The End Transfer Trachea Reverberations From Point: False Omniscient

Fitting, that a label with the moniker Re-Define has unleashed the debut offering from the End. The End takes musical standards and preconceptions and obliterates them in a hail of frantic screams, calculated runs, chaotic freak-outs, precision drumming and potential audience killing barrages of flailing equipment and band members, recombining the fragmented shards into something unique, jagged and utterly terrifying. As advanced and musically proficient as an “aggressive” band can be without succumbing to overindulgent wank — a bloody tightrope at the best of times, pretentious aural masturbation at the worst — the End shares allegiances with fellow noise-purveyors Candiria (minus the hip-hop undercurrent), Discordance Axis and the Dillinger Escape Plan. However, unlike many in the complicated-core/tech/noise scene, which has degenerated into a slew of imitators and very few innovators, the End manages to do something unique, in the process staking their claim for potential greatness. Transfer Trachea… is laden with non-stop, almost grind, tempos, melodic yet unnerving segues, electronic expulsions that verge on ambience, bizarre and unorthodox runs and some of the heaviest, eclectic riffing and structures to ever assail unwary listeners. However, while the whole thing could veer hopelessly out of control at any instance, killing and maiming everyone within earshot, the End seamlessly hold this volatile melange together through sheer musicianship and a surprising ease of execution. Nowhere is there more ably demonstrated then in opener “Her [Inamorate],” “The Asphyxiation of Lisa-Claire” and “Entirety In Infancy,” all of which confirm the End’s abilities to defy, create and challenge. (Re-Define)