KINGDOM OF GIANTS is poised to soar beyond “best kept secret” status and into the modern metal and post-hardcore stratosphere, with a continuously evolving sound that pushes both the band and their audience forward. While firmly rooted in classic metalcore elements, familiar to fans of Killswitch Engage and As I Lay Dying or international counterparts like Architects UK and Northlane, the six-piece California band bravely color outside the lines of the safe and predictable.

The only “constant” in the KINGDOM OF GIANTS discography is the constant motion, as the group works tirelessly to ensure each album will take listeners on a rich, rewarding, and diverse journey. “Passenger”, the band’s fourth full-length and first in partnership with SharpTone Records, arrives like a bolt of lightning, heralding a torrential downpour across a desert of cookie-cutter clutter.

The band’s ability to recreate the depth and power of their recorded compositions on the stage has been demonstrated on stages across North America and Europe, as KINGDOM OF GIANTS built a reputation as road dogs on tours with Fit For A King, As I Lay Dying, Born Of Osiris, and Phinehas.

Dana Willax and bassist Jonny Reeves share vocal duties, blending a mixture of scream/sing storytelling drawn from each of their life experiences and emotional obstacles. It’s less of a traditional metalcore screamer / “clean vocalist” pairing and more akin to the tradeoff in bands like blink-182, in spirit and structure if not in sound. The triple guitar attack of Max Bremer, Red Martin, and Julian Perez saves the terrifyingly aggressive technical prowess flourishes for when they’ll have the most impact. They adeptly focus on steady and catchy grooves that lock in place with Reeves and drummer Truman Berlin, whose skills are among the top levels within the genre.

That identity around inventiveness was first forged a handful of years ago in Northern California. The earliest incarnation of the band hit the road before they’d entered a studio. “Ground Culture” (2014) was the first true introduction to the scene. “All the Hell You’ve Got to Spare” (2017) followed. Both records were quickly recognized in the underground press for their deliberate emotional intensity. KINGDOM OF GIANTS is unafraid to tackle tougher subjects within their songs. This is dark, heavy, often “evil” sounding music, but it’s all driven by a sense of optimism and purpose.

“Damaged Goods,” “Endure,” and “Cash Out” quickly became anthems to the ever-expanding group of dedicated followers who’ve proven loyal to the group. But it was with “Bleach,” produced and mixed by Willax himself, that the buzz around KINGDOM OF GIANTS became a deafening roar. The song was the first taste of the group’s fourth album, crafted with up-and-coming engineer Matt Thomas of AshTone Audio, winner of a local Producer of the Year award in Sacramento.

Like the brightest spots of latter day Bring Me The Horizon, “Passenger” is a deft blend of bottom-heavy modern metal and melodic hardcore, with structural nods to smart pop and hip-hop, without sounding confused or incohesive. Perhaps most excitingly, KINGDOM OF GIANTS has found a way to infuse the 12-song album with elements of the 80s inspired synthwave and chillwave movements, popularized by groundbreaking retrofuturistic acts like The Midnight.

There’s something especially powerful and unique about each song, music video, and live performance. Sputnik Music quite rightfully predicted that if the band continues down the creative trail they’ve embarked upon, “they will conquer the metalcore scene with ease.” Capital Chaos TV put it even more simply: “KINGDOM OF GIANTS, if you don’t know about them, you should.”