GLIDEEE’S KINETIC FLAW IS CHAOS, CONTROL, AND CATHARSIS COLLIDING
KINETIC FLAW marks the debut EP from Lebanese post-hardcore and indie rock band GLIDDEEE, and it arrives carrying far more than just volume and velocity. The project reflects both the band’s internal evolution and the shifting world around them, shaped by changes within the lineup and the uncertain landscape of Lebanon’s underground scene. Rather than gloss over that instability, GLIDDEEE absorbs it, translating tension, frustration, and persistence into something raw and immediate.
Across the EP, those vicarious experiences become deeply personal. Each track feels informed by the individual emotions of the band’s members, molded by a scene defined by difficult entrances and sudden exits. The result is a fusion of punk, post-hardcore, and indie rock that refuses to compromise, balancing chaos with intent and noise with control. KINETIC FLAW doesn’t just introduce GLIDDEEE, it establishes a distinct sound and philosophy that feels fully formed from the jump. Let’s dig in:
“NEPOTISM AT HEART” opens GLIDEEE’s EP KINETIC FLAW with pure volatility, and we’re fully locked in from the first second. The track is frantic, disobedient, and absolutely ready to assault your ears. Everything about it feels feverish, from the jagged instrumentals to the unhinged vocal delivery to the high-pressure production that never lets up. It’s all gas, no restraint.
About midway through, the song briefly pulls back, giving the listener just enough space to catch their breath. A whiny, tension-soaked guitar line (crafted by Chris Aoun) sets the stage before the calm is violently ripped away. When the track roars back, it hits even harder than before, doubling down on the chaos. Fans of early At the Drive-In and those hooked on up-and-comers like Knumears will tear into this one without hesitation.
“INHALER” follows the opener with a slower, more deliberate burn, but it never loses its edge. The song builds patiently, stacking tension piece by piece and making the listener anxious for the moment it finally breaks loose. From the jump, it feels calculated and heavy, setting the stage for what becomes one of the EP’s most expansive tracks. There’s a raw, punk-forward edge running through the song, with traces of the Germs bleeding through in a way that feels more unhinged than reverent. If Darby Crash were still around, it’s easy to imagine GLIDEEE sitting squarely in his orbit. The track is packed with layered sounds, shifting riffs, and evolving melodies that give it real weight and identity, shaping it into something powerful and unmistakably its own.
Halfway through the song, the band pulls everything back and slips into a downtempo stretch, letting the tension simmer. Marco Bazerji’s vocals shift into spoken word, drawing the listener in close and creating a moment of reflection before the calm inevitably snaps. When the band kicks back into manic mode, it’s a reminder of exactly why GLIDEEE hits so hard. Clocking in at nearly seven minutes, “INHALER” plays like a complete journey from start to finish, and, honestly, we wish it didn’t end when it does.
“MIGRAINE GREEN” arrives as the third track and immediately shifts the album’s momentum, opening at a slower, more measured pace than the songs before it. The track begins with spoken word layered over a restrained, almost deceptively calm soundscape. From there, it gradually builds, erupting into bursts of frantic energy before snapping back down just as quickly, keeping the listener on edge the entire time.
The interplay between guitar and drums is exceptionally well crafted, each pushing and pulling against the other to create a driving, ferocious groove. When Ali Hamdar on bass steps out for a brief solo moment, it feels like a clear signal to brace yourself, setting the stage for an inevitable mosh session. Honestly, if you’re not moshing to “MIGRAINE GREEN,” whether you’re surrounded by people or alone in your living room, you’re missing the whole point.
As the track winds down, strange, transient noise creeps in, adding an unsettling edge before the bass surges back one last time to close things out on a heightened, explosive note. This is a song built for chaos, and we can’t wait to see it unleashed live.
“SUPERTASTEUR” stands out as one of our favorite tracks on the album. Marco Bazerji’s vocals really shine here, even when layered with effects, cutting through with a confidence and presence that feels undeniable. The song rips on all cylinders and leans into a slightly more accessible lane without sacrificing any of the band’s intensity.
On the kit, Younes Rizk proves to be an absolute powerhouse. Their drumming drives the track with precision and force, and it quickly becomes clear why they’re such a vital part of the band’s sound. This is the kind of song that feels tailor-made for college radio rotation, with a melody that’s so addictive it’s hard not to hit repeat. “SUPERTASTEUR” makes it evident that this band is going places.
“REGGAGE” is a masterclass in pushing every instrument past its limits. Bazerji’s and Aoun’s guitars are absolutely on fire, Hamdar’s bass stays locked in and relentless, and Elizabeth Aboujaoude attacks the drums with full-force intensity. We thought the previous track was one of our favorites on the EP, but this one is right there with it, maybe even taking the top spot. Honestly, we keep going back and forth.
The song feels like walking into a house where the foyer is the main riff or chorus, anchoring everything. At the same time, each room you explore introduces a different texture or idea, adding to the overall experience. It’s cohesive but constantly evolving, rewarding repeat listens. Hints of early Glassjaw and The Mars Volta run through the track, not as imitation, but as shared DNA. We’re fully obsessed.
“TEMPORARY” closes the album on a high note and stands as one of the most effective send-off tracks we’ve heard in a long time. It unfolds like a whole journey, patiently guiding the listener from beginning to end with intention and restraint. Compared to earlier tracks, it’s softer, more refined, and more calculated, allowing emotion to take the lead without sacrificing impact.
Marco Bazerji’s clean vocals are a standout here. Raw, unfiltered, and deeply expressive, they sit perfectly alongside the instrumentation, adding a new dimension to the band’s sound. The pairing works so well that it leaves us wanting more moments where his voice is allowed to breathe without distortion.
The song’s slow-burning build and carefully timed breakdowns are genuinely impressive, hitting with a level of dynamics that could make even the band Caspian stop and take notice. Every rise and release feels earned. Clocking in at just under six minutes, “TEMPORARY” never overstays its welcome, though we can’t help but wish it went on a little longer. It’s a powerful, satisfying way to bring the record to a close.
Taken as a whole, KINETIC FLAW is an impressive and fully realized debut that captures a band unafraid to lean into discomfort, instability, and growth. GLIDDEEE balances chaos and control with confidence, allowing each track to breathe while still contributing to a cohesive, forward-moving statement. There’s an intentionality in how the EP rises and falls, how it shifts between aggression and restraint, and how it leaves space for emotion without ever losing momentum.
More than anything, KINETIC FLAW feels honest. It reflects a band shaped by change and uncertainty, yet grounded in a clear sense of purpose and sound. GLIDDEEE isn’t just introducing themselves here; they’re staking a claim, proving they can translate lived experience into music that feels urgent, visceral, and deeply human. If this EP is any indication of what’s next, GLIDDEEE is a band worth paying close attention to.