Knosis – GENKNOSIS
Release Date: 1st August 2025
Label: SharpTone Records
Order/Stream
Genre: Experimental Metalcore
FFO: Crystal Lake, Hanabie, Left to Suffer.
Review By: Jeff Finch
When a member leaves a highly successful and popular band to set out on their own, whether of their own accord or not, the results can be hard to predict. Though not by choice, look at Ozzy after Sabbath: massive. But then look at Steve Perry or Mick Jagger: international icons who just couldn’t seem to bring that level of popularity over to their solo careers. Today’s band, Knosis, is the brainchild of ultra popular, insanely talented Ryo Kinoshita, previously of Crystal Lake. While the jury might be out for a long while about the success or failure of this adventure, one thing is very clear: Ryo has started off his journey strong.
Labeled as an experimental metalcore band, Knosis certainly lives up to the moniker: at times akin to rap rock, at other points black metal, and mostly just punishingly intense metalcore, GENKNOSIS is a really fun ride with a bevy of excellent music and vocals, with the occasional misstep. Title track and opener GENKNOSIS instantly builds the tension, ferocious screams muffled, just behind a veil waiting to be unleashed. And unleashed they are on SHINMON, a track boasting an “all systems go” approach to songwriting, rife with powerful screams, furiously chaotic percussion, and demonic layering for ultimate impact. At one point during this song, we’re slammed by blast beats and piercing shrieks, and the song is rounded out with a sick breakdown, enough to make this listener start headbanging during desk work.
Continuing on the same trajectory, FUHAI begins its rampage with unfettered ferocity, blackened metalcore bursting forth from the speakers only to be replaced with rap-rock vocals and music of a lesser intensity. A fun romp starts up once special guest Hanabie makes their appearance, the J-pop vocals suddenly replaced by visceral shouts and some of the deepest growls Ryo has produced, clearly a graduate of the Phil Bozeman school of demons. The song is almost literally a Swiss Army knife that also has the kitchen sink: J-pop, black metal, hip hop beats. And yet, it actually works, and really well at that. Kudos to all involved on this one.
Certain moments stick out distinctly on the rest of the album: Hatebreed-esque towards the end of DOKUNUMA, the cleans and vocal intonations quite like a Hatebreed cut. Meanwhile, TANEBI nearly suffers from being a part of an excellent album, a bit of a generic sound to it, but performed at a high level, it’s hard to fault it. It’s just that the sound has been heard so much that it’s easy to take for granted: clean vocals layered with harsh vocals in an anthemic approach, while the music is performed with a palpable, restrained intensity that bleeds into closer ANGETSU. For a good chunk of the song, it feels like the band was happy to leave us with a slow burn to finish out an intensely energetic record, but halfway through there’s a spike in the intensity, savage screams piercing the veil, the music still a bit restrained as if not to overdo it here at the end. While the track falls prey to the same afflictions as the previous does, such as the clear desire for anthemic vocals, there’s plenty in here to leave a listener satisfied and ready to dive headlong into another listen.
(4.5 / 5)
