After checking out and enjoying their recent singles, it was hard not to feel real intrigue for the debut album from British metallers Torous. Those previous songs were a potent introduction for us to the band’s fusion of Celtic/progressive rock with additional and varied alternative bred metal and a potential which alone warrants close and continued attention. Mindfield only confirms and cements their promise while equally pushing and expanding the imagination and adventure found in those songs; showing just why the Birmingham trio is beginning to create a stir.
Since emerging in 2014, Torous has toured the UK numerous times with increasing success and shared stages with the likes of Rival State, Evil Scarecrow, and Diamond Head as well as played major festivals like Hammerfest alongside bands such as with Napalm Death, Alestorm, and Grand Magus. Their first EP, Dried Bones, lured critical and fan praise subsequently matched by that around the Holier Than Thou released singles Colours and I Am. Out via the same label, Mindfield is sure to take things to another level in acclaim and attention as it does the inventive qualities heard in those previous tracks.
The piped seduction of Sideline brings the album to ears, its brief instrumental caress courted by darker shadows before Frontline erupts from its alluring charms. Instantly riffs and rhythms crowd the senses but with a certain restraint as the distinct vocals of guitarist Marc Malone join the potent mix. With the bass of GMT a steely enticement alongside the senses clipping beats of Tom Fenn, the track prowls as it courts ears and imagination with open enterprise and a rich blend of classic and modern metal hued rock ‘n’ roll with the extra colour of some fine folk inspired melodic endeavour.
Those previously mentioned singles come next, I Am first gripping ears with its slightly predatory and increasingly addictive bait of metal infused drama and rebel-rousing spirit. Stabbing riffs are matched in trespass by the spiky rumble of beats, the bass offering even darker bait as Malone’s vocals holler with melodic suggestion and grace waiting for the moment to strike and turn things on their head. It is a song just as potent and thrilling as first time heard a crowd of listens ago, Colours similarly blossoming again with time as its shamanic air and Celtic lilt swiftly captivates the imagination. The track entices like something akin to the blending of Manegarm and Southern Death Cult, a suggestion may be even more apt for subsequent tracks like Close My Eye, though before it the engaging croon and growing roar of Playing Human has an already happy appetite for the album blissful with its energetically crawling gait and boisterous invention bolstered further by great Skids spiced hooks.
Becoming increasingly feisty, the excellent track is matched in success by Close My Eye, the song a perpetually twisting and compelling escapade, and in turn by the progressive growl of Seven which instrumentally has the imagination flirting with its own evolving landscape to match the mercurial but still relatively stable climate of the suggestively crafted piece.
Shipped Away canters in like a warrior on horseback, rhythms swinging and vocals inciting as the bass nags with its shadowy devilry. Offering arguably the most infectious chorus upon the album, even in its brief state though it emerges through a host of equally catchy stages, the song is a venture through unpredictable moments which do not always work as well as in other time but only fascinates with ears firmly hooked before Nine holds the next moment of keen attention with its folkish hues across imposing textures.
Across its fourteen tracks there is may be surprisingly no weak moments though of course some tracks spark greater reactions than others. As the trio of Shadow Self with its tribal lining to capriciously emotional and physical terrain, the more openly predacious Crow Road, and the melodic web of Feed the Fire show, there might be a varying degree of pleasure found in songs but all ensure varying shades of rich satisfaction flirts with the borders of rapture.
On top of that Mindfield just gets better with every listen, almost intoxicating ears and thoughts as new things are unveiled and propositions like its title track, a beguiling almost demonically alluring persuasion, share adventures which never end with the same character they start with or keep to a path expectations can get a handle on.
Closing track God Game Suicide sums up all the attributes of the Torous sound and album; its Celtic rock adventure aligned to rapacious melodic metal a creative and rousing emprise to find kinship with. Certainly Mindfield is not without imperfections and at times a familiarity to others yet those traits somehow carry their own individuality as the album consistently catches the imagination full on and sees pleasure bubbling with perpetual rigour.
Mindfield is out through Holier Than Thou now; digitally on iTunes and other stores and physically @ http://torous.bigcartel.com/product/mindfield-cd
http://www.torous.co.uk/ https://www.facebook.com/Torousishere https://twitter.com/Toroustheband
Pete RingMaster 25/05/2017
Copyright RingMaster: MyFreeCopyright
The EP opens with the outstanding Cross Your Heart, a slice of virulent temptation working away at ears and imagination from its first breath. Swiftly, there is a familiarity to the band’s sound yet as suggested earlier, it is woven into a boldness of invention belonging to The Devil In Faust. Like a blend of Flesh For Lulu and Clan of Xymox with a touch of Southern Death Cult and 1919, the track strolls in with a seductive shimmer around rhythmic incitement. Pritchard’s potent voice is soon in the midst of the compelling bait, directing the virulence with his distinctive tones as his guitar spins a web of chords and hooks. Quickly infectious and increasingly virulent, the track has attention in its creative palms in no time, physical participation enticed soon after.
It’s impressive and gripping presence is matched in might by the album’s title track next. From its initial grouchy growl in metallic riffs and bass lures, the song has ears and thoughts thickly involved with an intimidating creative theatre and emotive exploration. It gently nags and openly immerses the senses in a slightly corrosive but engaging proposal, everything about it a skilful and imaginative merger of contrasts. Rhythms are irritable yet rousing, melodies poetic against almost ravenous sonic atmospherics, and Chvasta’s beguiling voice the descriptive haven within a tempestuous climate and raw wind.
feet to life and has ears rigorously attentive. It is a thrilling encounter with brightly shimmering melodies within a smouldering climate of emotive and dramatic heat, reminding in some ways of fellow city kinsmen Bernaccia. Keeping the impressive start of the album going, the song moves over for the less immediate hugs of ballads For The Daughter and Border Song. Though both take time to seize thoughts compared to their outstanding predecessors, each explore enthralling landscapes of sound and intrigue to place a steady hand on a growing appetite for the release. The first is a warm yet haunting, almost funereal croon with strings an emotionally inspiring hue alongside the dourly expressive vocals whilst the second slips into an even more sobering atmosphere of melancholy and sonic radiance for a less successful but still enjoyable proposition.
dark bass and guitar beckoning. It is a gentle coaxing which erupts into a charged gait veined with a combination attack of guitar and bass with a prize-fighter hook which seals an immediate submission from imagination and emotions. There is also a punk breath to its lure whilst the entrancing vocals of Landrum add a gothic rock lilt alongside the dark group harmonies. Alongside a dark heavy metal stirring it all makes for something unexpected and enthralling, like a union of Sisters Of Mercy, Danzig, Joy Division, and Venom which excites and awakens a strong appetite.
