Metal maniacs, rejoice! I am proud to present to you: ATARKA; independently unsigned, hailing from England - performing Metalcore, on their debut album entitled: "Sleeping Giant" (released March 27th, 2020).

Since formation in 2018, the quintet in question have only this here debut album in their discography so far entitled: "Sleeping Giant". 10 tracks ranging at around 43:59; ATARKA arrange an intricately designed formula of heavy-hitting Blackened Death Metal developments. Beginning the record with an atmospheric but ambient introduction with the titular track; this majestic ritual of surreal yet layered instrumental soundscapes builds a groovy momentum of amplified adrenaline, and boistrously bouncy executions which revel with riveting yet uniquely versatile vehemence within the second track: "The Bastard". A blistering, barraged frenzy of rocketing yet trailblazing manifestations that thunder with meticulously melodic ramifications...while relentlessly pile-driving monstrously meaty strikes and a borderline foundation of rhythmic solidities.

Consisting of Jamie Smith on vocals; the frontman excels a flamboyantly creative diversity of pipes that varies with throaty raspiness, while revolved around a clean but high-pitched aesthetic, elementing a complex dynamic of profusely robust vibrancy. "Tollund Man" showcases organic substance with this momentum, portraying primitively raw remedies with rapidly swift nimbleness & quintessential virtuosity from guitar duo: Daniel McCarthy & Alex Dutton. Both shred with rip-roaring soars that surge into a dexterous fabrication of sonically seamless chugs, frolicking gallops & a healthy dose of gnarly hymns contrast a distinctively distinguished maelstrom of outrè panache with wildly rushing yet razor-sharp pandemonium. "Golden Snake" ruthlessly throttles the production with towering riffs; mid-tempo mayhem, chaotic crunchiness fuelled with jumpy punchiness & killer lacerations of hasty but fluidly polished stability.

"Miasma" embellishes on an experimental dimension but evolving a harnessed hybrid of which compiles gritty distortion with rambunctious pummeling built acuteness & a crushing mechanic of drum hammering from Phil Sheldon, immersively intensifying eardrums with meandering subjugation & salubriously tight slabs of triggering calamities - rumbling with reverberating drum-cymbal kicks that rampantly shatter windows with groundbreaking diligence. "The Tempest" opens up with an acoustic but down-tuned riff, until upscaling the vibe ten times over with extreme firepower & chunky finesse. The vocals stand out immeasurably, juxtaposing those savage snarls with emotionally captivating cords while roaring with quirky snappiness & audible bass injections from Adam Bayliss, injecting an impressive thump of pulsating licks that pursuit with mesmerizing force.

"731" manifests twin-guitar attacks, ebbing and flowing into a joint pacing until this pattern upbeats like a tornado whirling vortex that unleashes a bulldozing wrath of pandemonium havoc, lightly pushed drum-cymbals & heavy bass deadliness forge an astonishing fretwork of synchronized perseverence. While staying professionally & persistently volatile with a crescendo hook of energizing expertise. "Nebula" opens up with a smooth slab of tapping until more concrete guitars composes a hefty amount of angelic noise while more shouting, and inflammatory but emotive lyricism over-archs with oozing malevolence that will make you break chairs over other chairs. The penultimate track "Shadow Of The Kings" yells with typical Metalcore singing, while screeching with prevalent tremelo picking, mellifluous euphony and a thrilling slice of punishing yet shulperous songwriting musicianship.

Overall concluding the "Sleeping Giant" with the finale epic: "Delacroix" which supplies an enriching establishment of some mellow moments yet fasinates with a brimming flair of enormously-driven catchiness & a consistent, but resonant sound roudiness that will have heads banging in no time...also including a bit of a eeriely bizarre, 20s pause until this trippy bass-line wails this shrouding presence where the guitars are allowed to whine & shine through to their relishing pleasure.

Bottom line; ATARKA certainly outdone themselves with this one, I enjoyed and experienced a compelling discovery in which where the more & more you replay over, the more subtly apparent everything becomes within the structure with the interesting implementation of progressively technical musicalities yet pertinent themes which include hardships of the endurance of everyday life we all have to overcome. If this relates to you, pick this one up. It is worth the listen!