Going viral is incredibly important for bands in this current landscape, as it puts you in front of a global audience, and gives your band a platform that so many wishes for. By whatever means necessary, many music artists strive for the moment Kaonashi in 2024 when a portion of ‘I Hate The Sound Of Car Keys’ was used across social media platforms by millions. The song’s success on TikTok has propelled them into the spotlight, and while some may dismiss them as a product of the platform’s algorithm, there’s no denying the authenticity and passion behind their music. Boosting their audience spread, they capitalised on this and embarked on tours and consistent single releases.
So, how to stay in the zeitgeist? Release a horrifying album, of course. I Want To Go Home continues the brutal fictional story from 2021’s album Dear Lemon House, You Ruined Me: Senior Year when the listener follows characters Jamie and Casey navigate life and grief after a traumatic experience. This piece tackles equally difficult subjects and harrowing moments.
“Still an outlier of the heavy music scene, they remain divisive and genre-defying provocateurs.”
Taking genre boundaries more like suggestions, Kaonashi has emerged as a band that refuses to be boxed in, and this latest release is a chaotic blend of mathcore, emo, prog and metal. Constantly keeping the listener on their toes.
From the opening track, it’s clear that Kaonashi are asserting themselves as musically adept and diverse. The guitars are jagged and angular, leaning heavily into rock and metal territories, while the rhythm section pummels with precision. But it’s the vocals that truly set them apart. Peter Rono’s delivery is an acquired taste, at times shrill, at times guttural, but always emotive. It’s a style that evokes comparisons to Mikee Goodman of SikTh and Bryan Garris of Knocked Loose, though whether that’s a compliment depends on your perspective. Vocally, Peter’s delivery is as polarizing as ever. His shrill screams and guttural yelps convey a sense of urgency and raw emotion that perfectly complements the album’s themes. While some listeners may find his style abrasive, it’s hard to deny the authenticity and passion behind every note. Still an outlier of the heavy music scene, they remain divisive and genre-defying provocateurs.
Photo Credit: Dazey Doom
In a musical landscape often dominated by formulaic structures, Kaonashi’s willingness to experiment and tackle difficult subjects head-on is both refreshing and necessary. This release is a visceral experience that challenges listeners to go with the journey the band takes you on, as the listener picks up little rewards on the way.
The clean vocal moments, when they arrive, are a breath of fresh air amidst the chaos. These passages are undeniably the highlights of each track, offering a contrast to the abrasive screams and adding depth to the band’s sound. However, the transition between the two can feel jarring, as if the rowdy high-pitched vocals were an afterthought rather than an integral part of the composition. Production-wise, this is a double-edged sword and the overall sound can feel disjointed. It’s as if the vocals were recorded separately and then pasted onto the tracks post-mix, leading to moments where the cohesion falters. This isn’t a dealbreaker, but it does detract from the immersive experience.
Yet, to focus solely on the production would be to miss the bigger picture. Kaonashi are pushing boundaries, not just musically, but socially. As a band that openly discusses disability and mental health, they are carving out space for underrepresented voices in heavy music. In doing so, they are not just creating art; they are starting a conversation. They are a testament to the power of individuality and the importance of carving one’s own path. Whether you love them or hate them, one thing is certain, innovation breeds creativity and who they inspire in the long run will be interesting to see.