As the year continues to unfold, it is easy to see 2019 being a marker moment for emerging UK metallers, Kilonova. Formed last year, the band has already supported Finnish outfit Lost Society in the opening moments of this one and now to continue a potent few months are set to unleash their debut EP, Omnicide.
Newcastle Upon Tyne hailing, Kilonova breed their sound in thrash metal but as their new EP reveals, there is plenty more to its voracious proposition including a definite punk snarl. Indeed there are certain moments within Omnicide where we had the thought that if Siouxsie and The Banshees had turned to thrash, it would have not been a million miles away from the threat and rousing incitement heard within the EP.
Descent opens up the release, its portentous breath looming in with increasing menace as riffs gather and emerge from within its brief but potent threat. Eventually they trigger the rise of Straight to Hell, the second track stalking ears before launching a primal yet resourceful attack led by the predacious riffs of guitarist Jonny Sloan and the equally voracious tones of vocalist Ellen Hill. The barbarously swinging rhythms of drummer Steve Rouse and the heavily prowling bassline of Joe Bambrick simply add to the compelling trespass, the track becoming more predatory and rousing by each anthemic thrash fuelled second.
The EP’s first single, it makes for a great full start to Omnicide, one hungrily matched by Hang the Hangman. A mere breath separates ears and its ravening insurgency; guitars and rhythms again a furious accosting of the senses as Hill uncages her eventful caustic attack. Feral and virulent, the track rabidly hit the spot as band and release continued to arouse attention and appetite though it is swiftly outdone by the outstanding Own Enemy. Threat and drama clouds its presence from the first creative gasp, its predacious prowl soon inspiring those earlier mentioned punk suggestions, the song only escalating its fearsome intent and aggression by the inventive circle of enterprise. Easily our favourite moment within the EP, the song also provides an exciting glimpse of uniqueness the band could and should continue to explore.
The equally compelling Blood in the Water similarly breeds stirring freshness in imagination and endeavour to elevate its thrash instincts, the treat of unpredictability and imagination challenging and chasing the senses with the punk/gothic rock hues which had already captivated in its predecessor; both tracks together forging the striking pinnacle of the release before Ivory Tower brings Omnicide to a fine conclusion. The final track is unbridled fury from its first roar but another embracing the growing invention within the release even if its thrash heart still drives its enterprise.
Fiercely enjoyable on the first listen and only more striking and thrilling thereon in, Omnicide is a major declaration of presence and intent by Kilonova; a band which as they ignite the uniqueness teasing within their first EP have what it takes to be a potent protagonist in UK metal.
Omnicide is released July 12th across most stores.
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Pete RingMaster 11/07/2019
Copyright RingMaster: MyFreeCopyright
The EP opens up with Meet My Standards and instantly hits its stride and groove as riffs and rhythms cast a familiar thrash incitement upon the senses. Its voracious swing just as urgently got under the skin, setting up body and appetite for the subsequent trespass of familiar yet as suggested freshly animated thrash enterprise. As arousing as its assault is there is also a predatory essence which particularly stalks the listener in certain moments before One Mouth Two Faces brings its own rapacious canter and character to the fore. Forbes’ bass particularly grabbed the appetite but no more than the insurgent riffs and intrepid wires of the guitars and Kamal’s potent tones, it all resulting in a track which easily splattered the spot.
The outstanding start is easily backed by Amend, its initial surge hardcore shaped but again soon the kaleidoscopic prowess of the project’s sound unravels as too the senses before its inspiring trespass. Wires of guitar swarm around rhythmic predation and already subservient ears; the track only increasing its slavery as its body writhes with fresh and unique spirals of textures and sound, a sonic vortex just as vibrant and viral within the barbarous assault of Occlusion. Straightaway it violently ravages, never diluting its marauding as it breaks through new nagging enterprise and imagination harassing ideation; Correia equally as uncompromising and compelling within the vicious tempest.
The EP opens up with Mercenary and from the off has ears involved as wiry strands of enticing guitars cloak disorder carrying samples. Swiftly the suggestive threat and intrigue of those initial lures are taken up by rolling beats, drummer Jaime Ayala further fuelling the song’s immediate drama before the great trespassing vocals of Leo Ortiz launch their threat and accusation in the midst of his and fellow guitarist Rob Hahn’s riffs and incursive grooves. It is a great, rousing start to the release only enhanced by the throbbing grumbling mumble of Slayerella’s brooding bass.
Blood-Red Revolt brought even stronger enticement and incitement to body and pleasure, the track a definite favourite, writhing as it fingers the imagination with its boisterously manipulative and widely flavoursome antics before, following the brief chillingly haunting and increasingly threatening lead of …and Winter Comes, the predacious Inner Plague prowls and teasing the senses with its own venomous but darkly seductive threat. As ever the tenebrific yet tempting growl of Maks’ bass fuels the alluring menacing; constantly keeping the listener on their toes alongside the drums even as melodic flames and enterprise blazes away.
That predatory air retains its presence within The Demagogue, the following song also a court of threat and contagion which almost swaggers around ears as the guitars spin their sonic threads and rhythms pounce. Like a fusion of bands like Testament and Slayer, it hits the spot; increasing its temptation as calmer climes are ventured and melodic intimation embraced. It’s subsequent rising heat and intensity brings it back to its original sonic inference before Saviour explores an even darker trespass of menace and seduction. As we suggested, Infrared is not set on reinventing the wheel of thrash metal or even their core sound but there is a bold lining of adventure and imagination which makes their music and especially this track stand out.