INFECTED RAIN have become one of the most exciting new acts in the heavy music world, with charismatic, multi-talented frontwoman Lena Scissorhands emerging as one of the fastest-rising leading ladies of the genre. Now, the band arises from the dark depths once again – freshly off their very first tour of the USA with Butcher Babies and Stitched Up Heart. Produced once again by Valentin Voluta, Ecdysis successfully demonstrates ultramodern brutality without sacrificing emotion and melody – showcasing a new layer of INFECTED RAIN that longtime followers and new fans alike will embrace.
Frontwoman Lena Scissorhands adds about Ecdysis:
“While the whole world was in a deep depression, Ecdysis was slowly but surely maturing. The time in isolation away from all our plans and goals, away from loved ones and the stage, brought out something so new and different in us. A new chapter starts with this album, a chapter of raw emotions and complete commitment.”
Tracks like “Fighter” bring out the ruthlessness of the band in full force with hardcore levels of aggression, inciting a tornado of rhythms and provoking lyricism beckoning the listener to stay focused in the here-and-now and fight! Featuring tough-as-nails Butcher Babies vocalist Heidi Shepherd, sonically slaughtering single “The Realm Of Chaos” pummels and bends as it decimates with a mosh-attack unlike any other on Ecdysis. Noteworthy standouts like “Longing” and “These Walls” ransack with instant angst while showcasing some of the most varying guitar work on Ecdysis – fluxing between churning grooves, towering leads, technical effects and ominous chords – while selections such as “Everlasting Lethargy”, “November” and “Never The Same” boast some of Lena Scissorhands’ most eclectic vocal performances amid ripping pit-worthy metalcore and dazzling electronic passages. Examples of stunning, dynamic songwriting manifest with honest offerings like the impressive “Goodbye”, haunting “Showers” and threatening album closer “Postmortem Pt. 2” (shortly advanced by sneaking electro-interlude “Nine, Ten”). The finisher encapsulates the album’s ethereal, immense quality while connecting back to its start like a sonic ouroboros.
