With a name which more than represents the contents of its creativity, Ukraine band Explosion Technology has an energy and sound which is a blazing fire of thrilling imagination. They make their world bow with debut album Proiavlenie, a release which is a tempest of styles merged into a bruising seductive invention and equally captivating ingenuity. Tagged as alternative/electro metal to which you can add industrial and nu metal as well as a punk fuelled passion, the trio from Balakleya has brewed a storm of enterprise which easily stands with the best of industrial and electronic metal releases this year and makes the case for being one of the most impressive debuts anywhere.
Formed in 2009 by the threesome of Andrey Slon (vocal, bass), Artiom Lukienko (guitar, programming) and Vladislav Alandarev (percussion), the band and music is soaked in the essences of numerous sounds and genres distilled to flavour their own distinctly contagious creations. Their first demo Voshod (Sunrise)in 2010, was well received upon its digital release whilst the band also grew strong acclaim for their live shows around the Ukraine. In August of the following year Explosion Technology began working on their first album which went on through to November of 2012 with the resulting nine track riot not only reflecting the band’s personal attitude to the modern tendencies of hard music industry but emerging as one of the highlights of the year so far.
The album opens with the rampant energy and strength of Звуки (Sounds), a track which immediately seizes the ear with sinewy electronic lures before opening up its full musculature forcibly driven by ear crowing riffs and combative rhythms. Now in control the song dances on the senses with heavy booted drums and intensity whilst the electronic spawn melodic persuasion swerves around and lures in the passions with a sizzling radiance and toxic kiss. Thoroughly contagious and almost able to defy being sung in Russian to recruit the listener in all capacities including voice, the song is a hungry and inviting sprawl of exhilarating enterprise and impacting provocation.
From the immense start the album ensures its tight hold on the appetite is secure if not tightened with both Плохое Кино (Bad Movie) and Больше Не Нужна (No Longer Needed). As throughout the album tracks are connected by atmospheric instrumentals in the style of thrillers and horror movies which adds its own intrigue and pleasing invention from which the songs spring from with ease and greater ingenuity. The first of the pair continues the Rammstein spicery bred in the opener but adds extra flavouring of the likes of Celldweller and Pitchshifter to its towering presence. Keys and guitars exchange glances and malicious teasing as they entrap and enthral whilst the rhythms from bass and drums stomp their own primal branding upon the senses to offer greater shadow and intimidation to the barbed melodic confrontation. Its successor is another and greater pinnacle of the album, its punk energy and metal attitude a twisting and exhausting triumph. Creating a storm of irresistible aggressive challenges and antagonistic invention, the song is a mix of Korn, Combichrist, and Biting Elbows which snarls, provokes, and riles the senses for a fury of potent pleasure sparking instinctive ardour.
Across the likes of the electronically caustic and metallically biting Импульс Жизни (Pulse of Life), the rapacious and darkly pulsating cyber expanse offered by За Пределами (Outside), and Триллер (Thriller) with its raging fire of electro vehemence and savage intensity, the album just consumes thoughts and emotions with striking craft and predatory efficiency, every note of every song loaded with spite and imaginative fascination in exchange for only the strongest and hungrily devouring responses in return. As found elsewhere, the brass seeded flames upon the last of this trio of songs carves out additional and distinct temptations to be bewitched by, as do those evocative links, pieces of music even in their brief breaths as thoughtfully engineered and crafted as the songs themselves.
Before its closure Proiavlenie confirms the might and stature of the album with the outstanding Замкнут В Пустоте(Closed In the Void), the equally stunning На Той Стороне (On The Other Side) its blackened symphonic air a suggestion which without being realised wraps its emotive grandeur around the erosive touch of the song, and the closing title track, translated as Manifestation, which exploits the now firm subservience of the emotions for further addict like rapture with its Numanesque instrumental persuasion. Proiavlenie is a magnificent introduction to a band which is sure to shape further similarly impacting moments in the future, something anticipation has already developed a lust for.
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