The Rejoinder EP is the first release from UK metallers Naisian after a five year hiatus; three imposing tracks which make up for ‘lost’ time with senses devouring ferocity amidst an imagination gripping trespass of sound and enterprise which only leave you wanting more.
Emerging over a decade ago, Sheffield’s Naisian went on that hiatus in 2012. Its quartet of members spent subsequent years touring and playing with their respective bands in Awooga, Air Force Chron, and pjaro as well as working other projects before reuniting as Naisian late 2017. A fair time in the making, Rejoinder sees the band’s sludge bred metal hungrier and arguably even more voracious than ever. Mastered by James Plotkin (Sunn O))), Cave In, Botch), the EP assaults, bullies, and entices with voracity in its touch and creative instincts. It may only be three songs but by its close, ears and senses feel like they have been ten rounds with a bear.
Opening track is 90ft. Stone and immediately it gnaws on the listener with predacious riffs as sonic tendrils sear their temptation into already tender senses. As quickly grooves from the guitars of James Borrowdale and Adam Zejma entangle the unrelenting threat of sound, the latter’s vocals a caustic animosity in the rapacious mix enticingly backed by the tones of Borrowdale and bassist Michael Aitken. Nuances and slight twists ignite across the incessant flow of heavy sound, sonic flickers and feral enterprise adding to and accentuating the crushing aggression.
The following Mantis Rising rises on a sonic spiral to quickly establish its own primitive but skilfully nurtured trespass. As within the first, the swinging beats of Jordan Garlic bite and resonate as they incite; ravenous grooves winding around the rhythmic animus with toxic yet infectious appeal. As vocals collude in their antagonism, the track twists and turns through contagion and malice; each moment magnetic, every move enjoyably voracious before the brief but thrilling encounter abruptly departs to allow Lefole to swing in. Featuring the scar throated vocals of Mike Shields (ninehertz and formerly of doomers Flatlands), the track swiftly got under the skin with its contagious air and tenacious exploits. Post punk like vines of guitar tease and taunt from within the song’s composed but still predatory climate; melody and atmosphere a tantalising intimation within the doom nurtured exploration. The track is superb, at times finding Killing Joke like hues to accentuate its voice and captivation.
Taking months to create and bring the EP’s short body of undoubted magnificence, we maybe cannot expect a bigger offering from Naisian for a while but whenever it appears anticipation will be immense simply because of Rejoinder alone.
The Rejoinder EP is out now, available @ https://naisian.bandcamp.com/
https://www.facebook.com/naisiansheff/
Pete RingMaster 17/07/2018
Copyright RingMaster: MyFreeCopyright
The following Fall to Pieces is a far calmer proposition as a melodic jangle colludes with vocal harmonies before the track settles into its warm catchy swing. There is no preventing the quick shuffle of feet to its stroll, keys adding to its summery scent as vocals and melodies entangle before In the City uncages its own rock ‘n’ roll flame. Within its slightly rawer attack, hooks tease and tempt as riffs nag, Proudman’s beats striking with relish as they drive the infectious escapade.
The following Valentine’s Mourning similarly has a raw energy and swing to its attack driven by the senses nagging boisterousness of rhythms with this time harsher punk essences infesting its character. Keys add to the melodic seduction and flames tempting within whilst as with the first track, an organic catchiness brings something akin to bands like Dommin to the imagination.
The spirited rhythms of drummer Phil Joyce kick EP opener Pretty Little Features into life, their increasingly tenacious antics luring ears, appetite, and the guitar jangle of Luke Fraser. Swiftly his vocals also jump in, the track bouncing round with its fifties rock ‘n’ roll scented jazz punk. With a touch of eighties band The Stargazers to it and also the jump blues hues of a Louis Jordan, the song leaps and swings, successfully insisting on the same from the listener. Punk riffs taunt throughout as the flames of Nick Smith’s Trombone unite with the sax of Oscar Ives-Owen; each adding to the virulent contagion of an outstanding start to the release.
The following Space To Breathe is just as swiftly imposing but inviting, taking a less invasive stance initially as its elements settle before uniting in its own ferocious trespass. Ash’s vocals again impress with their not vast but strong diversity within the emerging rich tapestry of sound. There are essences of bands like Spineshank and Static X to the track at times but equally it lusts after death and extreme metal textures with the same fervour and invention before the superb Split In Two uncages its own similarly but individually woven tempest. Harsh and melodic strains in both vocals and music make an easy union as the imagination in songwriting incites their drama, the track continuing the explosive success of the first pair ensuring that Hollow is already a riveting proposal.
and a half of punk belligerence, riffs unleashed and hooks uniting for a catchy invasion which continues within the even briefer Circumstance. The track’s hooks and riffs are ravenously contagious within the darker tone and climate of the song, aiding its inescapable persuasion and addictive trespass whilst reminding a touch of British punk legends Angelic Upstarts.
The calmer All Wanna Go To Heaven through its initial less energetic entrance, compared to its predecessors, only leads into a snare of boldly catchy and melodically enticing temptation. The voice of Hermes once more stands tall and captivating within the song, a given proven track by track as the sounds around her cast their creative theatres. Pop, rock, and metal strands all go into its ear wrapping weave before the contagion of Hellawake continues the diversity bred within the Sick N’ Beautiful’s sound with its electro pop meets industrial punk shuffle.