ONI’s Genesis is a metalcore EP that struggles to carve out its own identity. While the band demonstrates solid musicianship and clean production, the overall sound feels too safe and familiar, heavily borrowing from established acts like Architects and Spiritbox. This makes it difficult for the music to stand out in an already saturated genre.

The vocals have a polished quality that brings to mind a more refined Ronnie Radke. However, they don’t push any boundaries or offer a distinct personality. Guest vocalist Lil Aaron appears on Walk Away, but his contribution is barely distinguishable from the main singer, adding little variety or impact to the track.

The riffs throughout the EP are crisp and well-produced, but they lack bite or uniqueness. Tracks like Erase and Walk Away showcase polished, modern metalcore guitar work that echoes bands like Architects and Spiritbox. While executed competently, the lack of innovation makes them feel more like imitations rather than defining elements of ONI’s own sound. The guitar tone is too clean and restrained, preventing the music from achieving a more visceral or raw edge.

The drumming stands out as one of the more dynamic aspects of the EP, particularly on Realign, where the beats feel more intricate and engaging. Deja Vu also benefits from some well-placed hi-hat work that adds subtle texture. However, the bass is mostly unremarkable, failing to add any significant depth or punch to the songs.

The production is polished, and the pacing of the songs is decent, but the overall identity of the EP feels lacking. The compositions play it too safe, never straying far from the formula of radio-friendly, djent-influenced metalcore. There’s a noticeable lack of risk-taking, making Genesis feel like background music rather than a compelling listen.

1. Erase

Clean, Architects-inspired riffs with a 2016-style metalcore production. Vocals have a smooth, almost radio-metal quality, resembling a cleaner version of Ronnie Radke. The song is accessible and easy to listen to but doesn’t leave a lasting impression. Drums are competent but not particularly exciting. Bass is present but unremarkable. The riffs are the strongest element, though they still feel derivative. Overall, it’s a safe and polished track with positive lyrics, but nothing groundbreaking.

2. Realign

More djent-influenced riffs with a focus on clean production. The bass has a slightly more prominent role here compared to other tracks. Drums feel livelier and more engaging, adding some much-needed energy. The song carries a bit more edge and feels less stagnant. Still follows a very safe, radio-metalcore formula. The pacing is better than Erase, making it feel more fleshed out.

3. Deja Vu

Features slightly more aggressive riffs, but they lack real intensity. Drums are toned down but showcase nice hi-hat work. Some dissonant guitar moments add variety, but they aren’t used effectively. Scream vocals try to add an edge but don’t feel particularly powerful or emotive. Even with dissonant elements and a heavier breakdown, the song never fully commits to a truly heavy or emotional direction.

4. Walk Away

Heavily influenced by Spiritbox in both structure and style. The vocals shift towards a more melodic approach but are mixed too high, drowning out other elements. Guest vocals from Lil Aaron add little to the song, as his voice blends too much with the main vocalist. The song feels too familiar, resembling other djent and new-wave metalcore acts without offering anything fresh. Lacks a strong hook or standout moment, making it feel somewhat forgettable.

5. Control

Vocals start off slightly distorted, possibly due to intentional production choices. Once the song kicks in, the Ronnie Radke-style vocals become more pronounced, with higher-pitched delivery. Riffs have a bit more weight to them compared to other tracks. Drums are bold but feel a bit slow and stiff, lacking fluidity. The breakdown at the end sounds overly familiar, as if it was pulled from a generic metalcore playbook.

Genesis is a well-produced but ultimately uninspired addition to the modern metalcore scene. While the EP is technically solid, it plays things far too safe, relying heavily on the established formulas of bands like Architects, Spiritbox, and early Falling in Reverse. The vocals are polished but lack a distinct personality, the riffs are clean but overly familiar, and the songwriting rarely takes any risks.

For fans who enjoy straightforward, radio-friendly metalcore, Genesis might be an enjoyable listen. However, for those looking for innovation or something with more grit, this EP doesn't offer much beyond a well-produced but generic experience.