As a studio-based project by Bill Bednarcyk Jr., Dead Prophet Alive does not skimp on the angst of its stylistic foundations; with Seethe’s Patrick McElravy contributing his lyrical and vocal intensity to this debut EP, 16,000 Days on Earth hearkens back to that era of late ‘90s/early ‘00s nü-metal when the infusion of more electronic and somewhat industrial tones was becoming more pronounced, while the toxic attitudes of the genre’s past are seemingly eschewed for more tasteful expressions. Across its six tracks, Bednarcyk proves to be quite an adept composer and producer; there is a sophisticated interplay of angular guitar riffing, powerful drumming, and lush synth layers that allow each track to gristle and glisten in equal measure. All the while, McElravy unleashes an onslaught of screaming vocals that perpetually threaten to overwhelm the listener… but then, he relents momentarily into striking harmonized displays that give the choruses to tracks like “Solitude Dance,” “Welcome Home,” and especially the title track an anthemic beauty; in fact, “16,000 Days on Earth” can’t help but to offer up the EP’s most musically pleasing accents, from the emotive guitar solo to the trickling synth arpeggios, achieving a perfect unity of rage and release. The aforementioned “Solitude Dance” similarly presents smoothly atmospheric transitions that could only be improved if McElravy held back a touch on the incessant screaming… just a touch. “March of the Itch” and particularly the haunting “Welcome Home” revel in shrill pad accompaniments that provide an almost choral or brassy vibe, along with skillful percussive backing, which on the latter track is sure to remind some of TOOL’s Danny Carey in his less exuberant moments. Alas, “The Crawl” has the misfortune of following up the title track, a song as well executed as the rest, but rendered a somewhat anemic end with its fadeout. Still, 16,000 Days on Earth is an explosive debut that well demonstrates Bednarcyk’s capabilities in the studio, while also giving McElravy yet another outlet for emotional content. Those without a taste for the nü-metal of old may be refreshed by this modern take on the genre, while purists should still find it adequately within their wheelhouse.