When a release instantly and impressively smacks you in the face and proceeds to tease, taunt, and fascinate thereon in you know there is something rather special in the brewing. Forged is one such proposition, the new album from UK based outfit Maziac devouring ears and attention from its first breath and only continuing to captivate with its eclectic body through every passing second.
Formed in 2017, the London residing trio of guitarist/vocalist Tony Best, bassist/synth player Tim Stokes, and drummer Marc Vachon have already faced potent fan and critical praise through their first EP, the Justin Hill (SikTh) mixed and mastered Parallel unveiled in the May of 2018. Its success alongside the band’s rousing sound and live presence has led the band to share stages with the likes of The Ever Living, Epsilon, Derange, On Hollow Ground, and Winchester; it all adding to their growing reputation. All previous acclaim though should be quickly paled by that destined to be garnered by Forged, one of the year’s brightest gems so far.
Again recorded with Hill, Forged erupts with an immediate predacious hunger, opener Symptomatic a tempest sweeping in and consuming the senses. Rhythms bludgeon as riffs dismantle the senses, Best’s vocals just as urgent and rapacious as a cyclone of djent/technical and alternative metal/rock disgorges its rabid temptation. It is a starting introduction which only continued to incite and thrill as the song reveals its craft and prowess. As quickly and continually proven, Maziac have a sound which enjoyably proves very difficult to pin down with references to others but certainly within its ferocious sonic kaleidoscope essences resembling bands such as Fear Factory, Deftones, The Contortionist, Between the Buried and Me, and Spineshank swirl.
It is a stunning start keenly and powerfully matched by the following Escapism. Relatively restrained in comparison, the track still prowls with a definite predatory intent; its rich body wrapped in melodic wiring as alluring as they are cutting. Best’s vocals equally have a calmer harmonic edge in a delivery as varied as the sounds around it, the band’s alternative rock instincts a thick colour to the inventive metal of the song. It is hard not to think of the track as a beast, stalking and preying on willing ears tempted by sonic plumage of inventive temptation.
Cortisol teased an already eager appetite right away with the rhythmic rapping of Vachon, his beats taunting attention as the guitar brews up its subsequent eddy of bold enterprise and melodic flaming. The song’s progressive nature shapes its imagination; rock ‘n’ roll contagiousness fuelling the animated gait of unpredictability. There is a touch of Voyager to the track as too Muse but once again, it emerges solely Maziac before Prisoners saunters in with its swiftly beguiling lures. A whiff of The Kennedy Soundtrack shades its beginnings, a Muse-esque hue adding to the mix as the riveting track unfurls its intrepid enterprise and adventure to challenge for best track honours.
The melodic intimation of brief instrumental Vicissitudes had the imagination conjuring ready for the far more feral but composed dynamics of Again. Once more progressive and djent elements collude in its buoyant design, Stokes’ bass not for the first or last time a rousing snarl of incitement in the midst of skilled melodic and sonic endeavour. It is fair to say that as potent tracks are on first listen, each following play only reveals fresh depths and textures for greater rewards as no better proven than here.
Deceptive of its title, Allure instantly embroils ears in a pestilential cauldron of metal but soon relishes the band’s melodic dexterity and the almost poppy catchiness that breeds. It is a thunderous encounter teasing with glimpses of the peace at the eye of the storm, never giving in to predictability or anything less than compelling while closing track, Resolution, casts its own experiment in texture and tone to bring the album to a fine close. In certain moments almost primal in its climate and in others like a melodic sunspot, the song just enthralled as another aspect to the Maziac sound and imagination is shared.
With Forged ringing in our ears it is easy to be excited about what is ahead for and from Maziac because as suggested, they have created one of the year’s finest moments so far.
Forged is released July 5th; available @ https://maziacband.bandcamp.com/album/forged
https://www.facebook.com/MaziacBand/ https://twitter.com/maziacband
Pete RingMaster 05/07/2019
Copyright RingMaster: MyFreeCopyright
Easy to hear why it has made such a potent impression since its release, the single makes way for next up A New Way to Hate. It too erupts with force and threat in its initial coaxing, a tempting only blossoming as its melodic and atmospheric intimation brews in keys and the fiercer throes of guitar. As its predecessor, it is a track which commands attention and like the first, sets a lingering impression and pleasure easy to embrace.
The EP swiftly grabbed ears with opener All We Are, the EP’s lead track which does exactly that, leading the release in sound, adventure, and enterprise. As rhythms place a sturdy hand on the senses, guitars cast a dextrous web of riffs and sonic endeavour, a formidable fusion quickly commanding attention. Things relax a touch as Underdown’s vocals add their melodic tones, the song hitting a lively stride inflamed with pop punk boisterousness. Carter’s bold swings drive the captivating encounter with relish, the guitars shaping its body for the equally alluring vocals with Firmin providing potent backing to Underdown’s lead.
Angel Circuit Engaged opens up with its title track and swiftly offers up a multi-scented breeding, grooves and rhythms uniting to impose temptation. Whyard’s vocals are just as alluring as too the warm flirtatious lure of the keys, each matching the instinctive liveliness of a song just as eager in its calmer repose. Inviting from the off and more rousing with each play, and featuring Sol Philcox-Littlefield on guitar, it makes for a highly enjoyable opener.
It’s quirky flirtation and bidding is matched by that of the following Carousel, a track bridging the antics of The Shanklin Freak Show and Mr. Strange with nagging boisterousness. Its dark circus is the obverse shade to the mischievous tone of its predecessor, a like-minded but heavier, caliginous counter-part just as devious in its lure of body and vocal chords before the same kind of full captivation is repeated through the electro sizzle of Disco Bitch.
distantly matched through the iniquitous ramble of Sodom Nights featuring the vocal charms of Bridget Gray and immediately after courtesy of the eerily atmospheric, Stygian beauty clad Playground Twist, this another essential offering from the Mr. Strange songbook. It is one of four songs which are exclusive to the download version of the album and as much as a physical copy is forcibly recommended you do not want to miss out of any of the quartet either.
With guitarist April Cox and bassist Rich Tomsett alongside Kerley and more of an indie pop/rock sound to its contents, Ditties 1 opens up with Fine Wine. It is a song which as soon as its initial bass lure is joined by a similarly enticing guitar hook has the body swaying, a bolder bounced incited by its lively and increasingly bold, defiant and tongue in cheek stroll. With a Queen-esque hue to its captivation and imagination, the track needed barely a play to get under the skin and have mutual participation involved.
