With a sound delivering a punch as rich and inescapable as that of the heart and lyrical confrontation it surrounds, the self-titled debut album from US post hardcore outfit Hostile Array s one striking and impressive introduction. That forceful, indeed imposing attack though comes in layers of enterprise and imagination which equally enticed and ignited an always searching appetite for fresh, exciting, and individual.
Emerging in the initial weeks of 2017, Maryland hailing Hostile Array have already hinted at the potential of the album and gave a rich taster of their sound through a couple of singles. Their music is tagged as post hardcore but has real depth and adventure to its character embracing an array of metal and punk spices alongside inspirations cited as including Underoath, Norma Jean, Silent Planet, and Architects. Consisting of Brendan Frey, Garrison Frey, Hector Fernandez, Fredy Menjivar, and Andrew Markle, the band also has a ferocious lyrical intent and touch, songs getting their claws into political and social issues, corruptions, and ill-doings.
The album opens up with the outstanding Herd Instinct, the track one of those first couple of singles luring keen attention. Sonic intrusion and rhythmic baiting opens its tempting, a great grumbling bass soon in tandem with fury fuelled throat rasping vocals. Quickly though there is imaginative hints licking at ears, blossoming with melodic enticement and wicked hooks as the roar continues to harass air and social mentality. It is a cauldron which continues to evolve, metal bred textures coursing hardcore irritability; invention escalated by the potent landscape of clean and raw vocal dexterity.
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.
Next up Devoid brawls and hollers within atmospheric smog next, it’s calm but portentous climate an emotive glaze to an inner volatile frustration while Migrant Myth is a net of metallic wiring around a blaze of unbridled displeasure. Both tracks invigorate their already resourceful landscapes with tenaciously adventurous twists and turns spun from unpredictable and contrasting textures. The second of the two is immense, too short but a thrilling trespass of persuasive enterprise igniting the passions for the following sonic and melodic fire of Newspeak; a track quickly burying itself in ears with emotional intensity and melodies as descriptive as the words they colour.
New single Warmonger is next, looming up from a distance with the animosity and skilled dexterity its title suggests. The throaty grumble of the bass and the composed bone splitting swings of beats incite the sonic flames and vocal voracity which climbs their irritability; they in turn like accelerant sparking melodic shimmers into senses broiling, emotionally burning flames.
Viciousness and tempting contagion shape up Calloused, it as body inspiring infectious as it is vocally and lyrically scathing with a tapestry of flavours and invention to accentuate both aspects. The song flows straight into the waiting jaws and feuding tendrils of Bluebird, it an equally accomplished and magnetic patchwork of ire led emotions and flavours woven into one fluid and riveting trespass.
Final track Disillusioned is a pyre of punk and metal malcontent and emotional grievance within a skilled bedlam of imagination and ferocity. It is a powerful striking last attack in a charge of nothing but; a truly memorable departure demanding a swift return to the album to face, endure, and thrill at its creative challenge and vendetta on world ills. There have not been too many post hardcore bred releases which have truly fired us up in the past couple of years but Hostile Array have not only provided such a treat but one which deserves to be considered as the best of the lot.
The Hostile Array album is released June 1st, available @ https://hostilearray.bandcamp.com/album/hostile-array
https://www.facebook.com/HostileArray/ https://twitter.com/HostileArray/
Pete RingMaster 29/05/2018
Copyright RingMaster: MyFreeCopyright
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.
The EP opens with Skeleton Boy which quickly shows the vocal and melodic prowess of vocalist/guitarist Alex Cortright. As the darker hues of Brandon Washington’s bass unites with the swinging beats of drummer Arun Bose, a great blend of brooding and lighter sonic hooks ensnare ears as Cortright’s roars continue to flame and impress. There are elements which really grab attention but equally from sound and the raw side of the vocals things are a touch too formula; failing to ignite personal tastes beyond being contented and firmly intrigued.
The potent beginning continues with the predatory prowl of The Downfall Pt. I: To Feel Alive. Initially it smoulders within imposing walls with mellow melodies and vocal coaxing but is soon building a volatile atmosphere and intimidating lining of textures, though still dipping into its elegant reflective heart throughout. Once more Manson is an obvious comparison to a song which at times has you drooling and in other moments simply fascinated by its adventurous nature and spicing.
The Path That Sadness Paved opens with new single/video Sleeping Pills, immediately covering ears in a wave of melodic enticement and sonic coaxing punctuated by firm handed rhythms. The rich tones of vocalist Alex Taylor make an equally potent impact on first impression, flourishing in the embrace of the song’s resourceful drama and imaginative enterprise whilst the track seems to only blossom further with his melodically honed impassioned roars. It is a fiercely magnetic start to the release, as suggested not a song breaking down boundaries but, as the EP, powerfully leaving ears and appetite hungry for more; a success in anyone’s book.
The lighter and warm infectiousness of The Road swiftly shows there is more to the songwriting and imagination of the band than vociferous intensity. An electro bubbling lies in the belly of the proposal, whilst the melodies cast spring emotion and warmth in song and ears. The harsh assaults of vocals are not as successful for personal tastes against the excellent clean delivery of Boyle and the flow of the encounter, but do not prevent ears and satisfaction being captivated before making way for the bands new single, Others. The song is a lively, emotive stroll of pop rock with dramatic shadows and a fiery enterprise leaving only satisfaction in its wake.