Simultaneously teasing and engaging the imagination from start to finish, Geodesics is the new EP from British instrumental metallers Masiro. It offers up six tracks which take the listener on their own inspired journey through realms of creative intimation and magnetic craft; a collection of pieces which provide a straight line to pleasure but across a landscape of adventure which curves and fascinates like an aural kaleidoscope.
A trio hailing from Oxford, Masiro consists of original founders in guitarist Mike Bannard and drummer Chris Pethers, the band emerging as a duo in 2011, alongside bassist Chris Hutchinson Mogg formerly of ex-50ft Panda. Scented by the inspirations of artists such as Meshuggah, Primus, Mars Volta, Animals as Leaders, 65 Days of Static, Psyopus and many more, their music is a tapestry woven from strains of mathcore, progressive metal, and post rock though that only skirts over its varied richness. The band soon drew acclaim once releasing debut EP Technocologist Unknown in 2016, praise and recognition only thickened by their live presence which has seen them share stages with the likes of Poly Math, Core of IO, Iran Iran, and Kusanagi as well as festival appearances.
Geodesics is surely set to see Masiro lure even greater and broader recognition and plaudits their way, though strangely it is an encounter which with us depended on close attention to be really seduced and enthralled. As background support to whatever maybe needed to be done, it is a certainly fully enjoyable but a touch too easy to have distractions take charge but sit ears down with headphones and record and Masiro had us lost in its riveting web of craft and imagination whilst bouncing to its dynamics and suggestive incitement.
The EP swiftly entices with opener Andromeda Handshake, the track almost instantly a sonic chasm of turbulence but from within which tendrils of melody bred guitar wrap around ears and imagination The snarling almost bestial tone of the bass keeps the threat alive whilst rhythms pick their spots with rapacious intent. The tempest though breeds melodic radiance, it being swallowed once more but only to wait its moment to crystalize air and the rich temptation it ignites. Perpetually evolving, the track transfixes from start to finish with its mercurial flight.
The following K-Ursa is a far calmer proposition from its first breath. Featuring the saxophone prowess of Charlie Cruickshank, the song is a warm almost summery canter but with bold flames in its sultry climate. Again though there is a volatile instinct to the music, one which never fully ignites but brings a thought inspiring temper to the melodic beauty woven and eventually incites it all to come to a fiery head for its finale.
Both tracks also revel in an array of infection spreading hooks and twists, a creative agility just as potent within next up 21:15. With shadows courting its lining and depths, the track is a dark almost predatory controlled waltz, always intimating a portentous outcome even through its melodic elegance; a threat accentuated by the throaty growl and crawl of the bass and Pether’s agile swings. As all tracks it sends thoughts off on an exploration, espionage and danger courting their conjuring this time around.
The sonic displacement of Intermission: Graveyard Orbit with Lee Riley supplying drone dissonance intrigued if not much more and is soon forgotten as the outstanding End Permian emerges from its raw mists. Instantly a nagging groove had us hooked, its guitar lure increasing as the bass seduced as it prowled with slight irritability amidst a shimmering melodic glaze. Subsequently, as you can rightly assume, the piece gyrates with ideation and individual craft aligned to a united imagination, every slip into something new as fluid as it is expectantly unpredictable.
The release concludes with Grand Trine, another inescapable incitement of emotional and physical response. It is carnival of eager bordering rabid enterprise, the band’s mathcore instincts dancing like a dervish around relaxed moments of equally compelling melodic insinuation. As with all tracks, where it takes you will be as individual as the sounds provoking your imagination and as each we suspect leaving little else but pleasure especially the deeper you immerse in its creative emprise.
That is the same for Geodesics as a whole, give it your total time and attention and the rewards verge on the irresistible.
Geodesics is released September 7th, available @ https://masiro.bandcamp.com/
https://www.facebook.com/masiromusic https://twitter.com/masiroband https://www.instagram.com/masiro_band/
Pete RingMaster 07/09/2018
Copyright RingMaster: MyFreeCopyright
The second track instantly expels a djent spawned predation around a blaze of vocal scowling and sonic intimidation from the guitars of Dean Watson and Jamie McArthur. As the first track, it is more a prowling ravenous predator than a vicious onslaught yet the pathological agitation its title suggests is fuel to the attention gripping enterprise and imagination cast by the band. Simultaneously the track is savage and seductive, extremes entwining and in revolt against each other as the listener is dragged through a landscape of metalcore and grindcore to name two of the open essences sculpted in a progressive and experimental voracity.
piano, the instrumental piece draws ears and thoughts into the release with a sense of drama which simply explodes in the following The End And The Rebirth. The band’s new single too, the song dances on the senses with a vibrant electro smile before ruggedly spicy grooves and matching crunchy riffs join the vivacious tempest. Instantly enticing whispers of TesseracT and Circles, the track casts its own uniqueness as it expands and glows with enterprise and invention. The striking melodic vocals of Sean Murphy are an instant treat, his ability and expression as dynamic as the sounds and ideation around him. It makes for a scintillating kaleidoscope of adventure spun on the skills of guitarist/keyboardist Ian Rockett and the simultaneously savage and addictive rhythms of drummer Ross McMahon and bassist Jim Hughes, quite simply it is a stunning start.
Brunkhorst, bring further thick colour and spice to the already colourful design of the song. The technical ability of the band is just as striking and instant, the guitars spinning a web of infectious and intimidating enterprise whilst the rhythmic side of the song, along with the harsher side of the vocals, carries as much malevolence as the melodies and sonic endeavour brings flirtatious ingenuity. Equally the songwriting shines brightly, especially in the way the band blends and twists extremes around a fluid core of intent and imagination. It is a fine incitement though soon shaded by Verdugo and even more so the outstanding Ravenholm. The first of the two stands steely eyed with hooks and riffs a savage persuasion within a caustic and radiant melodic atmosphere. Again opposites attract within the song and combine for a tantalising and intimidating excursion for ears and thoughts which the second of the pair pushes to new scenic heights. Opening with a melodic death metal ferocity and invention, the track evolves before the ears as melodies provide a catalyst taking the voracious vocal driven emprise into a seductive waltz of Latin sultriness and acoustic Spanish guitar refinement. It is an enthralling and thrilling proposition which returns to its original caustic blaze before merging it into the sonic brilliance which binds the majestic encounter.
wait because of those earlier releases. Once it expels its muscular breath and explodes with a torrent of djent inspired antagonism and agitated sinew swinging rhythms, the track comes alive with contagious hostility and compelling bait. The vocals of Greene roar with angst and passion, squalling over every syllable yet hinting at the seductive mellowness he also processes in his delivery. With a great carnivorous throat to the bass and its gripping invention, and a similarly predacious temperament to the guitars, the track is a dramatic protagonist which intimidates and seduces with equal tenacity. That smooth vocal charm of Greene does make its appearance within the song, that moment offering Palms like enticement within the otherwise rigorously aggressive tone of the track. It is a scintillating start to the encounter soon backed up by Sentinel.
resonance as the song grows into full view. It is a hypnotic entrance potently luring in attention before the grizzled vocal delivery of Jared Bush brings a raw imposing into the creative elegance already cast by guitarists Justin Seymour and Brent Edelson, his presence seemingly a spark for an expanding intensity which stalks with djent seeded stabs, oppressive breaths, and rapacious shadows. The weave of melodic enterprise becomes more acidic but still seduces within and tempers the more vocal tempest of sound. It is an enthralling proposition, the composing and craft of the band alone gripping as the soundscape of the sonic narrative consumes the imagination.