The first release since returning from a hiatus in 2013, Canadian metallers Fayne have unleashed a maelstrom of a fury in The Queen of Kings EP. Bracingly raw yet just as feverishly sculpted the five track metalcore fuelled encounter reasserts the Montreal quintet as a seriously compelling proposition. It is merciless and ravenous examination of the senses and a perpetual spark for the imagination to feed upon. It is probably not an incitement for those liking an easy life with their music but for the rest it is an increasingly rewarding savaging which impresses more with every listen.
Before the break in 2008, Fayne drew strong attention and a potent following through their uncompromising sound, similarly imposing live performances, and the EPs You Took it All Away and Delivering The Final Blow in 2004 and 2006 respectively. Those releases led to numerous tours across Canada as well as the sharing of stages with the likes of Alexisonfire, Underoath, Hopesfall, and Blessed By A Broken Heart. Now the band unleash their new exploit, returning with an even more ferocious and creatively gripping sound but still sparking from inspirations such as Counterparts, Mastodon, and Periphery which have always spiced their invention. Produced by the band’s guitarist Alex Gonzalez with Alan Douches of West West Side Music (Dillinger Escape Plan, Every Time I Die, Between the Buried and Me) joining him for the final mastering, The Queen of Kings is a rabid blaze of sound and enterprise from its first second, never relenting even after ears and emotions are frayed and seduced.
The title track opens up the EP, its initial epic melodic coaxing swiftly turning to a blistering fury driven by the hoarse malevolent roars of Joseph Espinosa. Just as quickly an array of vocal tones join the mix, captivating as strongly as the 
abrasing riffs and intimidating rhythms alongside them. With no info to the contrary, the varying degrees of raw aggression and clean vocals are all assumingly bred within Espinosa and it is an impressive and unpredictable aspect of him and the band’s attack. Just as ferocious and inventively riveting is the web of intrigue crafted by the guitars of Gonzalez and Nick Fazioli, riffs hellacious and technical prowess in abundance as the pair spin a fascinating and enthralling weave of enterprise and adventure. The track continues to impress, whether a bestial assault or a flavoursome tempest, everything caged within the more directly intensive and predatory rhythmic tenacity of bassist Chris Kasp and drummer Carlo De Iuliis.
As evidenced by the whole release, there is plenty going on and involved in the structure of tracks with repeat listens the only way to discover the heart and depths of each offering. It is a demand which may test some but will reward all as shown by the following Believers which emerges from the tail of its predecessor with blistering grooves, rampaging rhythms, and further vocal diversity. Even more of a predator of the senses than the first track, it has an almost deranged and certainly fiercely agitated attack to its persuasion, everything driven with urgency but also a technical rabidity which almost deceives its quality through hostility. As it unveils more, the song is almost schizophrenic in its enterprise and twists, moving through shades of spite and aggression to explore more melodic pastures and sultry climates, though it is never too far away from savaging the listener.
This song and the fourth, is linked by Isonic Flight, a just short of two minute sonic drift through a haunting atmosphere with dulled rhythmic pulses for company. It is a piece which probably means more to the band and the journey of their release than it will for the listener, especially with it soon being forgotten once the outstanding Concord rises powerfully and contagiously from its tail wind. Riffs and rhythms are instant potent bait, across which raw flames of guitar erupt and a cleaner delivery from Espinosa lures, though he is soon entwining hoarse squalls into his again gripping attack. You would not call the frontman the most skilled vocalist in metal but there are few who are brave and daring enough to test themselves on songs with such a varied and successful arsenal. Arguably less vicious than the early tracks, though not short of malice and rage, the song is a potent fire of melodies and inflamed grooves toying with numerous styles and venturing into alluring experimental pastures.
The release is finished by Nomad’s Land which features Karl Schubach of Misery Signals. A spicy mix of metal flavours combine to encase the hoarse growls of Espinosa as the track sizzles venomously and engagingly from its first breath. Not quite matching the might of its predecessor, certainly until it’s dramatic and rigorously antagonistic final third, the song still provides an engrossing tapestry of interwoven sounds and textures which at times become quite muggy in their union but only provide a proposal which grips and excite ears and thoughts.
Though Fayne is not exactly a new band, they are still relatively a secret outside of their homeland, something The Queen of Kings will go some way to addressing and the unbridled potential within the band will eventually turn into something of the past.
The Queen of Kings is available digitally now via Crystal Math @ https://itunes.apple.com/ca/album/the-queen-of-kings-ep/id937274484 and http://faynemusic.bandcamp.com/track/believers
https://www.facebook.com/faynemusic
RingMaster 21/11/2014
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