Something wicked this way comes and it goes by the name of Friendless, the debut EP from US rockers Unimagined. Offering five rousing slices of the band’s “theatrical metal”, the release swiftly and increasingly had ears and imagination in the palms of its creative hands as it introduced a proposition we found rather easy to devour.
Hailing from St. Louis, Unimagined emerged in 2017 and soon earned a potent reputation and support across their local scene. Their sound is an animated mix of post hardcore and alternative metal; something akin to a n animated fusion of Pierce The Veil, My Chemical Romance, and At the Drive-In. It is a carnival of flavour and imagination honed into one melodically rousing and tempestuously seductive proposition which across Friendless never leaves a moment void of bold adventure and creative drama.
Too Dead To Dance sets the EP off and alone convinced there was something special going in within ears, its declaration subsequently echoed across its companions. The outstanding opener instantly had its hooks under the skin as the rich clean vocals of guitarist Caleb Freihaut align with the rapier swings of drummer Kai. The guitars of Jake Morgan and Nathan Simpson add to the emerging theatre with the waiting throat scathing roars of fellow vocalist Jarett Clark poised to erupt upon the already alluring mix. With every passing second the track simply escalated its captivation, the grumbling swing of Patrick Reuben’s bass adding further threat within the melodic enterprise embracing Freihaut‘s expressive dexterity.
It proved enthralling stuff and was soon matched by the imagination fuelling next up Something Borrowed, Something Blue. Its entrance is maybe less dramatic than its predecessor’s but with boisterous energy to its stroll and the crystalline caress of keys the song had little difficulty enticing attention, undisturbed focus rewarded with a tempest of aural drama and fiery invention brought with craft and imagination. The contrast of the lead vocalists works a treat in the creative maelstrom, the tenacity of the sounds crowding their magnetism simply rousing and as with all tracks every second, note, and syllable brings compelling persuasion.
The EP’s title track follows, Friendless. strolling in with a certain swagger as its theatre of sound and intimation quickly casts its narrative. Raw vocal prowess provides a scathing trespass within the swiftly thick theatre of enticement, the song almost bullying with its melodic wiring and muscular manipulation. Eventually its pressure becomes a senses harrying assault but one tempered by the melodic elegance of keys.
The final pair of She Was Scared Of Storms and Lemons & Sodomy simply escalated the bountiful character and prowess of the EP. The first of the pair is a serenade with fire in its belly, a pyre of creative animation and endeavour which had the body bouncing and appetite lusting while the second from its inescapably seductive melodic teasing erupts in a kaleidoscope of inflamed passion and resourcefulness ; both fascinating stages for the fertile craft and imagination of Unimagined.
As Friendless reaches new borders it is easy to expect and assume Unimagined will be launched into keener spotlights. The EP is a thrilling beginning to a proposition with still so much more to discover within their depths and imagination; something else to be eagerly excited over.
Friendless is out now via Standby Records; available @ https://standbyrecords.merchnow.com
https://www.facebook.com/UNimaginedBand/ http://unimagined.standbyrecords.com
Pete RingMaster 21/06/2019
Copyright RingMaster: MyFreeCopyright
Doesn’t Feel Pain Like He Should is the first venomous treat from Loved, the track instantly lancing the senses with a sonic incision before the fierce rapier swings of drummer Shane Matthewson descend closely aligned to the ravenous grumble of Scott Hamilton’s bass. The caustic wires cast from Jesse’s guitar equally infest song and listener making a nagging cradle for the raw throated squall of his vocals all the time rhythms breeding greater virulence in their trespass. It is a glorious nagging of sound taking swipes and bites with every elevation of animosity and twist of enterprise resulting in a deliciously corrosive start to the release.
It is a seriously infectious and muscular start to the release firmly backed up by Heavy Arms. The band’s latest single it too teases and tempts with a hook which just gets under the skin, this time the band using it from the first second to nag and tempt. There is a more controlled gait to the song and a swing which had the body moving in unison, Jamie Lenman and co an easy comparison to its opening infection. There is also an underlying volatility which does not quite ignite but definitely adds a great feral quality around the pure catchiness of the song. A mix of pop, punk, and alternative rock, the track is thick contagion with the backing vocals of Coleman and Kingsmill as potent as Ptaszek’s lead and all three’s musical prowess.
The following Hysteria surges through ears with punk ‘n’ roll rancor, beats thumping with flirtatious violence as group shouts and urges accompany individual temptation. It is a seriously enjoyable and insatiable trespass emulated in its own way by successor Golden Rats but given a whole new web of twists and turns to become scorched by and addicted too. Both tracks reveal more of the bolder hunger and adventure in the band’s sound; exploration further stretched and exploited within the invasively mercurial Death Cab. As its punk heart bellows and ensnares like a malicious Shevils, the band’s rock ‘n’ roll instincts gains momentum, the great blend of vocals following the imaginative endeavour. Wiry grooves and the brooding growl of the bass only add to the unbridled magnetism brewed and devoured.
Bastardized follows with its own ferocious incursion, snarling and blistering the senses from its first breath before sharing a more nu-metal natured breath with a touch of bands like Spineshank to it. Snapping and jabbing at ears, the track springs toxic contagion and intense discontent within an atmospheric melody stranded weave; seducing whilst preying on the listener before Wiretap uncages its own ferocious animus with instinctive catchiness and melodic suggestion at its core. There is a whiff of Deftones meets Architects to its growing body but to be honest as all hints offered to tracks, the Hostile Array sound absorbs and turns all in its own individuality.
What inspired the band name?
Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?
The Sand In The Hourglass, The Life In My Lungs instantly makes for a compelling affair, the resonance of drummer James Hart’s first swings ringing around the enticement of guitar before driving the blossoming track with boisterous energy as vocals and sonic imagination brew their winning persuasions. Swiftly there is a freshness and spark to the song less noticeable in its predecessor, its character and imagination bold with a fire in its belly which erupts with lava-esque intensity. Short and voracious, the song grabs and firmly retains best track honours though the EP’s title track soon makes for an eager rival with its infectious nature. Though it misses the keen creative invention of the last track it makes up for it with its rich catchiness and eager energy aligned to that natural flair in sound the band seems to have.