Kitsune – ‘Compass’ – The Debut EP.
Kitsune – Kelowna, British Columbia, Canada.
Kelowna based Kitsune have been writing and recording music together since spring 2015, which has now finally culminated into the debut EP, Compass.
Showcasing a soaring and melodic Post-Hardcore sound that has enough of genre’s “classic” attributes but at the same time, something of a metallic influence on it’s structure and riffage, the band have something of a Progressive take overall.
Influences: ‘Secret & Whisper, Erra, Saosin, Dream Theater’
‘Therian’ has a short 0:21 second build up before it’s intro riff is plucked and sent skyward. A techy computerised flutter presides over this short period and sadly comes across as somewhat cliche, which would be a problem if it wasn’t for said intro.
Relatively typical in it’s pitch but with a simple complexity that works well, it shows off the more progressive side of the band. As much as that’s an oxymoron, it will make sense when you hear it.
I don’t want to throw this term around too liberally, but the release in general almost echoes a Math-Rock-ism or two. Make of that what you will.
The opening guitar work of ‘Siren’ is more jagged in nature, preparing for more Metal-esque rhythms in the earlier part of the verses before a more classic and then more modern Post-Hardcore sound takes over. The strength of the track and indeed the band (so far) is in these almost seamless changes in dynamic.
It’s ‘Engineers’ for me, even if that computerised flutter is at it again. The lead guitar’s soaring pitch and complexity is something paramount in the bands sound and in this particular number, it shines through more so.
There’s more pace, and more of that classic Post-Hardcore/Metal amalgamation in the background of it all acting as good foundation. Plus, the chorus is one, along with the last outburst of breakdown riffage at the end that really ties the track together.
‘Mononoke’ continues where ‘Engineers’ left off for it’s intro notes but then slows it all down a tad. It does kill the pace somewhat and isn’t quite as grabbing as it’s predecessors but is a redeemer it’s later sections, so no worries there. Every EP needs its slow number and track four pulls it off well enough.
Enter ‘Familiar Spirits’. With more of jagged riffage and more of the high-noted crescendo guitar notes, it’s nothing new by this point, but it is the sound of a comfortable release and a comfortable band. One of the more metallic on the release, the band’s skill is rounded off nicely, as for a band that are very still in their infant stages, they are very coherent.
Again, the techo-notes are somewhat annoying but what follows their brief flutter, between 2:31 and 2:54 is another cracking set of pitch plucking, with the band firing on all cylinders until the song’s end. Vocalist Kurtis Lloyd’s final vocal push is particularly notable here, as his range is, to put it bluntly, fucking impressive.
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