We are not going to kid you by saying that it is the most unique album you will embrace this year, though bold adventure it certainly does not lack, but you will have to go a long way to find something as seriously rousing and simply enjoyable as Impervious. The new album from Australian thrashers Mason, it surges through ears with rabid energy and unbridled aggression and proceeds to raise the ante groove by searing groove and hook by virulent hook.
Bursting from the Melbourne music scene in 2007, Mason openly embraces the Bay Area thrash scene and the obvious protagonists in the genre’s general eighties borne assault and consumption of world metal. A self-titled debut EP of 2011 was followed by the band’s first album two years later, Warhead which included guest guitarist Jeff Loomis (Arch Enemy, Nevermore) sparking far wider attention the way of the quartet. Its success was matched by that of second EP, Unmerciful last year and a live presence which over time has seen Mason share stages with the likes of Harlott, Havok, Accept, Revocation, Toxic Holocaust, Accept, Mutank, and Annihilator and play across Asia, Europe into Canada. Impervious looks and sounds like the key to the locks of the biggest spotlights and awareness, a tempest taking little time to get down to persuasive business.
The portentous lead of intro Eligos lures the listener straight into the waiting clutches of Burn. Within seconds it is careering through ears with predatory riffs and rhythms as vocalist/guitarist Jimmy Benson stirs things further with his eager snarls. Swiftly you can hear the touches of bands like Testament and Kreator in the song’s assault but only to enhance its oncoming and subsequently relentless irresistibility. Creative twists and turns come with a definite Mason identity to further entice and excite whilst the chorus amidst it all is manna for rock ‘n’ roll instincts. The track is superb, a rebel rousing, bone shaking treat setting the tone and adventure of things to come.
Tears of Tragedy is just as rapacious in energy and aggression next, the spiky tones of Benson as inspiring and tempting as his and fellow guitarist Grant Burns’ exploits. The rapier like swings of drummer Nonda T. and surly tones of Steve Montalto’s bass similarly stir spirit and appetite, their at times almost primal presence hungrily driving the sonic enterprise and assault of the song. With fiery melodies and descriptive sonic weaves webbing the encounter, it is another stirring slice of full throttle thrash to match its predecessor.
Both tracks hint at an even bolder adventurousness and individuality in the Mason writing and imagination which is more pronounced within next up song, The Afterlife. It too has top gear in full use but wraps it in a melodic and technical prowess which is almost overwhelmed at times by the song’s ferocity but a constant impressive pleasure throughout. It too has a chorus which gets under the skin within one round of its anthemic call while pushing the album’s already lofty heights on again.
The album’s title track follows; its tone almost barbarous as it sizes up its victim before consuming the senses with ravenous riffs, biting rhythms, and sonic animosity, this all bound in a virulent contagion which infests the psyche with ease. Individual flair again is as open as the animosity within the song’s irresistible presence before Cross This Path descends like a pestilential horde upon the senses. Saliva and venom drips from Benson’s tones, violence from Nonda T swings as the track carnivorously chews on ears. It is a predation superbly tempered by the sonic dexterity of Burns and Benson, though every tendril spun and melody uncaged certainly sears the senses.
Sacrificed has plenty to live up to as successor to its mighty predecessor and with its sonic webbing and thunderous air gives it a potent shot if without quite making the last few steps. Nevertheless, the track captivates as it pushes evidence of an even bolder appetite unafraid to experiment imagination within the Mason sound and potential before Hellbent on Chaos savages and entices in equal measure. It too might lack the final sparks of earlier companions, such their heights and not its shortcomings, yet has body and spirit inescapably hooked on its creative scourge.
The album concludes with the apocalyptic mayhem of Created To Kill. With words unleashed in rapid fire to match the concentrated trespass of riffs and rhythms, the song devours the senses. The bass of Montalto is a murderous ingredient in the suggestive patterns of the guitar, its predacious intent as darkly inviting as the flying beats and rabid riffs are insatiable.
It is a stunning end to one outstanding encounter which will surely put Mason on the metal map with a forceful bang. The future of thrash metal is in good, old school inspired, but increasingly bolder and imaginative hands.
Impervious is available now
http://masonofficialmetal.com/ https://www.facebook.com/masonofficialband/ https://twitter.com/masonthrashband
Pete RingMaster 10/10/2017
Copyright RingMaster: MyFreeCopyright
Next up Heroes Of The Hour wraps ears in a wiry weave of melody and creative snares before revealing a more predator side through jabbing beats and antagonistic bass. They are in turn aligned to swinging grooves, a revelry soon infesting the aggressive and infectious tendencies of the song as another highlight is crafted before Duty Of Beauty bounces upon ears with a catchiness which borders on poppy. Those eighties influences spice all tracks and certainly impregnate the boisterous rock ‘n’ roll of the fifth song which also has a touch of Danish rockers Grumpynators to it.
The first single from the album, Nightmare comes next, its darker and more predatory character swiftly igniting the imagination whilst discord lined sonic enticement has ears seduced before it all momentarily halts for riffs and rhythms to collude and unleash a ravenous charge. That Metallica whiff is a rosy hue within the raw and incendiary landscape of the song, but as everywhere it gets honed into something maybe enjoyably familiar but leaves expectations scrambling for success. The song potently backs up the might of its predecessor before Forsaken Existence kicks things up another gear with its inventive and melodically emotive presence. From the opening breath, the track is a maze of twists and provocative craft before settling into a leaner surge of bruising enticement, though it in turn is soon wrapped in more sparkling invention and sonic colour which go on to entwine for the remaining length of the fascinating offering. The track is irresistible, at its heights when exploring a diversity of styles and pure contagion when just bullying air and ears.
Opener We Defy drives in from a distance first, healthily brewing riffs closing in before upon arrival triggering punchy rhythms and a highly flavoursome guitar enterprise. Once united it all settles into a muscular stride driven by crisply landed beats and a dark hearted bassline, the guitars spinning a web of thrash riffery bound in melodic and groove metal imagination. It is a pungent blend with the final potent ingredient being the snarling delivery of Brian’s vocals, his tones more sandy than gravelly but a great texture and attack for this and all songs. The album starter continues to grow and expand in invention and sound as its proceeds, never relinquishing its core anthemic contagion and blatant aggressiveness but filling ears with potent persuasion.
beckoning in metal it seems, before being thrust aside by the outstanding Land Of Cunning. Riffs and rhythms are assaulting the ears from its first seconds whilst a stringent groove twists the senses around its bony fingers. A persistent repetitive lure marks the track deliciously whilst the vocals of Liuni make a compelling varied persuasion with a snarl and twang to his delivery that only draws in further an already emerging appetite to match the strength of the charging sounds around him. There is little which is unsurprising or new to the attack but it matters little as the track niggles and erodes defences with skill and venomous intent. As anthemic as a stripper leading karaoke night, it is a mighty start with only its quite hefty length being a slight complaint, something which does grows to more of annoyance across other song as some feel unnecessarily stretched.
setting down their canvas to turn on an intensity and power which sprawls rigorously over the body of the track. Led by the excellent guttural vocals of Marloes Voskuil, her immense delivery soaked in vehemence and aural pestilence, Izegrim twists and turns the song with shifts in rhythmic attack and meandering sinewy grooves around a thrash cored spine which in its presence fires up the senses and appetite, the strong start then emulated in strength and quality by the following Decline and Fall. With an open rabidity to every aspect of the track around a gait which lurches and prowls through the ear, the song is an invigorated almost anthemic incitement which leaves attention greedy though it, like quite a few upon the album, fades out for its finale, something which never pleases for personal tastes.