You have to love a band who can reference pop (or otherwise) culture, and do it well: Graf Orlock made their entire fame on it. Coventry’s Even Flowers Kill begin, on paper, in very good books with me: with an EP titled in reference to the enigmatic Schrödinger’s Cat and a Fight Club reference in the title of I am Jack’s Smirking Revenge. The music, from its offset, is no disappointment either: Ruth has Information That Will Destroy You starts with delicate candour – a sonar-esque sound is emitted from what I can only assume to be an effects-laden guitar or synth, whilst a five-note lead part is played above it. After forty seconds, a gentle ascension in volume reaches its peak and is met with a gut-wrenching scream amidst the introduction of pounding guitar chords and drums. A second of chaos, and the prior delicacy is restored. And again. And again. This is repetition, but not repetitive: the juxtaposition of heavy and soft serves merely to keep the listener guessing as to the intention of the band, and fortunately for the impatient, this is soon made clear. Chugging rhythm parts intertwine with the smooth lead vocals and more harsh background screaming. It’s a rich, complex texture befitting of a band labelling themselves as ‘experimental’. Fast-paced, technical drumming is demonstrated throughout, and never seems to let up. There is an almost ska-like instrumental section at around 2 and a half minutes into the song, which the lets into the viscerally of the song prior to this point.

I Love You Kerry McKenna, Please Come Home is immediate. To say the least. In fact, immediacy may be too loose a quality to use to describe the sheer intensity and suddenness of the musical onslaught which comes from the outset. A scream-chant dichotomy is established ridiculously quickly and takes the form of a question-answer-question-answer dynamic rhythmically. It is divine noise; it is a waking call to the gods themselves. Sensitivity is not a quality which this song is devoid of however: the silky lead vocals make an appearance again, and it is Good. We face another transition into the heavier side of the band’s music once again, and another question-answer session is set-up between smooth and hoarse. An Envy-alike talking vocal session finds a home here, and it fits so well with the pauses in guitar playing.
Dick Wang is a Stinking Liar: a scream followed by the almost archetypal shredding of guitars into harmonics which can only be considered unholy. It’s really a horrible sound, but one with an almost pitiful appeal. Once again, we see the ever-transitory movements between heavy and soft; smooth and grainy. It has to be said that this song is truly the weakest on the album, with no real innovation present, but it’s still pleasant to listen to, even if one does feel that one has heard it all before. Machiavelli vs. The Little Prince is a step back onto the Path of Righteousness for the band: slight syncopation in rhythm and bright, trebly guitar leads introduce the cacophony which is bound to come. And when it comes, it truly does come: it comes with no ability to relent. Screams, bass drums, deep riffs: they all find a home here. A chant which can only be described as ‘epic’ develops and carries the song along to its conclusion, even in its absence. Clever little lead parts come into and out of hearing with a technical bombasticity bordering on the pretentious.

I am Jack’s Smirking Revenge caused me to become Jack’s sense of glee and mirth: blending technicality and brute force will do that for me. And I think that there’s an accordion in there. Whilst some of this EP borders on the hackneyed and overdone, there’s more than enough innovation to tide anyone over, and more than enough to make them winners in my eyes.