Unveiling their introduction through a three track ravishment which simple devours the senses, Canadian metallers Endless Chaos have announced themselves upon the world in impressive style. Forging an inventively refreshing blend of blackened thrash with death metal, the Winnipeg based quintet take little time raising a greedy appetite for their incendiary sound through the Rejected Atrocity EP. Simultaneously the promise drenched fury also ignites a major anticipation for further things to come from the intensive band, expectations of even greater triumphs a hard to resist thought taking the premise of the outstanding debut from the band.
With a presence and sound which embraces chaos and enterprise in equal depths, Endless Chaos has forged a formidable reputation through their live performances which has seen the band share stages with the likes of Skeletonwitch, 3 Inches of Blood, Wretched, Aborted, Toxic Holocaust, and Kataklysm to great success and acclaim. The next step on their emerging domination of local and further afield metal scenes comes with their first EP, a released inspired by classic horror movie Re-Animator, a film which is definitely akin to the unbridled lust of their creativity. The self-released, Ryan Forsyth produced, Rejected Atrocity is a teaser and taster of things to come from the band, in the words of Jordan Dorge, the EP will “give you the best taste of what’s to come of Endless Chaos,” the vocalist going on to say “When we were writing these songs, we really took in everything we love about death, thrash and black metal and incorporated it into Endless Chaos.”
The title track violates the senses first, rampaging riffs and pummelling rhythms an instant assault. Within the torrent of sonic abuse the guitars of Mike Menza and Mike Toews also unleash a twisting irresistible clutch of grooves and hooks to immediately seduce the imagination, their potent bait a bewitching and similarly lethal distraction from the carnivorous rhythms uncaged by drummer James Burton and bassist Jeff Humarang. It is a breath-taking and riveting web of intrigue and devastation from the opening second, the thrash driven ferocity speared and veined by the some of the richest compelling craft and imagination heard in a long time from a thrash/death tempest. The vocals of Dorge parade a vitriolic squall as intimidating as the sounds and invention at work, his slight variation in delivery enough to leave satisfaction ripe and song enhanced as well as listener blissful.
The scintillating start is soon matched by the following Sacrificial Ritual, it a bestial consumption cored by serpentine vocal malevolence, unpredictable spite, and a maze of ingenious adventure sculpted by the continuing to impress technical craft and vindictive imagination of the band. Like its predecessor, the song is unafraid to launch into unexpected and bold detours whilst the guitars again carve a sonic sculpture which scars and invigorates the senses. The bass of Humarang brings an even throatier predation to the cyclone of malice whilst Burton simply splinters bone and synapse with a continued display of skill and aggression.
The closing Condemned to the Pit drives at the jugular with its thrash bred energy and sinews crushing all before whilst rhythmically the track batters and concusses with hungry rabidity. As with all the songs, the onslaught is only half of the picture. The track reaches its mid-point and seemingly takes a step back to survey the damage, rhythms still plundering and provoking but sonically the song relaxes somewhat. It is a mere moment in time though as the feverish ferocity is soon letting its death/thrash rage and expertise off the reins to bring the unquenchable storm to a staggering close.
The Rejected Atrocity EP is just exceptional, a must have impressive and towering debut to inject real excitement into the world of metal. It sparks, without reserve, the belief that Endless Chaos will be not only a prolifically important joy ahead but one which will help take thrash, death, and metal itself into new mouthwatering realms.
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