Written By Kevin McSweeney
I had a bit of a panic when I saw the name Mercers in my inbox recently. I thought it was my former MP coming back to haunt me.
While this debut EP from the British alternative/post-hardcore band formed in 2025 by former members of Fony has its political moments, it thankfully has nothing to do with the man derided by the TikiToker Supertanskii as Johnny Minge.
I’ll freely admit I still don’t like the name, as it’ll forever be associated in my mind with one of the slimiest members of the previous British government.
What matters, though, is whether or not I like the music. Actually, even that’s not true, as ultimately, my opinion is worth the square root of jack shit. I’m going to share it with you anyway, as I have this platform, and I was asked to do so by the nice people at SaN PR, so it would be rude not to, quite frankly. So, with that in mind, let’s go through the tracks.
Mercers The Liminal Tapes EP Review
Cleanse/Repeat
The opening track, and recent single, is full-on post-hardcore, sounding very much like early Glassjaw, except with the anger directed at major political figures, rather than women.
The sentiments expressed in this song would probably not meet with the approval of at least some of the members of the influential New York outfit, whose views on the matter seem to be aligned with those of Disturbed’s David Draiman.
The press release describes it as: “…a stark political statement addressing the destruction of Gaza and the erosion of Western democracy.” The invective is furious, and rightly so.
The term “Star-spangled wanker” is one to be savoured. I assume it to be directed at the perma-Tangoed incumbent in the White House, though much of the responsibility for the horrors depicted in the lyrics is also borne by his cadaverous predecessor, it should be noted.
New Stockholm
They’re not out to change the world. They’re not looking for a new Stockholm. They’re just looking for another… venture into nu-metal territory?
The Deftones influences come to the fore on this one, and that’s to be welcomed. There are few better bands to be influenced by. Lyrically, according to the press release, it: “…explores the intersection of mental health and free speech.”
Might Stockholm in this case refer to Stockholm Syndrome. I don’t know, and I don’t have the lyrics to investigate further. Musically, it is characterised, once again with reference to the press release, by: “…their blend of heaviness and vulnerability.”
This blend is also a key tenet of the sound mastered by Chino Moreno and the boys, so the comparisons are perhaps inevitable. The two songs of their current iteration are compelling, but next we venture into their past.
A Satire For The World
This is the first of two Fony songs that have been reworked for this EP.
The Glassjaw influence is in evidence again here, with the track sounding more like a cut from the somewhat less visceral Worship and Tribute album, rather than Everything You Ever Wanted to Know About Silence.
Daryl Palumbo’s vocal style seems to have been a strong influence on Olly James, though there are times when his English accent unmistakably shines through. The infectious 6/8 rhythm might cause you to sway awkwardly around the floor, rather than smash into each other.
It gets more abrasive the further you get into it, though not without fully sacrificing melody. I’m sorry to keep labouring the Glassjaw comparisons, but the ending of this song bears a striking resemblance to that of When One Eight Becomes Two Zeros.
January Zen
The second of the reworked Fony tracks begins with a riff that verges on 1980s hard rock. This is as welcome as it was unexpected.
It doesn’t last, of course, and we are soon presented with a big, shimmering staccato riff that bears the hallmark of 1990s alternative rock/metal.
It actually reminds me a little of Three Days Grace. This is probably the least abrasive and most melodic track in show, with its subdued, clean guitar verses and heartfelt vocal approach, with only a bit of venom manifesting itself in the chorus.
The rimshot clicks and arpeggiated guitar in the middle serves as the calm before the song, as the song concludes itself with a barrage of double-kick drums and aggressive riffs, but it’s a relatively gentle and melodic track with which to conclude the EP nonetheless.
It will be interesting to see, when the first full-length album arrives, whether they move decisively in a more aggressive direction, or whether the more melodic elements of their lineage will continue to manifest themselves. I can’t wait to find out.
Metal Lair awards The Liminal Tapes by Mercers four out of five devil horns.
Tracklisting
1. Cleanse/Repeat
2. New Stockholm
3. A Satire for the World
4. January Zen
Line up
Olly James – Vocals
Phil Bashford – Guitars/programming
Simon Glover – bass
Richard Titherage – Drums
FOLLOW MERCERS ONLINE
About The Author
Kevin McSweeney is Metal Lair’s resident scribe of the underground, eternally rummaging through the global metal scene for riffs worth your time.
As the guiding hand behind Seven Deadly Songs every Friday, he has an uncanny knack for finding the track you didn’t know you needed, usually before finishing his pint.
Equal parts loyal, kind, and quietly razor-witted, Kevin brings deep knowledge, impeccable taste, and a steady, reliable presence to Metal Lair.
Read More From This Author:
Wailin’ Storms The Arsonist Review
Witchsorrow Album Review: The Devil and All His Works
Album Review: Apocalyptic Steel by Nargaroth
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