The eagerness of people to push forward UK metallers Crostpaths for attention has raised a certain intrigue and now with the release of their self-titled debut EP, it is easy to understand. It is a highly promising and more importantly thickly enjoyable introduction to the Kent Hailing outfit and easy to expect the fuel to further and greater interest in their potent sound.
Formed a year ago, Crostpaths take the inspirations of bands such as Linkin Park, Skindred, and Papa Roach to their nu-metalcore tagged sound and it is the latter of the trio which most comes to mind across the EP’s three tracks. Even so there is plenty to their music which is refreshingly unique as it is familiar and as it evolves its true identity over time and maturity you can only see the former being the overbearing hue.
The EP opens with Pariah, teasing and taunting with the song’s initially set back bait before standing toe to toe with ears and thrusting rapacious riffs and tenacious rhythms through them. The crossover character of the band’s sound shapes the track’s first engagement, groove and alternative metal building its second manoeuvre as the lead vocals of Ritchie Murray Jack ably backed by those of bassist Owain Lewis prowl and pounce. Pitchshifter styled electronics equally add to the tempest of textures and temptation, the predacious breath of the song armoured by the eclectic web of sound which emerges in individual design across the EP.
If the first track had a bit of a Spineshank meets Papa Roach roar the following Meridian (Aftermath) finds an Emmure/The Kennedy Soundtrack like scent to its equally adventurous roar. There is a calmer melodic air to the song than its predecessor in some ways, Crostpaths exploring their more progressive post metal side but still there are moments when the song snarls and the band’s sound bites.
Bulldozer is the EP’s final offering, a cankerous slab of aggressively antagonistic metal with a combined Rage Against The Machine/Nonpoint resembling ferocity. Brief, taking no prisoners, it is a stirring end to an impressive first uprising with Crostpaths and we hope the first of many more rousing encounters.
The Crostpaths EP is out November 29th.
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Pete RingMaster 28/11/2019
Copyright RingMasterReview: MyFreeCopyright
The EP’s title track follows, seducing with its volatile first breath before chaining attention with appetite feeding hooks and loaded rock ‘n’ roll. The rhythmic trespass of bassist Simon Oliver Økland and drummer Sigurd Haakaas is as infectious as it is punishingly incisive with the guitar of Yngve Andersen equally as animated and mercurial within the caress of keys. A fiery slice of temptation it craftily backs up the potency of its predecessor and the dextrous antics of next up No Thank You, I’m More In To Fake Grindcore. It too aligns instinctive rock boisterousness with its punk instincts, imagination lining every rabid twist and provocative turn.
It is an outstanding start quickly matched by recent single Matching Poles of Magnets. With steelier textures to its electro metal predation, bands like Axis Mundi and Silent Descent coming to mind, the track twists and turns with instinctive and rapacious adventure before Half Empty brings a warm calm to the senses. Immediately vocals echo this mellow breath with their melodic unity but equally a rising discontent in the heart of the song brews as things become more intense and irritable. It never reaches an aggressive state though, revolving through melancholic elegance and emotive exposure as a weave of rich enterprise wraps vocal reflection.
The flames of trombonist Ieuan Williams and saxophonist Jon Pryce open up the following Get Off/Get On, lighting the way to another persuasive saunter ridden by the increasingly captivating vocals of Conner. There is a touch of [Spunge] meets King Prawn to the track, a tasty flavouring quickly ignited by the band’s own raucously individual enterprise.
Produced by James LeRock Loughrey (Skindred, White Zombie, My Vitriol, Bjork, Def Leppard), Valley of Thorns kicks off with its lead single, Mind Games teasing the senses with its sonic mist before boldly strolling through ears with a Deftones meets Spinnerette like captivation. There is a haunting air and emotive depth to the song yet it has a virulent swing to its gait and rhythmic persuasion which has the body swaying and appetite greedy in no time. A track epitomising the seductive persuasion and nagging irritability in The Kut’s sound, it is pure mesmerism which has become stronger and more striking across multiple plays.
The following Realizationship is similarly woven if even more irritable and too a web of seduction and sonic violence which never stops twisting and turning within its storm. The song lacks the final striking essences of its predecessor yet with teasing grooves and fury loaded flames of melody it masterfully hits the spot and an imagination already submissive to the inventively evolving landscapes the band shares within songs.
It opens up with the swiftly captivating Wanderlust, riffs and melodic enticement soon colluding in their persuasion of the listener. Probing rhythms court the sultry grooves emerging within the heated and quickly infectious proposal; strong and similarly alluring vocals completing the tempting scene. There is a swing to the song’s gait and magnetic enterprise in its melodic and sonic interplay while the chorus is one where it would simply be rude not to join in with.