Enoch – Killing Starts Where Hate Begins

Originally released digitally back in 2018, Killing Starts Where Hate Begins from Enoch gets a deserved reboot this month through Soundmass, It’s return brings an additional new track and a gem of a live cut with it and if you missed it the first time around, we can declare the six track treat the perfect way to discover the potential soaked, ear grabbing sound and presence of the New Zealand band.

Formed in 2016, the Auckland hailing outfit fuse essences of groove, nu and alternative metal with their darker, predacious flavours for a keenly individual sound. It is a proposition which trespasses the senses whilst igniting the imagination. Part barbarous and part seductive with every attack between involved, as their EP proves, it is a proposal which crosses the familiar and unique to present something hard to ignore.

EP opener, Pieces, immediately demanded attention, the rapier like swings of drummer Ross Curtain landing with contempt as the song forcibly stirs with the bass of John Brodie beginning its grievous grumble. That alone has us more than attentive and with increasing focus as the guitar of Micheal Germon began unwinding its sonic wiring. Out the senses challenging start, rousing grooves wind around ears before, within a breath or two, the melodic tones of Lorraine Brodie complete the creative palette as the track’s imagination really takes off. It continues to prowl, severely growl, and harass but equally weaves a deviously infectious tempting which is echoed in the dual styled vocals of Lorraine.

It is an excellent start to the release which Reasons Why continues as it uncages its own twin personality of senses demeaning threat and eagerly fertile enterprise. Through her continually twisting and magnetic delivery Lorraine left her potent mark yet again, a highly pleasing incitement matched by the ever writhing grooves and the intense growling of the bass. Fair to say the track swiftly got under the skin before Stranger powerfully strides in springing more of the band’s ear devouring grooves. Bass and drums again unite in a quickly addictive provocation, the former’s low guttural snarl especially inflaming instinctive pleasure before guitar and voice weaved their melodic captivation around it. Germon’s basal growl easily fits with and contrasts the ever fertile delivery of Lorraine, his guitar casting acerbic lines just as rousing as the track reveals a new depth and adventure in sound and writing.

Loner provides more of the same in its own original way, contorting the air with its grooves as Lorraine provides vocal gymnastics with her throat backed by Germon’s voracious roar, every word and syllable either caressed or abused by her agility alone as guitar and bass again emulate the oral gyration with their own particular dexterity. With beats whipping the senses throughout, it too left a thickly pleasing mark while Bow and Be Devoured from its melancholic melodic start builds a steeled woven latticework of craft and imagination, one which preys on insecurities as much as it hugs them.

With Reason Why revisited for a live moment with the band, an example why their stage performance has earned them a potent reputation, Killing Starts Where Hate Begins simply left us hungry for more and eager to share the word.

Certainly there is still more to find in originality and imagination within their sound but Enoch already are a fresh breath for the metal scene and surely destined to be embraced far further afield than their homeland.

Killing Starts Where Hate Begins is out now via Soundmass.

https://www.facebook.com/enoch.nz

Pete RingMaster 28/01/2020

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