossy riffs and familiar split vocals that showed promise without being a knock-out. Its follow-up will intrigue fans who may, or may not, hope for creative development.<\/p>\n

Approximately fifteen seconds into opener\u00a0‘Coma Blue’<\/em>, and it is clear that this is essentially more of the same. The riffs are big, the drums are bigger and Dave Grunewald’s throat is front and centre. His foil is still Christoph Wieczorek, the melodic counterpoint who delivers access points in the form of soaring choruses, besides fulfilling duties on guitar.<\/p>\n

It is, in fact, a Wieczorek-led track,\u00a0‘End Of The World’<\/em>, that is the real moment of quality on ‘Arms’<\/em>. A mid-paced builder, his breathily-delivered chorus will likely stick in the mind longer than anything else on the record \u2013 and far longer than the painful ‘Private Paradise’<\/em>.<\/p>\n