Slain – Before The Inferno

 

slain pic

There is no re-writing the text book of death metal with Before The Inferno, the album certainly re-working but treading down existing violations, but it has to be admitted that the debut album from Polish band Slain is a thoroughly enjoyable and potently contagious provocation. Consisting of eight monstrously aggressive and openly accomplished violations, the release grips from its opening track through to its intrusive last. There is admittedly a certain mix of success within the release but never a moment where band and album leaves satisfaction wanting and pleasure lacking.

The creators of this impacting release were formed in 2005, though the band’s seeds in many ways harken back to the nineties when band founder and guitarist Paul was in Cryptic Stench. Some of Slain’s songs originated from that time with the band reworking and rearranging them to fill the full blooded onslaught of their ferocity. Initially Slain went through a few personnel changes whilst the band continued to earn a strong reputation and fan base with their live performances. A stable line-up emerged though before the album was recorded; Paul joined by second guitarist George, bassist Lucas, drummer Wojtass, and vocalist Marcin. Recorded in 2012, Before The Inferno found its release with The End Of Time Records at the tail of 2013. Since its release, Slain has seen the departure of George and Marcin, the pair being replaced by Hannibal and Balrog respectively. The turn of the year the band has begun working on new songs for their second full-length whilst this, their debut continues to make an impression and mark the radar of a persistently widening attention.

The Bełchatów quintet comes at the ears through a sinister ambience, demonic shadows, and intrusive breath conspiring to infest senses Slain-BeforeTheInfernoand imagination. The niggling start to Confession of the Blind Messiah erupts into a torrent of predatory riffs and punching rhythms whilst vocally vitriol and ravenous intent clad every word. It is a magnetic entrance, the track enslaving with its concentrated confrontation before unleashing a further increase of aggression and malevolence. Speared by skilled sonic flames and a persistently shifting antagonistic stance, the riveting track makes for a mighty start to the album, essences of Behemoth and Decapitated offering their presence.

The following Wings of War strides murderously into view next, clad in a tsunami of destructive rhythms, flailing riffs, and an underlying groove which is two-toned in voice and lethal in effect. Well into its purpose, the grooves mutate into an infectious lacing of the senses whilst the vocals similarly squirm maliciously between textures, the combination rigidly enslaving an already rampant appetite for the release. It is a ferocious onslaught but ripe with contagion and addictive toxins, especially the impressive sonic blaze of guitar which colours the track with its piercing solo. As suggested at the start there is not a great slap of true originality to the encounter but thrills and neck muscle manipulation show no restraint in their persuasions.

There is a thrash sculpted fire to the sound and album, its rabid hunger again insatiably driving the force of Malleus Maleficarum and War Is Coming. The first is a feisty stalking of the senses with an angry spine of bad tempered rhythms within an acidic veining of skilfully crafted sonic incitement. Its successor takes the rapaciousness of the other track to greater immensity, its carnivorous rabidity spurring on prowling rhythms and a pestilence of riffery. The track is voracious savagery but again infuses a swagger and swing to its barbarity which infests the passions. When a song straddles the imagination and treats it to a rodeo of feverish energy and vivacity it is hard to resist even when the wounds left bleed profusely.

Fucking Gods continues the violent and irrepressible suasion of the release, its brutal rampage unrelenting yet pronounced in its precise baiting whilst the following Deadly Midget presents a more restrained attrition but one no less hungry in its predation and manipulative toxicity; grooves and riffs sharing the imposing canvas for their fevered taming and consumption of the senses. There is a touch of Sepultura to the poise and intensive intensity of the track whilst its ravenous incessancy and melodic adventure slips easily under the skin and into the memory.

The album is completed by the raging turmoil of Thorn and the imposing enterprise of Omen, both tracks a tasty horde of vindictive rhythms and scourging riffs spiced by sonic invention, though neither quite match the heights of the earlier songs. Nevertheless the pair brings a great album to a stirring close to leave satisfaction full and emotions eager for more. Before The Inferno may not carve out new inventive avenues for death metal but when it provides a hellacious ruin as exciting and stimulating as it does it is hard to raise a care. Slain has ensured that anticipation for their sophomore album is already gearing up.

Before The Inferno is available via The End of Time Records now!

https://www.facebook.com/pages/Slain/1395976333996090

8.5/10

RingMaster 22/04/2014

Copyright RingMaster: MyFreeCopyright

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PROMETHEE release spanking new video and new songs.

Promethee Promo Shot

HIGHLY RATED EURO METAL OUTFIT PROMETHEE RELEASE TWO NEW TRACKS AND IMPRESSIVE VIDEO

Promethee are poised to release two new tracks ‘Dark Souls’ and ‘The Sour Taste’ on 7” vinyl and through bandcamp on 1st May. The Swiss riff kings have also just released a brand new video for ‘Dark Souls’, which is out now and available for viewing at

https://www.youtube.com/watch?v=h2ey8SJggus&feature=youtu.be

 

Hailing from Geneva, Switzerland and born during the early part of 2008, Promethee didn’t waste any time, and quickly racked up a plethora of successful shows throughout Switzerland and France in front of a fast growing public. With the release of their debut five track EP in 2010, the metallers were soon hailed as one of ‘The new bands to catch on the European metal scene’.

True to their growing reputation for being incredibly active, Promethee continued to spread their wings and secured tours throughout Europe, Canada and even Cuba before going back into the studio to record their debut album, “Nothing Happens. Nobody Comes, Nobody Goes.”. The record hit stores in 2012 and immediately propelled Promethee to a higher level. Gathering prestigious feedback from the national press, including Kerrang!, Metal Hammer and Big Cheese Magazine, the album has been continually praised for its technical and musical mastery.

Promethee furthered their climb with well received video singles and live videos which have been lapped up by tens of thousands of fans around the world. Aided by an additional one hundred and fifty shows played in over ten countries, the band’s visibility has swiftly increased.

Now in 2014, Promethee unveil two brand new slabs of mighty metal fused with commanding hardcore and a wealth of groove which will be released in the form of a seven inch vinyl along with a lyric video. The tracks are lifted from the noise chiefs’ new album, which will be released by the end of 2014. After a steady incline during the past three years, the band are now poised for a full scale European and North American assault. And with their fan base growing day to day with tens of thousands of active followers and the band touring as much as humanly possible, Promethee have never been so motivated to transcend and evolve into a heavyweight force on the world metal scene.

 Check out the video for Dark Souls @ https://www.youtube.com/watch?v=h2ey8SJggus&feature=youtu.be

www.prometheemusic.com | www.facebook.com/prometheemusic  | www.twitter.com/prometheemusic

Primal – Prophetae

Primal cover

Prophetae is the third album from one man Polish black metal project Primal, an encounter which immerses imagination and senses in an investigative compelling web of sound and emotion. Exploring the themes of madness, darkness, cruelty, and the beauty of apocalyptic prophecies as well as delving into the insanity of man’s minds in creating them, the five track release unveils a tortuous seduction and a caressing abrading which envelopes and permeates everything from ears down to emotions. It is a challenging encounter but one which is simultaneously enthralling and intrusive in its touch, an expanse of starkly toned soundscapes and ravenous fermentation.

Primal is the work of Warsaw musician/songwriter PrimalOne, a project he began in 2008. Across the years he has released a couple of demos, Ominous Deity and a self-titled EP both in 2010, a split with Iugulatus and Deep Desolation, and a couple of albums starting with Deathzone in 2011 and Obłęd a year later, the pair split by the Duch EP. Recorded in 2012 also and released to the rear of last year, Prophetae is bred from the constant anger and defiance to religious idiocy which marks PrimalOne’s creativity and work. As the quintet of songs soaks through the pores and submerges ears, there is a ripe passion aligned to antagonism which spurs on the invention and intent of the pieces, it alone bringing stern textures and imposing structure to the tempestuous evocation of the tracks.

I opens up the release, church bells laying out their persuasion before being suffocated in an avalanche of destructive rhythms and carnivorous riffs; all determined to challenge and consume the suggestive religious peace. The track is ferocious and merciless in its ravaging of the ears, blackening out light and escape as its vitriolic narrative is offered through heavy nasally spoken words and aural predation. The track alone is an exhausting experience, its moments of respite and melodic acidity as magnetic as the fury before and around them. It is not the most violent encounter you will come across within black and extreme metal but one of the most incessant and insatiable, a description applying to the whole album.

The raw breath and glaze of the track adds to the corrosive provocation and pagan-esque whispers of the premise, fuelling extra venom and beauty in the more patient and classically honed parts, a potent blend emerging again in II. From its dark cavernous depths, the track coaxes and seduces the imagination, rhythms ensuring intimidation and danger is lurking whilst the resonating elegance of the track’s entrance brews a rapturous appetite. The track is soon unbolting its raucous energy and corruptive intensity, guitars winding their incendiary and inflaming melodic toxins throughout the heavy attrition spawned body of the track. There is a bolder anthemic urgency to the track than to the first but only within a determined stalking of the listener, the again spoken and generally unintelligible but thought inspiring vocals adding to the dark demonic drama and senses binding success of the track.

The seven minutes III is relatively short within the album but wastes no times in notching up the raw caustic surface lure of the album, steering the listener through a blackened network of crowding sonic corridors and emotive windings, all converging to test and provoke with insidious charm and uncompromising intent. As the track plays out the body feels as if locked in a dungeon of intense and chilling incitement, trapped underground with a coarse and scourge bred presence which toys with the psyche whilst sparking multiple incendiary reactions.

From the choral sample waking up IV, the track prowls and probes the senses; its lumbering gait dignified yet threatening as sonic flames circle over the smouldering venom you feel brewing within. The track never veers from the object of its steely glaze, twisted vocals adding their evocative narrative to the unmovable intent of sound and intensity. Waves of urgency and muscular intimidation ebb and flow across the track, never diverting it from its focus, the masterful and magnetic repetitious core as infectious as the guitar craft and fiery atmospheres around it.

The closing V opens as its predecessor and with a more voracious and vicious volition emulates its unbridled and unyielding persecution of its recipient. It is only part of the story though as haunting and ingeniously warped twists of the opening vocal harmonies bring a blackened angelic colour to the pestilential glory of the track, whilst there is a general discordance to the tone and heart of the excellent track which draws a rich submission.

Prophetae is not a kind or easy listen but unreservedly rewarding, a full stimulation to thoughts and emotions. There are moments where the album has an arguably unadventurous evolution across tracks which are for the main 10 to 11 minutes long, deviations in sonic and imposing scenery minimal but such the power and potency of the bait it does not become obvious until hindsight kicks in. The album is an absorbing triumph nevertheless and Primal a proposition which deserves proper attention.

Prophetae is available through Q.E.V.Productions/The End Of Time Records now.

http://primalband.bandcamp.com/

8/10

RingMaster 22/04/2014

Copyright RingMaster: MyFreeCopyright

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Nihilistinen Barbaarisuus – Synkkä Tuuli / Väinämöinen EP

 original lineup — with Manuel Rodriguez, Mika Mage and Serpent Ov Old


original lineup — with Manuel Rodriguez, Mika Mage and Serpent Ov Old

Creating an aural blizzard within which you can feel skin and senses being flayed by artic spite and stark winds, US atmospheric black metallers Nihilistinen Barbaarisuus is one of the propositions not many know of yet but should make the time to bravely investigate. Which is why we are looking at their debut album Synkkä Tuuli and the since released VäinämöinenEP. The Philadelphia band is one of the rawest encounters in intent and presence you are likely to hear at the moment but one which below its tempestuous emotional wastelands breeds a virulent intrigue which binds attention and appetite. Neither of their releases are an easy listen or kind experiences but both leave you wanting more with the thought that given the chance recording wise they have the potential to be a commanding force.

Formed in 2012, Nihilistinen Barbaarisuus was initially a trio of vocalist, bassist, and synth player, M.W.S. (Serpent ov Old) with guitarists Mika Mage and Manuel Rodriguez. A self-titled demo appeared their first year followed by Synkkä Tuuli in 2013. Following its release both Rodriguez and M.W.S. left the band leaving Mage the sole force behind the band and the Väinämöinen EP. Before then though Synkkä Tuuli drew good attention and reactions for its intensively expressive and intrusive presence which is no surprise once immersed in its sonically caustic cold and ambient frost.

The album opens with the two parts of Ylittäen Jäätyneen Pohjoisen; the first opening with footsteps through crunchy snow as wind Nihilistinen Barbaarisuus coverbites at the senses and an increasingly brewing intensive atmosphere chills bone and air further. With rhythms urgently imposing, guitars swarm over the senses, their touch restrained but sinister and icy. Courted by dark bass lines and the haunted squalls of vocals, the track is a smothering tempest but with a melodic and drone bred seduction which tempers the corrosive breath of the piece. Shivers run down the spine throughout until a respite mid-way brings a melodic beauty and peace to the track, it’s still cold hands caressing the imagination whilst offering a sheltering incitement before a venture back into a tortuous climate within part II. The second part if anything is harsher and more destructive than its predecessor, the climate a vicious antagonist but its beauty more evocative whilst its landscape moves from being an aggressive predator to a portentous siren, danger and emotive sufferance never diminishing in the heart of the track.

The production on the album is as abrading and raw as the sounds, never giving an inch to the senses and at times almost suffocating the sculpted melodies of the songs. It is in many ways a demo quality glaze adding extra harsh textures to tracks but as shown with the wonderful Itämeri Anomalia it never stands in the way of the beauty within the release. A lone acoustic guitar emerges from a wave buffeted beach, its melancholic breath and radiance irresistible and refreshing as keys and further stringed elegance paints a skilled and mesmeric canvas,

That scenic passage is soon submerged under another pestilential storm as firstly the dulled yet appealing Anhedonia erupts across the ears to be followed by the exploration of Arktinen Välisoitto. The first of the two erodes the senses from first second to last, allowing no escape from its intensity whilst its successor opens on an acidic ambience, keys soaring gracefully through its emotive soundscape. The instrumental is delicious, an aural travelogue of emotions which again shows the craft and invention of the composing as well as that of the band members, and to be honest it is these moments where Nihilistinen Barbaarisuus really shine the most.

The release is completed by the rapacious uncompromising stroll of the title track, a song which preys on the senses with curt rhythms and toxic vocals whilst soothing them with mellow expressive keys, and finally the dark instrumental Ketamiini, a piece which is as seemingly venomous as it is radiant.

Nihilistinen Barbaarisuus cover 2   It is a testing album but a highly rewarding one, as is the Väinämöinen EP. With the band now just Mage, though he does invite guest contributions from the returning M.W.S. on bass, Lawrence Wallace (Shadows in the Crypt, Lawrence’s Creation) on keys and drum programming, as well as James McClellan Dorton III (Nightfire, Antikythera, ex-Shadows in the Crypt) on vocals, the two track release is equally as dark and sonically ravenous as its predecessor. The vocals though are allowed a greater clarity within the tsunami of intensity and sound whilst production also finds a more open presence for the songs. The title track marauds over the senses first, the cold expanses of the album revisited again but with a more intimate and precise investigation. Across the rare atmosphere and vitriolic weather of the song, bass and guitars converge in a corrosion intended union but also make their own individual frost bitten temptations for a stronger and more compelling adventure than found on the album.

Second track Yo Jolloin Han Kuoli finds the skills of Mage caressing the imagination once again, his acoustic craft and storytelling a riveting incitement which relishes the emotional colour it brings alone or within the courting of similarly descriptive keys. It is a mouthwatering close to the EP, leaving a lingering warm and thrilled impression of release and band.

If you are looking for something acerbically fresh and raw from an emerging force with the potential to blossom into a quite breath-taking and remarkable proposition, then taking a look at Nihilistinen Barbaarisuus is definitely a strong suggestion. Whether they realise their promise time will tell but you imagine it will be a rewarding time watching and listening.

Synkkä Tuuli is available now on Horror Pain Gore Death Productions http://www.horrorpaingoredeath.com/store/hpgd062.html

The Väinämöinen EP is available from Infernal Kommando Records as a limited edition cassette and can be downloaded for free from http://gunshyassassin.com/news/exclusive-nihilistinen-barbaarisuus-stream-and-download-vainamoinen/

Synkkä Tuuli 8/10 Väinämöinen EP 8.5/10

RingMaster 2/04/2014

Copyright RingMaster: MyFreeCopyright

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By The Rivers – Vulture/This Love

By The Rivers Field July 2013_1

Re-igniting the impressive and exhilarating presence and success of their self-titled debut album last year, UK reggae band By The Rivers release new double A-sided single Vulture/This Love. Taken from the album, the songs tell you all you need to know about the melodic beauty and vibrant creativity of the band and their mouthwatering sound. It is another irresistible call for those yet to discover the splendour of the Leicester sextet and another reason for us in the know to let feet blaze over the ground with one of Britain’s most exciting bands.

Formed in 2010 by friends, Nile Barrow (lead vocals/guitar) and Jordan Birtles (drums/vocals), By The Rivers has mesmerised fans and media alike with their unique fusion of reggae/ska/soul/and afro-beat. With a line-up completed by Matt Willars (bass), Sam Read (keys/guitar/vocals), Will Todd (Tenor Saxophone), and Leo May (Trumpet), the band from their first steps were soon gracing stages with the likes of Dawn Kinnard, Neville Staples, Fun Lovin’ Criminals, and Toploader. Their swiftly growing reputation only accelerated as the six-piece continued to play with the likes of the Buzzcocks, Maxi Priest, Musical Youth, Dawn Penn, Saxon Sound, and The Specials whilst released eagerly received EPs and singles. Last year’s album through Kompyla Records thrust the band into an even more intensive spotlight with festival demand and appearances a plenty following its release.

The new single is the next dart of contagious persuasion by the band, one to have lips licked and passions romping. Vulture opens with a Graphic1 glorious wash of vocal harmonies, their touch a seductive caress before the song opens up its entrancing arms into an elegant sway and magnetic swagger. Guitars and bass dance and tease across the length of the song giving a base contagion to fall into, then once enslaved brass flames aligned to anthemic vocal and melodic lures bind the passions even tighter. It is an energetic but respectful romp leading imagination and emotions by the hand into a seductive and vivacious dance.

The musical and lyrical provocation of the song is emulated in its own distinct design by This Love, the song an evocative affair with ears and thoughts which gentle strolls as melodic tendrils and expressive passion drifts off every note and harmonious syllable. It is too easy and maybe lazy to provide UB40 as a reference to the sound of By The Rivers but it is unavoidably suitable for this flowing summer wind of a song. The heat of brass and magnetic touch of the guitars make the initial steal of the heart but as is very often the case with their songs, it is the vocals and melodies which bring the virulent infection to which there is no known cure.

With an instrumental version of Vulture completing the tracks offered, the single is another riveting triumph from By The Rivers, inescapable bait for feet, heart, and soul. Released April 21st alongside a Tom Swindell (Shy FX, Jamie Woon and Die & Breaks) directed video the same day for Vulture, the single and the band’s irresistible blend of catchy songwriting and powerful lyricism make another potent statement for one of the very best new bands here in the UK.

Vulture/This Love is available via Kompyla Records now!

https://www.facebook.com/bytherivers

10/10

RingMaster 21/04/2014

Copyright RingMaster: MyFreeCopyright

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The Van Burens – Presidential Lovefest

TVB

Mischief and good music is always a healthily attractive mix and that is exactly what you get with Presidential Lovefest, the second EP from US indie/reggae funksters The Van Burens. The nine tracks it holds captures the imagination and feet from start to finish; the six full tracks and trio of equally magnetic samples which split the earlier songs on the release creating an intriguing web and compelling party to get wrapped up in. The release is fun with a giant F but also an expertly sculpted and devilishly presented slice of slavery.

Formed in 2008 and taking their name from the eighth President of the United States, The Van Burens has built up an eager following for their vivacious and energetic sound. They have a presence which toys with theirs and the listener’s imagination, their songs certainly on the new EP eager to ride unpredictability with contagious adventure. Presidential Lovefest is the successor to the 2010 Eager EP, the former’s success and appeal helping the Boston band to go on to tour the US. Drummer/singer Matt Spitz speaking about their new release said “Presidential Lovefest captures both our fun live set and our meticulous studio sound; it’s a dance record you can hear a thousand times and always find something new”. It is impossible to disagree as even after numerous tangos with its pleasing body, new temptations and depths reveal their seduction ensuring the release just gets better over time.

Taking an irreverent theme of American history to its humorous premises, Presidential Lovefest opens with the introductory scenery of TVB coverMiss Lola Overture, a forty second lead into the following Tricky Dick. It is here where the release really wakes up, rhythms and a blaze of brass heralding the funk driven stomp ahead. The track immediately stomps with a rhythmic swagger courted by a great dark bass tone provided by Emmett Knox whilst alongside them the vocals dance with revelry and a welcoming enticement. With the guitars of Greg Smith and Greg Spitz teaming up with the keys of Jeff King to weave a melodic web which simply seduces emotions and appetite, the song continues its rampant persuasion bursting continuously with the trumpeting calls of Leenie Doran beside the equally magnetic flames of trombonist Pete Fanelli and saxophonist Joel Edinberg.

It is a flaming bait to set the EP off in irresistible style, an entrance after the atmospherically wrapped bye bye with its ‘FoxMulder’/child sample, which is backed potently by the more restrained Hey Everybody. The song is a sultry breeze of smouldering brass and clinging melodies, band vocals and harmonies similarly gentle in their caresses. The track does not inflame as dramatically as the previous song but instead provides a persistent embrace which envelops and soaks the senses for a just as compelling capture.

A continuation of the previous sample comes with hello before Reagan raises its rhythmic knees and keen melodies for a vibrant wind of reggae fuelled enterprise. The beats of Matt Spitz pulsate and rap around the ears, alone triggering a festival in the feet whilst the mesmeric vocal sweeps which span across the punchy canter of the song manipulate the passions. Not for the first or last time, song and band inspire comparisons to the adventurous and inventive mischief of nineties band Honky, as well as offering essences of Fun Lovin’ Criminals. The song is a blaze of charm and inventive vitality, again the brass flumes emotively colouring the expressive canvas provided by guitars and keys framed by the ever tantalising rhythms. With flumes of scuzz kissed sonics and the guest trumpet insurgences of Sam Dechenne, the song steals passions and memory alike.

Lee Harvey emerges from a sinister atmosphere, a sampled public warning stepping from a noir haze right before a jazz/funk bred guitar teasing wraps its lures around the body. Again that Honky reference is at play, experimental hip hop elements swerving their inviting hips from within the fullness of the funk fuelled dance. There is a very familiar toxin to the track but it only accentuates the mystery and seduction, rogue keys and percussive exploits adding further sparks for the imagination to devour as greedily as the ears. Making its way to a climax of fifties swing and rock ‘n’ roll, the track is an irresistible treat to lose inhibitions and breath to.

The smokey air of This Town wafts gently over ears next, its shadowed emergence bringing a reggae built climate of condensed brass heat and stroking guitar evocation. Trumpet and vocal guesting from Doran as in the final song adds to the thick coaxing of the song, melodies and vocals swarming tenderly over the inventive nature of the guitars and rhythms. It is an engrossing, slightly more serious suasion than other tracks, flirtation raising another flush of warm ardour for the EP before the infectious closing of LBJ, it an experiment of intrusive melodies and invigorating imagination.

Presidential Lovefest is a delicious and boisterous encounter, one to lose your reserve and inhibitions to whilst The Van Burens climb your list of favourites with each and every tempting note.

The Presidential Lovefest EP is available as buy now name your price download @ http://thevanburens.bandcamp.com/album/presidential-lovefest

http://www.vanburenmusic.com

8.5/10

RingMaster 21/04/2014

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Patria – Individualism

patria

Our introduction to Brazilian black metallers Patria came with their previous album Nihil Est Monastica; an encounter last year which without crossing into new boundaries with its early nineties driven sound was an exhausting and thrilling release. Now having signed with Indie Recordings, the band unleashes their new violation Individualism. As its predecessor the eleven track feeds and ruins expectations, a similar texture and sound as their previous provocation providing the voice of Patria’s sound but veined and underlined by another increase in exploration of the band’s continuing to grow imagination.

The new release is the fifth album from the quintet of band founders, vocalist Triumphsword and guitarist Mantus, alongside bassist WS Vulkan, guitarist Igniis Inferniis, and drummer Abyssius. The band was formed in 2008 and soon forging a reputation at home with their merger of dark Scandinavian ravages and South American designed metal. Their roots continue to inflame their releases as evidenced by their 2013 album and now its successor, but an evolution of invention and experimentation also spices their endeavours. The result, as mentioned in regard to Individualism, is an incitement which stays within the walls of traditional black metal but colours it with inciting designs and vicious seductions.

Recorded in the last three months of 2013, the album was mastered by Oystein G. Brun of Borknagar and features special guest Fabiano patria coverPenna in the songwriting and arrangement of the closing track of the release and the opening instrumental title track, Individualism making its bow with a brief orchestral call held in a cavernous ambience and clad in portentous intent. Its respectful incitement is soon smothered by the raging torrential blaze of Blood Storm Prophecy where rhythms jab and pummel the ears whilst riffs and sonic enticement rampage and intrigue respectively. The track meanders purposely around the senses in between its corrosive spurts of intensity, vocals a spiteful glaze upon the narrative and imposing breath of the track. Though the song is arguably not openly offering anything truly new it easily slips beneath the skin and psyche, terraforming resistance into a submissive and keen appetite soon fed potently by the third track of the album.

     Uncrowned God of Light, as it predecessor, makes a savage entrance. The guitars sear air and flesh with violent rabidity whilst vocals add their own rich causticity to the suffocating mix. It is a welcomingly imposing assault but one which truly sparks imagination and passions when the band uncages thick addictive grooves and a richly tempting swagger. From its ferocious start the song finds a clever restraint which allows colourful melodies and infectious imagination to permeate and expand the riveting adventure. The track is outstanding and holds onto best album moment, though it is often seriously challenged t by songs like the following Outrage, a masterful track stamping its authority rhythmically and inventively from its opening seconds. Striding beats hits the ears first before a maelstrom of acidic hooks and scarring riffs clad a further destructive twist of drum intrusiveness. The sonic lures sweep around and lash the senses throughout to feed a continuing to increase greed for the album, whilst melody bred hues flame and score thoughts impressively within the blistering blaze.

In many ways the album does not get any better than across this pair of songs but thoughtful invention and dramatic exploits are never far from capturing the imagination to keep the album initially a powerful encounter and ultimately an increasingly persuasive and revealing investigation. The next up Orphan of Emptiness epitomises this, its first suasion enjoyable though breeding a few doubts but becoming a firm favourite with its constant unveiling of new textures and ideation over time. The song again parades its wares and intent with an unmistakable confident revelry, grooves and riffs marching boldly before slipping into a reserved but creative prowl. The initial rapacious attack of the song is soon seizing control again, though its shares and switches throughout with its counterpart to strong success as the persistently shifting landscape of the track becomes very compelling. The bursts of power metal like vocals and thrusts at its latter shows further bravery in song and songwriting but do fail to convince though they cannot defuse the strength of the tempest.

The severe consumption of Far Beyond The Scorn brings an enjoyable if underwhelming ravaging in comparison to previous tracks whilst Catharsis reignites ears with its controlled tsunami of multi-flavoured sonic and emotional vitriol, the song careering with a mouthwatering blend of melodic and raw textures which again never settle primarily into one stance to keep thoughts and senses busy and unrelentingly excited. By this point a breath is needed and the band offer the opportunity with the excellent instrumental Epiphany, a track bringing classical elegance together with sinister drama, the union another potent seed for the imagination. Its dark peace allows a steeling of emotions for the venomous squalls of Your Rotten Heart Dies Now and God’s Entombment, the first of the pair a sonic predator stalking thoughts with serpentine melodies and sonic toxicity, both licking air and senses with merciless mordancy. The guitars provide a poisonous web of menace and emotive severity but equally engage and enthral with an overpowering bait within the rhythmic chaining, an enterprise also explored by God’s Entombment but with a more direct abrasing enveloping.

Closing on the expansive yet intimate climate of Requiem For The Ego, another instrumental which permeates every pore and corner of mind and emotions, Individualism is a magnetic and rewarding violation. It is an encounter which builds in weight, intensity, and sheer quality with every plunge into its blackened depths. There are still parts where you are looking for sparks of originality but those gaps with each release seem to become few and far between as Patria continue to emerge as one of the more potent and gripping extreme metal propositions.

Individualism is available on CD/ Vinyl/Download via Indie Recordings now!

http://www.patriaofficial.com/

8.5/10

RingMaster 21/04/2104

 

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Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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