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Here is a Canadian band to be proud of. Their noisecore (I think that’s what they call it) style of intense, in your face chaotic heaviness may not appeal to a large denomination of metal fans. But you gotta take pride in the fact that these five young guys from Toronto are now hot off signing with what seems like the ideal major metal label for them. That of course would be Relapse, who recently reissued the band’s debut CD Transfer Trachea Reverberations From Point: False Omniscient, which is more than just a mouthful to speak, I assure you.

With seven songs clocking in at just over 22 minutes, it is a disappointingly short but promising album, laden with maniacal technicality, jazzy grooves and musical complexity.

The End sounds quite similar to label mates Mastodon in their use of hoarse screaming vocals, spiraling out of control guitars and speedy percussion. Although this effort is much smaller in scope when compared to Remission, all signs point to an aggressive breakthrough sooner or later. The advantage of such a short length is that it encourages more and more listens, and with every spin you’ll take in something you didn’t hear the previous time around.

The song structures are complex, as you’d expect. Songs break down to nothing but screams and drumbeats at times, guitars can take the forefront and raise the tension levels until the full-force of the band is unleashed again in a chaotic flurry, only to come to another screeching halt and so forth. This is well-orchestrated madness by a group of very capable musicians.

Transfer Trachea Reverberations From Point: False Omniscient is a solid stand alone album, but down the road it will most likely be looked upon as a sneak preview of the mayhem that is to come. With the backing of Relapse behind them, the possibilities for The End’s future concoctions are seemingly endless.