REVIEW: Eskimo Callboy – The Scene (Album)

Eskimo Callboy are a volcanic ‘electrocore’ group, hailing for Castrop-Rauxel in Germany. Their refined and unique sound signature combines dance and electronic elements with fast paced metal power and the energy that goes with it. This diversity, tempered with the band’s party personality and dedication to performance has brought them a loyal fanbase worldwide and a mixed response from critics.

The Scene is the latest addition to the band’s catalogue and takes their signature sound into a new realm with more of the songs featuring cleaner vocals and more story-telling lyrics than were heard on previous releases like Crystal and We Are The Mess.

The first track however is reminiscent of those previous releases. A brilliant introduction to the album, Back In The Bizz offers an instantaneous wave of energy with slutty lyrics and rapid vocals, presented over a constant head banger of a beat. The chorus is catchy and sung with passion, roaring one clear message; ‘we’re back’.

The album seems to mellow from here though. MC Thunder retains the vibe set by Back In The Bizz but does present it in a way deserving of slower head bobs until we’re treated to another catchy and easy to learn chorus. The Devil Within takes things down once more and we’re given a taste of Sushi’s softer side with some clean vocals and a serious tone throughout. The verses are sung direct and with conviction while the thoughtfully written chorus emphasises the vulnerability of the verse elements.

As we progress through The Scene, we’re treated to some notable bangers like VIP; a punchy and upbeat anthem that substitutes the metal vibe for a more sassy rock tone, with the swing-and-click break down being a nice touch. New Age is another predominantly clean-sung track, swapping the ‘mostly metal’ aspect of Eskimo Callboy for their ‘mostly electronic’ one, with Frances following this style too topped with more compassionate lyrics laid over yet another catchy, pop-esque chorus.

Rooftop switches things back up with a dirty rap verse over a sleazy beat, meeting head-on with the band’s metal sound and pop-written chorus before the album is taken back down and summarised with Calling, a passionate and anthemic song, featuring clean verse vocals and another intense chorus presented this time over more electronic elements than metal.

The more vulnerable touch and the more intricately written lyrics show that Eskimo Callboy have matured since their early releases, but I must admit that the sassy and provocative party vibe of Eskimo Callboy is what I love most about the band. The Scene could have benefited from more songs reminiscent of their raunchy past, but I appreciate the mature direction the band are heading in.