{"id":13045,"date":"2025-12-07T16:45:06","date_gmt":"2025-12-07T16:45:06","guid":{"rendered":"https:\/\/ipamusic.co.uk\/?p=13045"},"modified":"2025-12-08T16:55:53","modified_gmt":"2025-12-08T16:55:53","slug":"in-evil-hour-reveal-new-layers-by-stripping-back-their-melodic-hardcore","status":"publish","type":"post","link":"https:\/\/ipamusic.co.uk\/?p=13045","title":{"rendered":"In Evil Hour reveal new layers to their melodic hardcore by stripping it right back"},"content":{"rendered":"\n

ALBUM REVIEW: In Evil Hour – Permanent Record (self-released)<\/h2>\n\n\n\n\n\n\n\n

In Evil Hour<\/strong> are a four-piece punk band from Darlington who have spent the last 15 years making in-your-face melodic hardcore which has won them fans around the UK and Europe.<\/p>\n\n\n\n

Alice, Gareth, Gib and Mike have two albums and a couple of EPs to their name, as well as a handful of digital tracks, but over the last couple of years they’ve tried something very different.<\/p>\n\n\n\n

In addition to their usual blazing electric sets, they’ve twice performed acoustic arrangements of some of their songs at Rebellion Festival in Blackpool.<\/p>\n\n\n\n

They’ve gone down so well that now they’re recorded this 10-song set of stripped-back interpretations, covering their entire career to date.<\/p>\n\n\n\n

If anything, the songs carry even more clout than the rowdy originals, as vocalist Alice doesn’t have to make herself heard over the cacophony.<\/p>\n\n\n

\n
\"in
In Evil Hour performing an acoustic set at Rebellion Festival. Pic by Gary Welford.<\/strong><\/figcaption><\/figure>\n<\/div>\n\n\n

Most are slowed down, and the addition of cello to several tracks courtesy of Buffy Hughes is a real masterstroke. It gives them an apocalyptic feel, but there’s nothing watered down about them; Alice still delivers them at full pelt.<\/p>\n\n\n\n

The album begins with my favourite In Evil Hour song, Predators<\/em>, which is usually a breakneck anthem about western warmongers. Stripped back to basics it’s even more powerful, and with recent events in Gaza takes on new meaning.<\/p>\n\n\n\n

It’s one of three tracks reimagined from 2015’s Built On Our Backs<\/em> EP; Ascension <\/em>is a minute longer than the original, and haunting cello adds a real feeling of melancholy, while the buzzsaw guitar which powered Progress <\/em>is replaced by gentle acoustic work and brushed drums.<\/p>\n\n\n

\n
\"stu
In Evil Hour vocalist Alice doesn’t hold back. Pic by Gary Welford.<\/strong><\/figcaption><\/figure>\n<\/div>\n\n\n

Just one track from 2013 debut album The World Bleeds Out<\/em> is revisited, with the juddering bass and fuzzy guitar on The Terminal <\/em>replaced by some lovely acoustic picking.<\/p>\n\n\n\n

We get new versions of two digital-only singles, 2050 <\/em>and Explain Things To Me<\/em>, and there’s some wonderful Spanish-style guitar from Gareth on Modern Detachment<\/em>, which is one of the standout tracks.<\/p>\n\n\n\n

It’s one of four songs included from 2017’s second album Lights Out<\/em>, including closer Leave A Mark<\/em>, a digital-only bonus track not included on the CD. I’m guessing it was the starting point for the whole acoustic project, as it’s a total outlier to the band’s usual shock and awe sound. Bitter <\/em>and Enemy Within<\/em> are the other tracks, with the latter another contender for standout moment.<\/p>\n\n\n

\n
\"in
In Evil Hour performing acoustically at Rebellion Festival in 2024. Pic by Gary Welford.<\/strong><\/figcaption><\/figure>\n<\/div>\n\n\n

One of the best things about Permanent Record<\/em> is the way long-time producer Chris Davison gives all the instruments space to be heard, though Alice inevitably steals the show; her voice is strong and clear, with just the right amount of bite where required. She shows herself to be a vocalist of real talent. 8.5\/10.<\/strong><\/p>\n\n\n\n