Evan Wittmann is a solo instrumental-rock musician and producer hailing from Cambridge, Ontario. Despite playing guitar for roughly 14 years, he only recently began to record snippets of riffs and arpeggios floating around his mind. He learnt the basics of music production through YouTube and remains vigilant in his quest to build a notable following.
Tinman is Wittmann’s six-track instrumental debut. “Scallon” fronts the EP with a progression of discordant notes reverberating through the stagnant, twisted atmosphere painted by Wittmann. Tentatively-plucked guitar chugs resolutely behind this swirling cacophony of clean noise. Leaving many questions unanswered as to the stylistic approach of this EP, “Scallon” remains consistently reserved as it seeps into “Dead Batteries.”
But the second track, on the other hand, immediately demonstrates the hardcore-rock influence at the core of Tinman. “Dead Batteries” powers through a meaty bass hook, teased towards the closing moments of “Scallon.” It grows upon a gradually-building drum beat, whilst smatterings of guitar-fuzz jarringly emerge. Though the same chord progression loops for the majority of the track, it is the variety of lead guitar solos and rhythmic variations which really propels “Dead Batteries” into something worthy of repeat listens.
A change of tone comes in the shape of The Smiths-esque surf-rock chords on “The Sad One.” This initial lull and sense of calm permits the listener only a short moment of respite, however, as it soon descends into dark, distorted power chords and piercing guitar solos that weave amongst the few empty places of this song. Production is most certainly Wittmann’s forte, as he makes great use of very little; there is not a single moment of dull filler on this track.
“Dream” and “Hevy,” despite the misleading title of the first, delve further into the depths of hardcore rock. They offer little that the album has not offered already, but that is by no means any real criticism. The production-quality and songwriting on Tinman is consistently infectious and smoothly constructed.
“Paatch” is the perfect closer for an album of this calibre. Gentle, calculated guitar chords, reminiscent of Bond-esque intros (if only for a second) ease the song into a crescendo. Bass erupts from this fragile sonic atmosphere, propelling “Paatch’’ into a fittingly-explosive finale; littered with crunchy guitar chords and the gnarliest guitar solo present on the entire EP. Sounding as if a ‘70s era of metal has been injected with the vibrancy and modernity of the 21st century, Wittmann once again crafts an absolutely electrifying sound.
If Wittmann continues along this path, I see no reason that he will not excel, in some form, within the music industry. It takes a lot for one man to produce something half as good as this, so I commend his abilities and recommend you listen to this intriguing debut EP.
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