Let us cut to the chase right away and suggest that Wire Iron Blood might just be the best and certainly one of the most exciting post hardcore debut in recent times. An introduction to UK quartet Death Kindly Waits For Me, the three track release is a striking and dramatically captivating protagonist for ears and imagination, and the fact that it suggests there is plenty more in the creative tank of the band yet to be explored and developed only increases its impact. Expressively provocative with a sound coming from the At The Drive In/Fall Of Troy end of an ever broadening genre, Death Kindly Waits For Me is a dramatic fresh breath in the British post hardcore scene.
Northamptonshire bred, Death Kindly Waits For Me began towards the beginning of 2014, taking inspirations from the likes of Thursday, Being As An Ocean, Finch, and Taking Back Sunday into their emerging invention. Their melody rich and aggressive sound was soon drawing potent attention locally and even further afield as their increasing live presence saw the foursome sharing stages with bands such as Decade, Light You Up, Devil Sold His Soul, Terraform, Emp!re, Our Hollow Our Home, Hey Vanity, Attention Thieves and Flood Of Red. Now a national attention is on the radar as Wire Iron Blood is uncaged, and it is fair to say that expectations are already confident in the band’s success in luring a wider spotlight.
The EP opens with the outstanding Cutting Room Floor, a sonic lure swiftly thrusting ears into the impassioned vocals of Adam Fitch, his clean and earnest tones instantly magnetic. Alongside him the guitar of Max Freeston slowly spreads a coarsely melodic lure whilst the heavy bass tones of Adam Cator, just as quickly adds dark haunting shadows. Pierced by the controlled and reserved but rapier like strikes of drummer Josh Miller, it is not a dramatic start yet thoroughly intriguing and awakening an appetite to hear more. Soon into a steady stride and still employing the creative weave which set things off, the song increasingly impresses as it expands its presence musically and vocally, Fitch superb with his distinctive angst fuelled tones whilst the 
more punkish offering of Freeston is a potent backing and the raw roars of Cator nicely caustic. An additional anthemic strength emerges in the song and though musically maybe it does not blaze with startling originality there is nothing but freshness and adventure to the opener.
The same strengths flows though the following Best Friends. It character is shadowed and emotionally dark yet it flames with a contagious energy and a rigorously exciting imagination. Vocally once more the track shines whilst riffs and melodies create an infectious proposal which, as the EP, becomes more addictively enjoyable over time. That Fall Of Troy feel is a bright whisper across the song, whilst other elements hint at the more experimental adventure of The Mai Shi at times, but as the song evolves from a raging stomp into a melancholic croon in its finale, the track is thrillingly individual to Death Kindly Waits For Me.
The closing Decade Of War continues the excellent temptation, its emotionally sober but energetically impassioned heart a canvas for great rhythmic enterprise and colourful guitar endeavour to wrap with craft and tenacity. Vocally of course the song continues a weighty persuasion amidst impressive sonic imagination and by its end it is hard not to sigh in disappointment that there is no more and to swiftly go back to the beginning again and ensure there is.
As mentioned at the beginning, Wire Iron Blood is a starting point for the band which shows that they have plenty to discover and push within themselves. There is little nothing to shade the potency of the release though, with no reflection on Cator, personal tastes would like to see a diminishing or loss of the aggressive vocal squalls as they often feel at odds with the rest of the vocal delivery and at times songs. It is a very minor thing of course in a potential drenched start by Death Kindly Waits For Me, a band hard not to get rather excited over.
Wire Iron Blood will be available from 2nd March through all digital stores.
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RingMaster 02/03/2015
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the sudden twists and dips into intriguing and at times sinister invention, mouth-watering and ear catching.
unveils more of his superb clean and melody rich vocals which had already enhanced its predecessor. Equipped and skilled to merge both extremes, he proves himself on Heartless to be one of the more exciting frontmen around. An essence of Dead Til Friday prompts thoughts towards the song but again a mere whisper to a sound undeniably belonging to When We Were Wolves. Predatory and seductive, it is a riveting adventure matched immediately by the voracious Blind. A sonic haze starts it off before grooves come out of the woodwork with insidious intent as pounding rhythms bring their equally enslaving thunderous textures. Vocals also explode with wide variety and unbridled passion across the destructive maelstrom smothering the senses. It is an exceptional savagery with a lingering spite ensuring it is one of the pinnacles of the release.
Angus Cadden and Karl Koch an immediate grazing courted by the intimidating throat of the bass of Steve Tolloczko and the predatory rhythmic challenge of Oliver Todd. The sonic submergence is like a free fall for the senses until they reach the passionate raw squalls of vocalist Joshua Thurbin where intensity engulfs before spreading out into more restrained but just as intrusively testing scenery. The slow immersive crawl of the track which takes over is as magnetic as the previous vitriolic incitement was violently bracing, their subsequent merging a stimulating canvas for imagination and emotions to place their own narrative before being dosed in that provided by Thurbin. It is an exacting experience but one, which as the album, over time unveils the richest persuasion and understanding upon the emotions.
stride the track is a commanding enforcement upon the ear and senses with the almost convulsive rhythmic and riff attack a jagged seizure of attention and instant hunger. At less than three minutes, which includes the opening narrative the only complaint is that the compelling starter feels over before it begins and the wish it had been a fully-fledged assault strong, though admittedly soon forgotten once S.I.M consumes the ear with its initial sinister ambience erupting into a furnace of crippling rhythms behind a tempest of passionate melodic endeavour and sonic fire, all thrust home upon the ever squalling vocal venom of Burgess. The ambience of keys brings a warm almost soothing wash within the continually searing heat and spite of the song whilst as expected the band unveil a technically accomplished scythe of sound and imaginative fire, it keeping them still within comparisons to the likes of Meshuggah and In Flames.