Third EP from this young Canadian four-piece, for the first time recorded not at the Electric City Sound studio.
It is a self-released CD with the label cover losing a bit of its colors at touch, but that's not a big issue; another negative feature resides in the fact that the cover artwork itself is not appropriate for a Grunge/Rock band, whilst it would for a Death Metal one, or at least a Thrash Metal one.
Besides these faults, a bunch of positive aspects are inside these 5 tracks, starting from a high-quality sound production (kicking some ass and polished at the same time), and finishing with the songwriting. The combo had some reshuffling when the old members left, so the only original musician survived from the 2013 line-up is lead guitarist Jon Yellowlees, and we have to congratulate with his stubbornness mostly for prolonging Secondhand Habit's existence and bringing its music to a greater level.
The lyrics of the first track deal with someone looking for a fight so as to finally kill, and the actual protagonist of them is...a cat! The other themes depict a wonderful girl made sexual prisoner, social advance, the original sin that corrupts us more and more when we stop being naive children, and lastly the huge power that makes heads swim for personal gains when one gets to belong to high ranks.

The musical direction is already clear from the opener "Get My Fill", moving among Grunge, RHCP-influences and Post-Grunge vocals in the vein of Puddle Of Mudd and Pearl Jam. Just listen to all the vocal nuances and you'll soon agree that Jesse is the rightest man to hold the position behind the mike in this album, rendering all the feelings the song needs.
"Give Me All You've Got" is more powerful, faster and catchier, definitely closer to Metal. A palatable team work between guitars and drums makes it even more interesting, and maybe all of these factors contributed to deciding to have an official video matching the song (https://www.youtube.com/watch?v=0MKsauId7PE).
Alternating Dark Rock elements and captivating Punk accelerations, the title track also offers a pleasant guitar solo, while "Evil Twin" falls halfway the hypnotism of Alice In Chains and the grit of Nirvana, displaying a Black Label Society-dominated axe solo which turns out more heterogeneous than the previous one. The conclusive arpeggio reminds me of something by mid-career Metallica soundwise and stylewise.
Between early Soundgarden and Silverchair, "Defcon" appeals to a classic crushing riff, appearing fit to wake up an audience keen on smartphone-recording instead of headbanging and appreciating a live gig. This final guitar solo confirms the guitar-player's skill and the vocals are once again memorable at the least.

A bold statement of underground music coming out of British Columbia. The 90s Seattle isn't far anymore. Jump onto a time-machine combo for 21 minutes capable of bringing the past out of the ashes and repaint it with a personal, modern twist.