Kaonashi – The Three Faces of Beauty: A Violent Misinterpretation of Morgan Montgomery (EP)
Release Date: 26th January 2024
Label: Equal Vision
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Genre: Metalcore, Hardcore, Mathcore.
FFO: Knocked Loose, Great American Ghost, Sikth, Sabella.
Review By: Jeff Finch
It’s been said before, and it’ll be said again: the world of metalcore is an odd one. Without going into the usual diatribe about stagnation and experimentation, suffice it to say it’s a genre with a lot going on, so when a band stands out for one reason or another, ears perk, intrigue goes up. But with a band like Kaonashi, the way in which they stand out is also the reason listeners may stay away with unrestrained intent, because, for those unaware, the vocals of Kaonashi are … out there. Think a more high-pitched and less controlled Bryan Garris (of Knocked Loose). Both of these vocalists are an acquired taste, but for those who feel a band can be made or broken by their vocalist, Kaonashi rides a fine line between excellence and overindulgence.
This EP contains 5 tracks of new material, following the rather captivating 2021 release Dear Lemon House(…), and let this be said now: if a listener didn’t, or doesn’t, like the vocals and wants to give them another chance, there are moments on this record that will make anyone glad to have given them a second chance, while the vast majority is an exercise in patience, just waiting for something to change because, quite frankly, the vocals on this are so off-putting at times that only 5 songs can feel like an eternity. Opener Humiliation Ritual takes a Chat Pile route with things, offering up social commentary via spoken-word vocal with intense riffs and pummeling percussion, but there’s only so many times that a listener can hear about ‘crossing the street’ before we implore the vocalist to simply get on with it. The lyrics are clear to the ears and socially aware and emotionally consuming, but the execution is grating.
Follow up We Got One demonstrates a bit of a different side of the Kaonashi sound, with some low register, borderline growls coming through, a welcome surprise and a punishing one. The vocals are always going to be an acquired taste with this group, but when this is put to record, it makes one wonder why they don’t do this more often, as it’s far more impactful and less aggravating. Musically the track is djenty, a small breakdown pairing nicely with a chant of ‘fight back, fight back’ as we segue into a mini-solo and some mildly thrashy beats. Unfortunately, the song is a tale of two sounds, as the normal vocals are borderline cringe-worthy at points and visceral at others, an odd difference within the same track, but with the way the song ends, an unhinged delivery complete with a slight giggle, what else can we expect but strangeness.
I Hate the Sound of Car Keys dives in immediately, sounding very unhinged with the cacophonous blend of dizzying percussion and rhythm behind the maniacal vocals seguing into stank-face riffs that’ll get your head moving. Lyrically the song touches on, to put it very mildly, family dysfunction and disappointment, powerful in their description but unable to be taken as seriously at points because of the unpleasant nature these high vocals reach. Genuine applause to the vocalist and the band for just doing what they love and giving this man free rein vocally, it really does set them apart, but it’s going to be a dealbreaker for a lot, which will certainly drive the point of this song awry, to the point that it might be better if we weren’t able to discern the lyrics. Again, though, when vocalist Peter Rono goes deep in his delivery and low in the register, the song completely shifts tone, the mood suddenly more menacing, especially when paired with the technical output of drummer Ryan Paolilli. A tale of two songs.
Sarah & The Scraped Knee sees another vehement musical performance that suffers because of the vocals; these are painful at points, which is an absolute shame, because everything in this vocalist’s repertoire that is below this high-pitched wail is stronger, this song delving into more spoken-word, almost rapping, which leads into a furious breakdown. If the band were to focus more on this sound, or at least incorporating it more, they’re golden. Lyrically, there are lines that deeply resonate, demonstrating the visceral nature of the songs and the undeniable talent of these guys, this one simply “there will always be a black and white barrier between you and me,” which, at this juncture, needn’t be explained further. The damn near schizophrenic ending is a powerful shift to save the song, vocals going lower again, a maelstrom of sonic chaos closing us out as we reach the final track, Exit Pt V.
Featuring lyrics about the vocalist’s guilt and shame, primarily done in the lower register shouts, interspersed with clean, almost pop-punk vocals, the song builds to an obvious crescendo that segues into literal spoken word over incredible bass work coupled with mildly subdued guitars and drums, before losing steam as the primary vocals take over, somewhat regaining its footing as the song closes with upbeat, clean vocals and some bouncy riffs and bass.
A lot to say about a 5 song EP, but with a release like this, that has moments of pure brilliance buried within it, the difficulty lies in explaining how the songs play out without explicitly stating it. Musically, the band is simply on point, the riffs are powerful, the bass is exquisite, the drumming is both technically sound and potently punchy, but where listeners will have their mettle tested is when the vocals kick in; at some points acerbic and unrestrained, at other points overblown and borderline annoying, there’s a lot to love and a lot to hate with this band and this EP. For fans of the band, this one is a no-brainer. For listeners looking for something unique, this one deserves a shot, as there’s certainly great elements here. And for listeners that already don’t like the vocals, there’s nothing to see here; if anything else, there might be more ammunition for not liking the band. And you know something? That’s totally fine, because at the very least, this thing can be said about Kaonashi: they are unique. It’s simply a matter of opinion if that’s a compliment or a criticism.
(3 / 5)
