Canaya – Sealed Within The Walls

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    Like being caught between the eyes with a sledgehammer and then brought back to consciousness with a voraciously brutal seduction, the Sealed Within The Walls EP from British metallers Canaya is a real beast of a proposition. It is a merciless and compelling slab of ferocious confrontation infused with a riveting and absorbing wealth of inspiring riffs and potent grooves, a towering heavy weighted triumph from one of the UK’s most impressive if still ‘undiscovered’ metal bands.

     Featuring ex-members of Tangaroa, Executive Distraction Tasks, Hot Prophecy and Nerve Engine, Canaya was formed in 2010 and soon drew acclaim and eager attention with debut EP Alignment Of Dying Planets that same year. Live the Leeds quartet of vocalist Simon Wright, guitarist/vocalist Owen Wilson, bassist/vocalist Chris Wilson, and drummer Andy Richards have also wasted audiences, performances amongst a great many including Damnation Festival, Brew Records, Big Spaceship, Brainwash, and British Wildlife and with bands such as Narrows, Keelhaul, Knut, Coliseum, Humanfly, Melt Banana, Hawk Eyes, Brontide, and Lavotchkin, all increasing and reinforcing the powerful emergence of the band. The video of the single Dios Muerto found heavy viewing and support on YouTube, leading to the attention of Ginger from The Wildhearts who invited Wright to provide guest vocals on his album Mutation. The Hyde & Seek released Sealed Within The Walls is the next thunderous incitement from Canaya and possibly the trigger to the widest recognition, it is hard to imagine any other outcome.

     Opening track Levitating Casket, the new single from the release, instantly storms the ears and senses with a concentrated 1797464_581774275248163_604048507_nand intensive barrage of punches from the drums and broad sonic swipes of guitar. Each has a fearsome weight and intent in their power which the bass only empowers with its imposing predacious intensity. It is a striking start which spreads into a sonic causticity with animosity drenched vocal squalls from Wright supported by the two Wilsons. Continually twisting its attack with grooves and hooks flailing the senses amidst the infernal rampage of riffs and energy, the track is a tempestuous and mouthwatering onslaught, and as contagious as it is disturbingly venomous, the song soon has attention and imagination sealed within its corrosive embrace, both eager to fall deeper into the roaring invention and malevolence.

     The unpredictability and imagination of the first song is replicated by next up Award Winning Bastard, a distinct character with more sonic voracity than its predecessor but equally as captivating and incendiary upon the senses. You almost feel synapses and emotions withering within the tracks scorching sonic persuasion and rhythmic pummelling, but with another irresistible distraction from the band’s adventure and ingenuity only instinctive hunger prevails under the avalanche of sound. For something so vicious and brutal it is hard to believe the contagion of the songs is so virulent but it is and just as impressively repeated in the following Monarch Of Sin. Standing tall and muscular from its first seconds of rhythmic provocation and corruptive riffery, the song takes a less forceful approach in comparison to previous tracks but is just as dramatic in its enticement. A smouldering melodically fuelled acidic casting is aligned to a cleaner vocal delivery, the union almost Killing Joke like at times, and sandwiched between a heavily weighted predatory stalking brought by the bruising intensity and ravenous metal ferocity. The song is a savage and ruinous yet bewitching encounter, a temptation elevated by the Converge like fury of group vocals at the song’s finale; it and track a glorious tempest.

    Committed rages next and features John Sutcliffe from Humanfly within its scintillating exploits. From the first rapacious swagger and torrent of guitar invention the track secures greedy attention which it’s subsequent rampant riffing and transfixing rhythmic antagonism, not forgetting brawling vocal combination. The song swings and lurches from one explosive and thrilling point to another, infection and toxic animosity unrelentingly igniting it’s too brief but outstanding presence. The best track on the release, amongst only major triumphs, the song gives a big test for the closing Audio Porn to live up to. Raw and abrasive within an evocative melodic crafted enterprise, the song easily rises to the challenge providing release and listener with another individually startling expanse of inventive vehemence and exhausting adventure. It is a mighty intrusive end to a severe and masterful incitement for ears and passions. Influences for the band are cited as bands such as Black Sabbath, Metallica, Pantera, Mastodon, and Gojira , a list you suspect the name Canaya will eventually be added to as an inspiration for others. They and Sealed Within The Walls are right now collisions you simply need to stand in front of to bend and bask within.

www.facebook.com/canayauk

www.canaya.bandcamp.com

9/10

Ringmaster 15/02/2014

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Wiht: The Harrowing of the North

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    Wiht was a UK band who built a formidable reputation for their impressive epic and evocative instrumentals but last March the Leeds trio called it a day much to the upset of a great many. Now the band through Devouter Records gets a deserved final farewell with the release of their final album The Harrowing of the North digitally and on coloured vinyl. Previously available in 2011 the re-release features an additional track to leave one lasting mark from one of Britain’s best underground experimental talents.

The band began in March 2009 and in their three years created a stirring and inciting blend of doom, stoner, and psychedelic rock which was rich and colourful in ambience and heavy and expressive in intensity. Together bassist Joe Hall, guitarist Chris Wayper, and drummer Rick Contini, explored and turned the widest array of aural colours into a unique and compelling canvas of descriptive sounds and emotive richness. It was driven by storming riffs which were as instinctive as breathing but as imaginative as life and rhythms which caged the senses with skill and power before rewarding them with their own hypnotic and creative slavery. The Harrowing of the North is the perfect last word with its three songs encapsulating everything which made the band so highly thought of, if also igniting a sadness they are no longer here to further their boundaries and vision. Across their years the band sparked a growing fan base with impressive performances supporting artists like Brant Bjork and the Bros, Yob, Corrosion of Conformity, Humanfly, Khuda, Dopefight, A Forest of Stars and Conan, and made their final appearance at Desertfest 2012, playing alongside Corrosion of Conformity, Orange Goblin, Ancestors and Black Cobra to name a few. With one song still unreleased, Devouter has stepped forward to give it a fitting introduction within the re-release of their excellent last album.

Thirty three minutes in length, the first two tracks which made up the original album are themed by William the Conqueror and his Front cover 1400subjugation of the North of England in the 11th century. The title track opens up its vast story in a slowly emerging presence with sonic teasing and a brewing intensity shaped by a singularly seductive guitar. The track scores the Norman raids and massacring of the Yorkshire people and their land and once in full vision the piece almost meanders into its first of eight movements bringing the events to emotive life. Leading one comfortingly with tender guitar caresses against the sense of an impending challenge from the drums, it feels like the lull before the storm, a misguided confident peace about to be shaken out of its restive complacency. The stoner riffs and psychedelic massaging now energising the senses equally and skilfully ignites thoughts and emotions whilst looking at the music outside of its themed context, the track is a sensational passage of styles and imagination which seamlessly has the passions and senses twisting and dancing to the ingenious and continually evolving aural painting.

Second track Orderic Vitalis is a grouchy encounter which is dedicated to the named outspoken chronicler in the title who stood loyal to his king but was outraged at his cruelty and condemned him in his writings. The piece conjures and moves through shadows set by the again compelling bass imagination of Hall, whilst the guitar of Wayper lights the way through the heavy oppressive dark tones with a sculpted elegance. It is a wholly mesmeric track which paints its own imagery for individual interpretation but with evident awareness of the emotions being instilled in the listener through the sensational sounds. It is at times overbearing and always intimidating but equally has a strength and determination to refuse full submission to the impending darkness whispering loudly throughout.

The final and brand new track End Of The Reign finds its place easily alongside the other two, its haunting ethereal piano kissed entrance dripping with a morose ambience. The track then evolves into a muscular giant with rampant yet restrained rhythms from the perpetually impressive Contini and a sonic gnawing of the ear from the fiery guitar narrative. Again the bass brings a daunting depth to the piece and with every element combined track and album easily sets the band apart from the rest and leaves one immersed in the near furnace like heat of irresistible enterprise.

The Harrowing of the North is simply outstanding and with the new track the perfect and greatest way to wave farewell to With.

http://www.facebook.com/wihtleeds

RingMaster 04/02/2013

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