Review: Bitterfly's 'Imposter Syndrome' ep

by Scott Roos

live photos by Tracy Creighton (Copperblue Photography and Design)

Our Grade: B+

Released: June 2025 (Physical), Digitally Polished for Streaming | Produced by Andrew Bueckert at Parasite Records

With their debut EP Imposter Syndrome, Saskatchewan alt-metal outfit Bitterfly introduce themselves as a band unafraid to blur the lines between genres - or even realities. Originally written and performed under their former name TunnelKids, the EP showcases the group’s evolution and dynamic range, offering a heavy yet thoughtful blend of grunge, post-hardcore, and experimental alt-rock.

The band features Ariel Bueckert on vocals, Andrew Bueckert on guitar and production, Kyle Casey on second guitar, Anthony Pawluk on drums, and Alex Zurevinsky on bass. Each member brings a distinct musical background, and that variety is a strength, lending the EP its shifting moods and unexpected turns.

Opener “Hopethorns” is a deeply personal track written by Ariel about her complicated relationship with her father, a musician whose absence defined much of her upbringing. The song opens with an arpeggiated guitar line and pulsing bass before giving way to a heavier, grunge-laced chorus. Ariel’s vocal tone - reminiscent of Nina Persson of The Cardigans - adds a wistful coolness to the track, although the emotional weight of the lyrics occasionally begs for more vocal intensity. Still, the dynamic contrast is compelling, and the band's ability to transition from delicate to crushing is one of their defining strengths.

“Half-Life” follows with a hypnotic ¾-time intro that soon breaks into a groove-heavy 4/4 riff. Pawluk’s drumming shines here, shifting between time feels effortlessly, while Casey and Bueckert trade off sharp, syncopated riffs. Ariel’s vocals again lean into a moody detachment that fits the track’s themes of grief, burnout, and mental exhaustion. There’s a great late-2000s metalcore energy in the guitar work, especially in the chorus, and Zurevinsky’s bass holds the low end together with subtle swagger.

Third track “Parasite” is where things take a theatrical turn. A love letter to Dimension 20 and sci-fi horror, it’s the loudest and most cinematic track on the record. The song tells the story of a brain slug descending to Earth in true spaghetti-western-meets-metalcore grunge-doom-metal fashion. The production here feels noticeably bigger - whether intentional or not - and it suits the track’s scope. The breakdown section is punishing, and Ariel’s surreal, distant vocal delivery feels right at home in this eldritch world.

Closer “Siren” is Imposter Syndrome’s true masterpiece. Opening with a thick, overdriven bassline and a swirling ¾ rhythm, it evolves into the heaviest, most emotionally resonant moment on the record. The band’s interplay is at its strongest here: Casey and Bueckert’s guitar lines are intricate and atmospheric, Zurevinsky and Pawluk anchor the chaos with precision, and Ariel finally lets loose vocally. Her strained breaths and almost-screams elevate the track to something truly cathartic. A final sci-fi-tinged keyboardy sounding section closes things on an eerie, powerful note.

Final Thoughts:

Imposter Syndrome is a bold and promising debut from a band with a clear identity and a love for dynamic, story-driven songwriting. Bitterfly’s cocktail of grunge, prog, metalcore, and alt-rock is refreshing, and when Ariel leans fully into her emotive range - as she does on “Siren” - the results are electric. Apparently, this ep represents the closing of the Tunnelkids chapter in the band's evolution with another sonic shift to happen soon. Hopefully they won't alter what they've built here too much. As the old saying goes, "if it ain't broke, don't fix it".