We received a wonderful album review from Spain:
9/10 ALBUM REVIEW BY Paolo Andreotti of METALTRIP.COM
Translation: Ruben Chacon
They’re finally back! After a long four-year wait, Krypteria fans can finally enjoy some new material, albeit under a new name and quite a different genre. And Then She Came is no simple “whitewashing”, or a mere commercial operation to breathe some fresh air onto a forgotten band. It is a new project, a daring, if carefully planned proposal. Their “re-debut” self-titled album has ten powerful tracks with various influences, all of which we will analyze below.
The record begins with Five Billion Lies, which shows how ATSC want to go all-in straight away. Collaborating on the track is none other than Alissa White-Gluz from Arch Enemy. The track grabs the listener immediately. We find verses that sound close to the Japanese electro-metal from Blood Stain Child, which mesh perfectly with the choruses, which sound closer to Sonic Syndicate, coming together into an almost metalcore bridge, where Alissa’s throaty sound is just perfect. Seldom can a group present itself with such power after the first four minutes of listening.
Up next is Public Enemy #1, a song with hints of electronic music and… flamenco. It is quite peculiar, as shown by the repeating verses in German, English, Spanish and French, with the Spanish one being the only one that winks and nods to their more traditional music.
After only a couple of songs, it is already easy to understand that this group will be practically impossible to pigeonhole into a genre, even using the broadest possible definition.
Why so serious? is an alternative rock cut that has practically no relation to the previous two, but that somehow fits perfectly alongside them and strengthens the ability of this German band to play any field with skill.
The second and last collaboration is Spit it Out, where former Equilibrium bassist and current Evanescence guitarist Jen Majura takes it upon herself to give the ultimate touch of guitar virtuosity. The track itself is again very varied, including a progressive death metal bridge, a modern metal chorus, and even a music box.
Someone who hasn’t had the pleasure of listening to this record could be forgiven for thinking that And Then She Came is nothing but ideas and genres tossed and mixed for the players’ own amusement. That’s not it at all! What’s amazing about this record is precisely the capacity to make all the changes flow harmoniously and to play with the listeners’ moods, speaking to them in several tongues while leaving the message just as clear.
The midpoint of the album is Who’s Gonna Save You?, another catchy and easy to hum track, that is also technically complex and full of electronic and electric hints reminiscent of indie rock.
In Like a Hurricane we find elements from more European modern, close to Amaranthe in regards to the diversity in the voices, and a sound that maybe for the first time reminds us of the old Krypteria.
A small pinch of industrial comes to us with Hellfire Halo, which, despite being in the unlucky 7th spot on the list, keeps the same quality theme from the songs before.
The only ballad in the album is I Carry On. Its placement is also strategic, because it breaks with the power discharge right before the big ending and makes it possible to also show the band’s skill in composing orchestrations.
Find Another Way and Where Do We Go From Here? provide a powerful closure, and subtly describe the band’s capacity to find new strength for this project, which will surely launch them farther than they were ever able to reach before.
9/10
Check out the Spanish original version here: http://metaltrip.com/entrevistamos-a-ji-in-cho-y-s...
