A gleaming proponent to Pittsburgh’s growing metal faction, hometown artists Baghead have once again expanded their repository of musical engagements.

            The group’s latest release, the Betrayal EP, has taken off with a flourish and has been recognized among the city’s most dedicated metallic acts, including The Zimmermann Note, The Caulfield Principle, and more.

            Bearing five tracks, Betrayal kidnaps the listener’s senses and forces each to vigilantly stand guard. Expect the unexpected; a track may hurtle into an entirely opposite direction without notice. As this is a high-speed thrill attraction, please keep all limbs inside the ride at all times!

            “War”, the first round of Baghead ammunition, crescendos into a heavy, maniacal start. This, the shortest track on the disc, exhibits potential but never seems to take flight as it displays no particular theme other than a brief, redundant grinding riff that accompanies its foundation.

            The disc’s second crusade reaches an average of several peaks and troughs at best. At first listen the guitars, executed by frontman DaVe Palmer as well as Wes South, seem generic and seek flair in some form or another. The point-counterpoint vocals are followed by primal screams, finally giving way to guest vocalist Bob Mitnik’s singing showcase. This feature, although a clever idea, is unfortunately distant and not especially clear. Finally, dueling and violently different guitar solos boost the track to the worth of being the EP’s namesake, but the song still concludes with much to be desired in the originality and creativity departments.

           Undeniably succeeding its predecessors, “Subliminal Control” upgrades the disc to a heightened level. It’s a significant improvement to the point that one pauses to ponder the fact that these first three tracks are albummates.

            The early guitar solo is somewhat predictable, but the song generously compensates with an impressive acoustic feature that becomes a most ingenious segue to a breakdown. It might seem that acoustic anything would detract from merciless metal machinery, but it indeed adds an innovative, ear-pleasing dynamic. Another noteworthy point is Josh Palmer’s masterful bass level in this track. It’s exceptional in the fact that it’s superbly mixed—not overbearing, and prevalent as it should be.

            We find the dreamy acoustic making its stealthy Trojan Horse entrance into “In Hell Help Me”. Mysterious guitars present an excellent overture; once this glaring enemy is released, there’s no refuge from the explicit, lethal aggression that seems to exponentially reproduce. The vocal accompaniment in the track is thoroughly appropriate, and George Parfitt’s effective, closely-woven drumming instantly assumes a formidable rank of dominance.

            The fifth and final song on Betrayal commences with a European-sounding melodic quality also exhibited in the previous two numbers. Intense vocal shifts seem to outwardly reflect the raw angst and remorse expressed in the lyrical content. The articulate guitars complement the vocals with relentless power and are employed for entertaining, atypical sound effects in the latter portion of the track. “Shallow Place” transitions to breakdown, which diminishes and concludes the disc on an unreserved high note as the dust clears.

             It seems as though Baghead’s endless promotion and touring are beginning to pay off; this release showcases the group’s progress and more precisely defined identity that captures the group’s true essence and continues propel the quartet into further Pittsburgh acclaim. 7/10