Phoenix Rising – Ignite

Aug6

Just a number of months into their existence, it is fair to say that Phoenix Rising is already creating a real stir with their rousing sound; their praise drawing presence and suggested success in the “Best New Artist and Best Metal Band awards at this year’s MXD MAG Rock and Metal Awards evidence. Plenty of reasons for the buzz around them are now clear to be heard in their debut EP, Ignite. Offering four slices of rap rock infused with nu metal, the release is an ear grabbing, potential soaked introduction bred on imagination and creative energy.

Emerging from an ad vocalist Kent Summerour posted on Craigslist, the Dallas hailing band arose to swiftly grab local attention, in turn quickly finding broader landscapes to impress. With the two prong vocal attack of Summerour and Scott Lathwood in front of the invention of guitarist Lee Deane, bassist Allan Kurt, drummer James Espinoza, and Mark Ridlen on synths, Phoenix Rising embrace the inspirations of bands such as Hollywood Undead, Skillet, Papa Roach, Killswitch Engage, Union Underground, Linkin Park and more. The latter is probably the one which most comes to mind across their first release but adding to rather than deflecting from the band’s already evolving into individual sound.

Ignite opens up with Do You Know, a piano drawing ears as rhythms rustle together in the background. Soon the track is fully to the fore, not forceful but certainly magnetic as synth and guitar cradle the rap and following clean vocal persuasion. Though it suggests it might, the song never quite explodes into the hinted furor but persistently entices with melodic caresses, vocal dexterity, and a mercurial rhythmic attack.

It is a potent start laying down a strong reason to stay involved with the EP with drama which is soon escalated within the following If I Say No. Immediately there is a more intensive feel and muscle to the song, metal essences lining its composed but impassioned roar. Once more Summerour and Lathwood create a great web of vocal attack and temptation matched by the hooks and melodic enterprise of their companions. As with its predecessor, it is hard to say that major surprises crossed ears yet neither did predictability or a lack of fresh imagination.

Open You Up continues the EP’s trait of building on the song before with bigger and bolder endeavour; the track a tenacious metal infused rock holler mercurial in its breath, persistent in its rousing incitement before easily the best track of the four descends on the passions. Lights Out immediately throws a thick rhythmic coaxing out so easy to jump upon; an initial shuffle before the main event which erupts and incites like a mix of Union Underground and Powerman 5000. Virulent in its hooks and traps, aggressive in its energy and dynamics, the superb track is brief, explosive, and reason enough alone to breed a hungry appetite for the band’s sound.

Ignite is the kind of debut you just have to pay attention to and anticipate bigger and bolder adventures springing from as the band grows, matures, and their sound finds its unique voice. The fuss around them already means Phoenix Rising will have plenty to live up to but the EP and especially its final track suggests they are more than ready or the challenge.

Ignite is out now @ https://www.phoenixrisingofficial.com/shop and other stores.

https://www.facebook.com/PhoenixRisingOfficial/ https://twitter.com/PRofficialband

Pete RingMaster 02/08/2018

Rosen – Self Titled

Jul25

With a sound bound to draw comparisons to the likes of Korn and Limp Bizkit but quickly revealing its own individual drama and character, UK outfit Rosen are poised to release their self-titled debut EP. Offering six slices of the London band’s fusion of hip-hop, punk, and nu metal, the encounter is an attention grabbing proposal sparking ears with its enterprise and the imagination with its politically triggered lyrics.

Emerging last year, the quintet takes inspiration from bands such as Hacktivist, Rage Against The Machine and the previously mentioned pair of artists. The release of the first single High Tech Low Life and successor Riot triggered acclaim and support from fans and media alike, nurturing anticipation for something larger which the EP boisterously rewards.

It opens up with Sticks & Stones, the song rising up through the theatre of piano intimation with Frhetoric jabbing vocals leading jousting riffs and teasing rhythms. The guitar of Matt Ress becomes more irritable as a chorus forms, the track swiftly settling back down to repeat its creative cycle. Cole Sław’s keys continue to lure and suggest as the punchy touch of Frisco beats impose; a mix of the familiar and boldly fresh courting the appetite like a mix of The Kennedy Soundtrack and Papa Roach tinted by an industrial/darkwave hue something akin to Pink Turns Blue.

High Tech Low Life follows and almost immediately flirts with wiry grooves and a controlled but salacious swing encouraged by the throbbing bass of Kam Ikaze. As with its predecessor, there is an inherent contagiousness to the song, one elevated in its chorus around equally captivating vocals but just as manipulative throughout as the song strolls through ears. From beginning to end, the track is superb, enticing body and vocal chords as well as thoughts in an instant before Pushing Raw simmers and bubbles into view. Rap and synth rock entangle as the track quickly got under the skin, a rich Tech N9ne spicing adding to its organic magnetism and adventurous enterprise.

It proved so hard to choose a favourite track within the EP, the first trio all firmly lingering in thoughts and pleasure as too next up Hallelujah. The likes of Clawfinger, Fuckshovel, and B Movie all came to mind as the song calmly and effortlessly infested ears and imagination. Again lyrics and their delivery left as potent an imprint as the sounds around them, a rich trait echoed in Reverie straight after. Probably the song did not stir the passions as boisterously as its companions yet its atmospheric tone and melodic web only enhanced and enriched the already impressing release.

Riot brings things to a close, its electro punk scented entrance soon a blend of antagonism and seduction, again Clawfinger reminded of as well as very early Ministry though as for all songs, it’s individually is overriding. More volatile by the chord and vocal dexterity, the track is a web of temptation which never really unleashes its animosity but certainly snarls as it arouses.

Very good things have been said about Rosen and the EP has all the evidence as to why. Simultaneously it attacks and scythes through injustices and society’s waywardness while inflaming the senses with its insistently compelling, at times enjoyably tempestuous sound. The beginnings of great things for them and us we suggest.

The Rosen EP is released July 27^th.

http://rosenofficial.com/ https://www.facebook.com/RosenOfficialUK/

Pete RingMaster 23/07/2018

Fathoms – Counter Culture

Dec1

Since the release of their first EP, Transitions back in 2012, the Fathoms sound has evolved as its line-up has equally changed and been revitalised. What has not changed is their ability to grab ears and attention and stir fresh new appetites for their inventive sound. New album Counter Culture is testament to that, its nine tracks a blazing roar and creative aggravation which captivates and gets the blood rushing through aggression pulsing veins.

The UK outfit soon sparked keen local attention with their melodic hardcore sound upon emerging in 2010 and quickly found themselves touring the UK and sharing stages with the likes of Legend, Set Your Goals, Polar, Dividing The Silence, Final Crisis, and Napoleon. Acclaim did not exactly hang around either especially once Transitions assaulted ears with their reputation taking another spurt with its successor Cold Youth in 2013. Both were bold and viciously imposing with a growing potential which blossomed within their Artery Recordings released debut album Lives Lived two years later. Hitting the USA, China, South Korea and Japan among regular jaunts across Britain and Europe, the Brighton hailing quintet has become a potent element in the UK hardcore scene.

Hindsight suggests the hints and clues were already there, certainly within the last album, but Fathoms’ sound has embraced greater metalcore traits over the past couple of years, the band straddling both styles with their punk metal furnace, and as Counter Culture reveals there is plenty more to that blend also. It opens up with Hate Preach, making a composed introduction as vocalist Max Campbell hits ears with his rap before the guitars of James Munn and Sam Rigden cast a persistent tide of abrasive riffs. It is a great start which only continues as the song merges nu and rap metal exploits with hardcore antagonism framed by the biting beats of drummer Lui Sarabia.

The potent starts quickly has ears keenly attentive, recent single Counter Culture stirring their appetites further with its metal bred imagination and punk infused quarrel. Melodic twists and clean vocal union with the rawer snarling tones of Campbell brings richer intrigue and captivation, the bass of Steve Cogden prowling it all with a brooding menace as the song grows an increasingly compelling web of flavours and imagination.

Latest video single B.E.L.I.E.V.E quickly follows; its body a heavier, dirtier, and more tempestuous proposal but just as content and skilled in contrasting its dark hues with melodic flames and harmonic enterprise. For personal tastes, it does not quite catch the imagination as its predecessor or other tracks within the album yet there is no denying its lures, especially its inescapably magnetic melodic.

Counter Culture is an album which seems to get bigger and bolder song by song, definitely each subsequent song made a greater thrilling impression on our appetites; the process continued at this point by the surly metal nurtured, ill-natured Fated. Its nu and rap metal dexterity gets right under the skin but equally its synth rock and punk spicing teases more impressed reactions before I’ve Been Trying To Leave exposes the band’s similarly adept progressive inclinations within its cantankerous character and imposing touch. It also has catchiness in its lighter side which is pop kissed but never more than a warm wash upon the instinctive ruggedness and spiky imagination of the band’s sound.

The calmer waters of Slip Away provides a new beguiling turn within the release, its presence like a more belligerent Silent Descent but with passages of pure melodic beauty around more volatile instincts and endeavour. It is just one more captivating moment within the album but soon eclipsed by the outstanding assault of The Spaces In Between. A trap of nu-metal design, the song twists and turns with dervish like mania and pugnacious attitude, the guitars dancing venomously on ears as the bass and vocals growl. In the midst of that inventive confrontation though, a spring of melodic and harmonic adventure flows, again Fathoms showing the new adventure in their sound and freshness in their imagination.

Next up No Compromise is an even moodier proposal; to be honest a truculent trespass of a song but one coloured with atmospheric grace as melodic suggestion weaves its bait for ears and imagination to embrace. With every passing second and unpredictable idea, the song grows in strength and impressiveness; pleasure joining the ascent until it departs to allow You Ain’t On What We On to bring things to a close.

The final track is a surge of punk dispute; an eye to eye combat which has the body bouncing and spirit raising its middle finger to the world. It is a fine end to an encounter which grows with every listen. Fathoms have maybe still to realise all that early potential but instead they have explored a whole new sphere of ideas and as Counter Culture proves, they are on a journey still easy to anticipate and enjoy.

Counter Culture is released December 1^st.

https://www.facebook.com/fathomsuk/ https://www.instagram.com/fathomsuk/ https://twitter.com/fathomsuk

Pete RingMaster 30/11/2017

Powerman 5000 – New Wave

Nov8

Since first album The Blood-Splat Rating System was uncaged in 1995, it has been so easy to form a soft spot for the metal exploits of Powerman 5000 and all the reasons why are there blazing away in new album New Wave. Across nine studio full-lengths, the band has aroused and stirred the imagination in varyingly successful degrees but always left a potent impact on personal pleasure, their new offering hitting that mark with ease once again. Whether New Wave is their best proposition to date or indeed their most unique we will leave others to debate; as to whether it is one of their most exhilarating and addictive incitements there is nothing to question.

Though metal bred, Powerman 5000 has always felt as much punk rock in tone and attitude as any more recognisable punk ‘n’ roll proposals; an air which is at its most vocal within New Wave. The album opens with Footsteps and Voices, its electro instincts teasing and tempting as rhythms and vocal chants gather in the industrial background. In no time though, the track is strolling along with a muscular swagger, vocalist Spider One the ringmaster ready to share his spirit rousing rap as the rhythmic shuffle of drummer DJ Rattan and bassist Murv Douglas flirt with the electronic revelry. Like a fusion of Marilyn Manson and Hed (PE) but uniquely Powerman 5000, the track has the body bouncing and vocal chords hollering; its rock ‘n’ roll inescapable bait.

The following Hostage is just as manipulative, again bringing all its virulent aspects together before leaping into a contagious canter with biting beats aligned to compelling grooves and riffs cast by the guitars of Ty Oliver and Ryan Hernandez. Submission and involvement with its epidemic of enterprise and incitement is unavoidable and liberating as the track’s punk fervour takes hold before exhaustion soaked pleasure is passed onto and emulated by the band’s latest single. The warped love affair of Sid Vicious in a Dress lives up to its theme in sound, a psyche twisting infestation only leading to addiction as heavy grooves and rapacious riffery unites with the rapier swings of Rattan and Douglas’ bass grumble. As its predecessor, the song’s catchiness and ear arousing antics are viral, a toxic sonic trespass leading to dependency from which escape is not an option. There are plenty of familiar aspects to the track and all adding to its forceful persuasion upon body and spirit.

The electro waltz of David F**king Bowie is no mean spirit in stirring ears or appetite either, its gait and energy a calmer but lively instigator swiftly tempting forceful participation from vocal chords. Its celestial meanders allow a breath to be taken though equally it leads to a hankering to be back romping which the song subsequently provides before Spider stands centre stage to call on ears and his flock with Cult Leader. An anthemic hard rock meets glam punk roar again very difficult not to get caught up in it does lacks some of the unique sparks of its predecessors but leaves the listener wanting little.

The alluring balladry of No White Flags settles the charge of the album but not the rich attention it continues to earn; the song a tantalising mix of melodic alternative metal and heavy rock while Thank God is a gloriously irritable slab of nu-metal lined punk metal as raw and antagonistic as it is uncontrollably contagious. One minute plus of primal temptation it sets yet another lofty marker in the landscape of New Wave, one teased if not hit by successor Die on Your Feet, a song of typical yet openly individual Powerman 5000 enterprise carrying all their established traits in its scuzzy rock ‘n’ roll blaze.

Get a Life steals the passion next with its prowling Dope/Rob Zombie-esque taunting. The track hints at and flirts with an instinctive tempest but keeps it restrained to only further seduce. That volcanic eruption never does not really escape even as the song expels a more tempestuous energy and aggression in its riveting stalking, again though this only adding to its show stealing majesty.

The album concludes with Run for Your Life, an electro rock nurtured, groove swinging slice of infection which in no time has hips swaying as feet and spirit dance. At times there is whiff of Ministry before Al Jourgensen turned his synth pop industrial metal to the song which potently colours up the Powerman 5000 creative theatre working away on the imagination. As it departs with a clunky abruptness you wonder if the song was a late addition or originally meant as a hidden treat, or indeed maybe a clue from the band of things to come, but it is a welcome and thoroughly enjoyable addition which lingers as much as any other gem within New Wave, an album which declares Powerman 5000 as essential as they have ever been.

New Wave is out now via Pavement Music across most online stores.

http://www.powerman5000.com https://www.facebook.com/officialpowerman5000/

Pete RingMaster 08/11/2017

Spreading The Disease – Insurrection

Nov2

Getting our claws into their outstanding debut EP at the beginning of last year, we suggested that UK metallers Spreading The Disease had “much bigger and bolder trespasses waiting to be nurtured and uncaged as the band evolves.” The release of their first album Insurrection has more than confirmed that thought and realised those hopes in uncompromising and rousing style. The album is a furnace of creative irritability and ravenous imagination, a rabid cauldron of metal bred flavours and angers which confirms Spreading The Disease as one of the most exciting propositions emerging on the British metal scene.

The creation of bassist Steve Saunders, formerly of another fine proposition in The Self Titled, Kent hailing Spreading The Disease emerged in 2014 and quickly lured keen attention through the single Bulldozer and their explosive live presence. Last year the Viral EP stamped the band as a new beast on the UK metal scene, its plaudits garnering release backed by a year scorching venues and ears to equal acclaim. Insurrection is the next step in the band’s evolution and rise; an encounter roaring with the new maturity and invention fuelling the band’s songwriting and sound and snarling with even greater ferocity and quarrel.

The band’s lined up has gone through major changes since Viral, Saunders and guitarist Martin Osbourne being joined by vocalist Connor Russell Snyder and drummer Jack Apella. Whether the spark or just coincidence, the new line-up has coincided with that new evolution and creative breath in an already striking sound. When starting up Spreading The Disease, Saunders wanted to “produce a sound and music that although draws from many bands and influences throws it all into a melting pot and comes out the other side with something that in this day and age is hard to achieve, a sound of their own; a distinctive style that cannot be pigeon holed to say the least.” Insurrection announces the band has achieved that aim; yes there are plenty of recognisable flavours but woven into something compellingly individual to the quartet.

The album opens up with Find My Path and a lure of melodic metal with a darker bass resonance which increasingly looms in on the senses before igniting in a blaze of emotive ire and sonic intensity. Even so it holds its tempest in check, teasing and coaxing attention whilst intriguing the imagination with its unpredictable bait. As it slips into the ethers, the following Words Unspoken is boiling up to launch its sonic lava on the senses. Within seconds a great groove has body and spirit inflamed; its open Pantera inspirations extra pleasure as it burns away. There is a disorder to the song, a tempestuousness which threatens as it pleasures with the band’s vocal backing to the magnetic growls of Snyder excellent, an anthemic call in the heat of the song’s furnace.

There is a ‘calmer’ air to the following Dischord, well a less corrosive tone though it too is a bear of a proposal which is as caustic as it is imaginative. Osbourne paints the trespass with magnetic enterprise, his melodic tendrils and searing grooves as potent as the cantankerous riffs which escape his strings whilst the bass of Saunders springs its own invasive grooving to thrill. Though living up to its title in tone and presence, the track is a web of raw adventure though soon outshone in that department and might by the song Spreading The Disease. Already the album is the source of great variety in sound and style, pushed further by the fourth track and its fusion of nu and groove metal with far darker metal bred textures courting hardcore nurtured antagonism. The song is outstanding, a brawl in the waiting and raw seduction in the making.

Through the Stone Sour/ Sick Of It All spiced Greed, a striking and virulent invasion of punk infused groove metal which just gets more addictive listen by listen, and the similarly textured but far more savage Save Me, the album hits another plateau. Song by song to this point it has just grown in stature and impressiveness, a peak which Whores Of War nurtures to another high with its melodic suggestion and feral antipathy. Its attitude born rancor and sonic annoyance swiftly grabs ears and appetite; the rhythmic vindictiveness of Saunders and Apella as rousing as it is carnivorous and superbly bound in the captivating enterprise of Osbourne. Snyder skilfully bawls from the midst, his power and emotion undoubtedly giving Spreading The Disease a new weapon in their arsenal.

Even darker depths are tapped into by Method To My Madness, Saunders leading the way with his malevolence spewing bass with the band soon uniting in open crankiness and imposing dexterity. The track does not quite match up to those around it yet it grips attention and enjoyment from start to finish with moments where its creative psychosis just hits the spot before Can’t Let Go offers its plaintive reflection, again Stone Sour hinted at within its increasingly volcanic cry. Female vocals add to its magnetism, again the band pushing their imagination and the landscape of the album.

The Rage Against The Machine natured Brexit Wounds snarls and hollers next, Spreading The Disease once again twisting open inspirations into an aural rage of their own design. Plenty of other spices blossom as the song grows and spills its aggravated heart, whiffs of Red Hot Chili Peppers and Slayer arising in the excellent attack before the album closes up with Last Goodbye. It too embraces a Zack de la Rocha and co flavouring, melding it to a hardcore/groove metal furor as skilfully sculpted as it is ferociously delivered.

It is a storming end to an album which sears the senses and ignites the spirit. Insurrection is a brutal imagination bound treat from a band which we will not say has come of age as you still feel there is much more for they and pleasure to plunder ahead but has certainly established a new plateau for their sound and their position within the UK metal scene.

Insurrection is out now across most online stores.

https://www.facebook.com/spreadingthedisease.official https://twitter.com/STDBANDUK

Pete RingMaster 01/11/2017

American Wrecking Company – Everything and Nothing

Sep28

Released less than a thick handful of weeks back, Everything and Nothing is one of year’s most voracious metal releases and in turn one of its most appetising. The new creative enmity from US outfit American Wrecking Company, the album is a ferocious tempest of sound bred across a broad spectrum of metal and expelled in a caustic roar individual to its creators. Everything from groove and death to nu and punk metal, with plenty more besides, is sucked up into the maelstrom and woven into one antagonistic furnace so easy to devour.

Since emerging in 2006, the Tacoma, Washington outfit has grown into a potent force and live presence across the West side of the US, sharing stages with bands such as Hatebreed, Fear Factory, Motorgrater, Act of Defiance, and Mushroomhead to great acclaim. Now they are ready to stir up broader attention with Everything and Nothing and it is hard to see the Pavement Entertainment supported release failing.

It launches at the listener with its title track, opening with an atmospheric coaxing as portentous as it is deceptive. The relative calm is stalked by apocalyptic threat, a danger from within which niggly riffs spring. Instantly, they carry an infectious lure; bait swiftly emulated in the sonic vines which wrap them before the track surges cantankerously across the senses. Vocalist TJ Cornelius stands across it all, his ire fuelled growls defiant as the guitars of Randy Bebich and Ben Reynard spin a trespass of sonic spite and nagging riffs around them, the latter persistence also matched by the groaning lines of Jeff Bloomfield’s bass. Still that catchy temptation infests song and ears in the ferociousness, teasing and tempting as the swings of drummer Dylan Hickey bite.

It is a great start more than matched by the groove netted From Grace, a slab of extreme virulent metal which gnaws on the senses and stirs the imagination. Like a mix of Cryptopsy and American Head Charge, the song grumbles and rumbles, every second a crotchety insurgent commanding attention as it savages the body to contagious effect though it is soon eclipsed in presence and harrying by the following I Won’t Listen. The guitars alone ensure irresistibility is bred for their grooves and sonic doggedness, their raw persuasion more than matched by the barbarous yet similarly enterprising rhythms as Cornelius raucously hollers to equal success. There is no escaping a bit of Slipknot and Fear Factory spicing within the charge but mere flavours in its infernal and seriously compelling assault.

Health for Wealth churns up the senses next with its own web of waspish grooves, surly dynamics, and choleric attitude; American Wrecking Company lacing it with a belligerence caked but open melodic dexterity which just lights up appetite and imagination while its successor, The Burning lives up to its name in touch and atmosphere. It feels like a sonic witch hunt, every note and syllable a combative infestation of psyche preying on ears and the world but entwined with a flirtation of grooves and enterprise which keeps the track on a constant evolution within its fractious pyre.

As Purge swings and taunts with its thick groove metal predation and Enemy soils the senses with its crabby enticements and instincts, band continues to stretch the album’s landscape of sound. Each song is maybe a nudge into new adventures rather than a big leap but one by one they openly reveal the expanse of the American Wrecking Company sound within the constant emotional and physical storm. Beautiful Lie is no different though it does not quite have the inventive attributes of other songs around it. Nevertheless its carnal breath and sonic tenacity leaves a want for little before Mad by Design arguably courts the widest collusion of styles and imagination within the album for its mercurial and persistently captivating feud.

The release is finished off by Day of Shame, a song which springs from a great melodic coaxing with middle-eastern promise into a rip tide of rapacious grooves splintered by scything beats. The throaty tension of the bass is icing on the toxic cake and a final track to confirm American Wrecking Company as one potent and exciting force.

Everything and Nothing is a beast of a proposition which ticks all the boxes and more yet you still feel there is so much more to come from the band such the potential equally loud within the creative ferocity. Happy days!

Everything and Nothing is out now on iTunes and other stores through Pavement Entertainment.

http://www.americanwreckingcompany.com/ https://www.facebook.com/americanwreckingcompany

Pete RingMaster 27/09/2017

Kinasis – Pariah

Sep27

Though formed in 2010, UK metallers Kinasis maybe a proposition, like for us, which has escaped your close attention up till now. That is surely going to change with the release of their new EP, a ferociously striking and aggressive incitement loaded with hungry unpredictability and a technical prowess which simply inflames the fascination and pleasure. The four track insurgency is Pariah, a proposition which embraces an array of metal bred flavours in a cauldron of ravenous imagination and rabid dexterity.

Since emerging seven years ago and drawing strongly favourable responses with a debut demo the same year, Kinasis has grown into the British metal scene with increasing individuality and potency. Recent years their reputation earning live presence has seen the Bridgwater quintet shares stages with the likes of Sepultura, Malefice, Flayed Disciple, Sworn Amongst, Abadden, and Tacoma Narrows Bridge Disaster among many as well as venture into Italy alongside S.H.I.N.E. The release of Pariah feels like and should be the moment when Kinasis step from the shadows and stamps their creative authority and individual sound upon the extreme metal landscape.

Produced by Justin Hill (ex-Sikth) and wrapped in the artwork of Andy Pilkington of Very Metal Art, Pariah instantly goes for the jugular with opener Red Earth. Riffs surge through ears with a rapacious nagging whilst rhythms purge their animosity straight onto the senses. With every passing second the intensity rises but with a virulence and infectiousness which has the body bouncing to the ferociousness. A Korn-esque essence emerges as clean vocals invite nu-metal nuances, an industrial dexterity reminding of Static-X joining in as the track fluidly twists and turns through its inventive drama further embracing melodic and atmospheric suggestiveness. It is sheer magnetism, the track a mighty persuasion and alone the declaration of the coming of age of a new force to take notice of.

The following Black Dog creeps up and prowls the listener with predacious riffs and stabbing beats, then once sizing things up vocally and musically plundering the imagination with vocal tenacity embracing both raw and clean throated enterprise as death and technical metal tendencies dance which each other in barbarous intent. As nu and groove metal elements get involved, things only become more precise rather than muddled, Kinasis showing their adeptness at weaving diverse and seriously enticing trespasses. For personal tastes the track never quite lives up to its three companions but certainly leaves no element of dissatisfaction in its wake.

Kindred similarly stalks ears if with a less obvious enmity as melodic strands entwine its initial proposal. Even stronger Korn like essences emerge to pleasing effect across the song and around a death/grindcore merging which has hints of Cryptopsy in its own infectious savagery. Clean vocals interchange with barbarous expulsions to further enhance the adventure, the band musically as bold and expert in switching through a kaleidoscope of styles and flavours without disturbing the song’s carnal nature and heart.

The release concludes with Incipient, an instant maelstrom of voice and sound colliding nu-and industrial metal psychosis with the harsher antagonism of variety woven extreme metal before luring in just as appetising melodic and groove metal imagination. It is seriously arousing stuff, the type of sonic manna addiction is spawned from right here. As throughout Pariah, every twist brings a fresh incitement to chew over but mere seconds to consume before the next steals attention and increasing ardour.

It is the final throe of a quite simply stunning encounter from a band which will surely now get the attention their craft and imagination deserves. There have been a few bands coming to the fore as the British metal scene heads into new horizons and Kinasis have just made it known their intent to be there on the frontline.

Pariah is released September 29^th and will be digitally available at most online stores with physical copies sold through http://kinasis.bigcartel.com/ and at shows.