Music, at its core, should be an act of self-expression— an album is a reflection of the artist, and what that person wants to put out into the world. Duo Mae Seaton and George Donoghue embody this, describing their collaboration as ‘a need, an urge, a calling, a pure expression.’ Even before their debut EP kicks into its first electronic-adjacent alt-rock riff, the sickly sweet artwork of ‘This Hell Goes a Long Way Down’ clues the listener in that this is hardly going to be a conventional listen: across six tracks, WREX explore a range of harrowing themes in a confident manner, and in a way only they could pull off.

The most striking element of ‘This Hell Goes a Long Way Down’ is undoubtedly is genre fusions, which are both daring and surprisingly well-executed. The EP is first-and-foremost an alt. rock project, basing its track in natural instrumentation from Donoghue and others. Walton’s drumming and Constable’s bass performances make up a fantastic rhythm section, providing a fantastic sense of drive and energy in the record’s more punk-oriented passages without feeling overbearing or intrusive in the more melodic sections. The guitar work is similarly excellent, with Donoghue and Stevens dialling in some crushing tones that bring some moments closer to metal than might first be assumed— the title track, for example, allows the guitars to chug their way through its bridge, though they are no less prepared to jump off the speakers on a cut like ‘Heaven’s Gate.’

The most unique (and interesting) element of WREX’s soundstage, however, is the plethora of electronic and pop influences at play. Right from the opening moments of ‘Take A Walk,’ Donoghue layers up a plethora of synths and effects that only add to the song’s energetic playing. These synths have a somewhat retro quality to them that fits the overall package exceptionally well, fitting right in against the natural timbres without ever becoming stark or ill-suited. The use of these synths is well-deserving of praise, setting WREX apart from similar but less distinctive acts, and the group’s melodies are no less striking. Seaton’s voice harkens back to pop artists such as Kate Bush, leading many melodic hooks with confidence and style: these hooks are normally quite atypical of alt. rock, once again setting this act apart from their contemporaries.

Thankfully, the songwriting on ‘This Hell Goes a Long Way Down’ is of a similar quality, consistently pulling the best out of the duo’s numerous influences. The opening cut ‘Take A Walk’ opens the EP on a suitably energetic and attention-grabbing note, blistering through synth and guitar riffs at full throttle: Seaton and Donoghue trade off vocals across the track, displaying a lovely chemistry between the pair, and the closing remark of ‘wrap these words around your neck and take a walk off the edge’ paints the candy-covered artwork in a beautifully ironic light. These elements are all taken to the next level on the following ‘Heaven’s Gate,’ with its aforementioned excellent guitar riffs complementing an insidiously infectious chorus— Seaton’s refrain of ‘we opened heaven’s gate and found hell on the other side’ stands as one of the most memorable moments on the EP, rounding out the track in style. Most impressive of all, however, is ’S.A.D.’ which combines all the band’s influences into the most well-rounded and definitive cut on the record thanks to its bright guitar parts, relentless verses and show-stopping chorus.

Admittedly, not every track is quite so fantastic. The title track leans more into a punk-influenced sound, sporting some more aggressive vocals and grimy bass riffs, though the song’s pop-adjacent chorus is likely the only element at play here with too much staying power. ‘Shallow’ is similarly promising with its melancholic atmosphere and echoing synths and pianos setting the track up to be a fitting ballad. These are unfortunately undercut, however, by the song’s lethargic tempos and less-inspired melodies, leaving the track feeling overly long despite it clocking in under four minutes. Likewise, the echoing synths and punchy rhythms of ‘The End’ should be ingredients for a fantastic closer to the EP, though the song ends up the most lifeless and forgettable of the bunch.

The most disappointing element of this release, however, is its meagre runtime. WREX hardly needed to pull out some ten minute epic on this project, and the decision to keep their songwriting concise and straight to the point is certainly commendable, but many cuts feel somewhat neutered by this ‘peddle to the metal’ approach to songwriting. Cuts such as ‘Heaven’s Gate’ or ‘Take A Walk’ would surely benefit from a second verse, with the absence of one leaving these otherwise exceptionally well handled songs feeling insubstantial in hindsight. No track on ‘This Hell Goes a Long Way Down’ is allowed to surpass the four minute mark, making this six-track release somewhat light on content. Instead, the EP acts more as a proof of concept for WREX and their intriguing genre fusions— measured under that metric, the band have far surpassed expectations.

Donoghue has stated that “WREX is ultimately about making art for the sheer joy of creating, and we want to share that enjoyment on record and in our live show.” In this respect, the duo’s debut release passes with flying colours, showcasing their passion for music as well as their unique brand of alt. rock superbly. While ‘This Hell Goes a Long Way Down’ is unlikely to make many ‘best of the year’ lists, it nonetheless should have you very excited for what Seaton and Donoghue have in store for us down the road. The group have proven themselves more than worthy of anticipation for their foray into a full-length release, and we can only hope the duo find themselves on many listeners’ radar moving forward.

A massive thank you to The Noise Cartel for the early copy