Having been seduced and drawn deep into the musical heart of Circles by The Compass EP two years ago, it is fair to say we had like so many, a near lustful anticipation for the Australian progressive metallers debut album Infinitas. The EP was one of those introductions to the senses which came with an instant understanding and emotional connection which is long-term. The new album proves that the hunger and high expectations before its unveiling was justified, the twelve track fire of striking creativity and startling craft a scintillating and breath-taking adventure.
Formed in 2010, the Melbourne quintet first drew attention with their demo Prelude released in the same year, though it was with The Compass that they found a trigger to ignite the widest attention around the globe. Released like the new album via Basick Records, the EP confirmed and elevated the strong reputation already earned by the band from their first release and live performances. Two years in the making, Infinitas emerges as a stunning evolution and expansion of the band’s already impressive sound and unpredictable imagination, a release courting and crossing numerous styles and flavours to create something which is an intriguing mix of full uniqueness wrapped in a call soaked in undefined familiarity, the band knowing what feeds the needs of the appetite but creating it with a wholly original and inventive invention.
The brooding atmospheric lead into the album extends a melodic almost tribal/folk welcome as the impressive vocals of Perry Kakridas embrace their welcome with his ever striking tones and delivery. With evocative harmonies and wakening guitar strokes bringing Erased fully into view, the song opens up its charms with a potent design before riffs and rhythms unleash their inventive sculpturing of sound and air. The djent whipping of the ear is an immediate enslavement, the craft of guitarists Ted Furuhashi and Matt Clarke a sturdy charge with slithers of sonic enterprise spewing from the depths of their full persuasion. The track twists and writhes across its length, electronic strikes adding a sense of The Browning to moments of the opener whilst the drum craft of Dave Hunter and the soaring delivery of Kakridas fuel further the already awoken appetite for the invigorating start.
The following On My Way backs up the immense start with ease, though the opening almost boy band like vocal caress was disturbing before its brief tenure was splintered by a raging ferocity of riffs. As with all songs any element is a passing wind and the track is soon striding through a constant turning and weaving of imaginative discourse and captivating adventure. Circles always crafts a woven ‘pop’ infectiousness into their songs, a ridiculously contagious temptation which works perfectly within the intensity and here is no exception, the song a magnetic lure with limb and voice drawing potency. Seduction and senses chewing abuse is the order of the situation, the latter equally the driving force to the sensational As It Is Above which launches its prowess next. The track opens with a carnivorous rabidity to sound and vocals, it a perpetual aggressive provocateur around which the band casts a melodic and atmospheric enthrallment which leaves thoughts and imagination floating off in their own realms before being ripped from the peace back into the intensive muscular tempest.
Band and album immediately provide another fire of brilliance through So It Is Below and Another Me. The first of the pair is similar to its predecessor in its united bestial and mesmeric spellbinding of the senses, riffs carving out their dramatic canvas whilst a vocal fury raids the surface as the bass of Drew Patton prowls and preys on the ears with an irresistible rapacious presence. It is a simultaneously crippling and hypnotic temptress of a song which leaves you submerged in its explosive venture. Its successor is the first single from the album, a track which has been laying down a ridiculously irresistible teaser to the album for a while now and even with its now full familiarity still makes another pinnacle within the company of the other tracks. It is a pop cored track, a melodic infection with a ridiculously addictive chorus which lies upon a rippling, snarling maelstrom of violent ingenuity and ruinous intrigue. The blend is sensational and provides another major highlight in a plateau of nothing but riveting highs.
Through the electronically speared Ground Shift, a kind of Faith No More meets Enter Shikari and Meshuggah, the sonically dazzling Responses, and the emotively sculpted Visions, the album continues to impress even if without reaching the heights laid out before them whilst the elegant Radiant soaks the ears in a distinctive incendiary beauty bringing new corrosively seductive flames to the release. The track is an excellent blaze which has moments of pure enslavement of the passions and others where it merely impresses for the fullest enjoyment, which is a success any band would dream of.
Wheels in Motion takes little time in thrusting Infinitas up further levels in the passions with its melodic rock and progressive metal narrative alongside absorbing technical imagination; the songwriting and track a ravishing exploration of exquisitely hued sounds and emotions. The Signal climbs even deeper into the heart with its rhythmic and melodic incantation which caresses like a lover and enthrals like the fullest sunset. It is a brief rapturous encounter which leaves the sonic torrent of beauty and incitement that is Verum Infiniti to conclude a quite outstanding and enlivening album. Infinitas is a masterful encounter, a release which outshines the already high hopes and expectations which bred in thoughts before its arrival. Admittedly its middle passage slips below the extensive heights which top and tail the album but that is due to the pure excellence of the other tracks and cannot prevent Circles providing yet again one of the most sensational and thrilling triumphs to grace ears.
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