Something wicked this way comes and it goes by the name of Friendless, the debut EP from US rockers Unimagined. Offering five rousing slices of the band’s “theatrical metal”, the release swiftly and increasingly had ears and imagination in the palms of its creative hands as it introduced a proposition we found rather easy to devour.
Hailing from St. Louis, Unimagined emerged in 2017 and soon earned a potent reputation and support across their local scene. Their sound is an animated mix of post hardcore and alternative metal; something akin to a n animated fusion of Pierce The Veil, My Chemical Romance, and At the Drive-In. It is a carnival of flavour and imagination honed into one melodically rousing and tempestuously seductive proposition which across Friendless never leaves a moment void of bold adventure and creative drama.
Too Dead To Dance sets the EP off and alone convinced there was something special going in within ears, its declaration subsequently echoed across its companions. The outstanding opener instantly had its hooks under the skin as the rich clean vocals of guitarist Caleb Freihaut align with the rapier swings of drummer Kai. The guitars of Jake Morgan and Nathan Simpson add to the emerging theatre with the waiting throat scathing roars of fellow vocalist Jarett Clark poised to erupt upon the already alluring mix. With every passing second the track simply escalated its captivation, the grumbling swing of Patrick Reuben’s bass adding further threat within the melodic enterprise embracing Freihaut‘s expressive dexterity.
It proved enthralling stuff and was soon matched by the imagination fuelling next up Something Borrowed, Something Blue. Its entrance is maybe less dramatic than its predecessor’s but with boisterous energy to its stroll and the crystalline caress of keys the song had little difficulty enticing attention, undisturbed focus rewarded with a tempest of aural drama and fiery invention brought with craft and imagination. The contrast of the lead vocalists works a treat in the creative maelstrom, the tenacity of the sounds crowding their magnetism simply rousing and as with all tracks every second, note, and syllable brings compelling persuasion.
The EP’s title track follows, Friendless. strolling in with a certain swagger as its theatre of sound and intimation quickly casts its narrative. Raw vocal prowess provides a scathing trespass within the swiftly thick theatre of enticement, the song almost bullying with its melodic wiring and muscular manipulation. Eventually its pressure becomes a senses harrying assault but one tempered by the melodic elegance of keys.
The final pair of She Was Scared Of Storms and Lemons & Sodomy simply escalated the bountiful character and prowess of the EP. The first of the pair is a serenade with fire in its belly, a pyre of creative animation and endeavour which had the body bouncing and appetite lusting while the second from its inescapably seductive melodic teasing erupts in a kaleidoscope of inflamed passion and resourcefulness ; both fascinating stages for the fertile craft and imagination of Unimagined.
As Friendless reaches new borders it is easy to expect and assume Unimagined will be launched into keener spotlights. The EP is a thrilling beginning to a proposition with still so much more to discover within their depths and imagination; something else to be eagerly excited over.
Friendless is out now via Standby Records; available @ https://standbyrecords.merchnow.com
https://www.facebook.com/UNimaginedBand/ http://unimagined.standbyrecords.com
Pete RingMaster 21/06/2019
Copyright RingMaster: MyFreeCopyright
It is a great start to the release driven by the rhythmic powerhouse of drummer Frazer Parker and bassist Pete Cook; their muscle complemented by craft as echoed within next up Epitaph. Similarly the prowess of Allison’s delivery and tones are a potent essence in the track’s adventurous stroll, the guitars of Jamie Parker and Lewis Wheeler writhing and creating around all with sonic and melodic dexterity. As all tracks; it too is an offering which revels in its mix of metallic and melodic strains which teases of others yet never shares anything less than individuality.
The first of two EPs which together unveil an elaborate story with themes looking at “dystopia, a dictatorship, and the use of technology for a chance at a better world…but at what cost?” the swiftly fascinating Lucian opens up with the single Silence the Crows. Immediately a guitar cast wire entangles ears, winding around their flesh with intimation and dexterity as rhythms gather their bait and in turn the quickly captivating vocal blend of guitarist Rhys Evans and the supporting tones of bassist Sam Green and drummer Max Hill steps forward. There is a flirtatious touch and lure to the song from its first breath but equally a snarl in its melodic almost deceitful smile, an edge which is as much threat as it is sonic enterprise as Evans guitar reveals greater flavouring and invention by the passage.
The increasingly magnetic and impressive start is easily continued by the album’s title track. It too springs from a seductive sonic lure if one which lances the senses rather than caresses them. The emerging web of guitars ensnared ears with swiftly nagging and devious intent; a strength of coercion matched in voice and rhythm. There is a touch of Mudvayne to the track at times which does it no harm or indeed the atmospheric winds which bring haunting melodies amid seemingly calm but dark aural intimation.
Through the equally tense Bareknuckle Lover, the mercurial attack of the track as alluring as it is resourceful, and the lively emotive roar of For Kingdom For Glory, Chasing Dragons continue to add fresh adventure to their release. The second of the two in some ways promises more than it delivers, certain inventive moments not exploited as much as personal tastes wished yet is still a gripping snare of sound.
Bring Out Your Dead opens up with new single I Collide. Instantly voice and guitar link up in a rich melodic lure as darker rhythms keenly prowl. It is a warm enticement though swiftly showing its volatile nature as irritability surfaces through djent natured trespasses and rawer throated vocals. Similarly there is an increase of fire to the melodic enterprise as the pair creates a cauldron of contrasts and emotive intimation in the music alone, Whitmore’s ever alluring vocals sharing that internal conflict within the exploration of the external one perpetually working away through our lives.
And has it been more of an organic movement or more the band deliberately wanting to try new things?