BulBul – Hirn Fein Hacken

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Ok I will admit I had not come across Austrian band Bulbul before being handed their new album Hirn Fein Hacken, a release which sees them returning after six years from not sure where, but from here on in after the intensive psyche examination presented by their latest, a backward investigation is sitting high on the list of musts. An insatiable and mischievous, not forgetting criminally addictive, exploration of every delicious element you can imagine to rile, ignite, and seduce the very core of the mind and senses, Hirn Fein Hacken is quite simply sonic irreverence and quite brilliant.

The first sign of Bulbul we can find is the release of their self-titled debut album in 1997, Bulbul a one man project of guitarist/vocalist Raumschiff Engelmayr at the time. With Derhunt linking up on bass, the band released second and again self-titled album in 1999, via as the first via Trost Records. Drummer Ddkern joined not long after as the band continued to experiment with sound, imagination, and their fans minds through their third and fourth albums in 2003 and 2005 respectively, again under the same monikers as the others. 2006 saw fifth album BlllBlll unleashed whilst the Patrick Pulsinger produced 6 was uncaged via Exile On Mainstream two years later to strong acclaim and attention. Hirn Fein Hacken is as mentioned the band’s return, again via EOM, and takes little time in slipping under the skin of the senses and psyche as well as giving the passions an irresistible creative toxicity to feast upon.

The Vienna hailing band’s influences according to the press release include the likes of The Kinks, Cpt. Beefheart, Rhys Chatham, Django Reinhart, Abner Jay, Fats Domino, and Bob Dylan, but as the album seduces with its ingenious seductive dementia we would suggest artists such as Kontrust, De Staat, Yello, and Fantomas as a starting place. Opener Fire offers a wide groan before bringing all of its thought and energy into a concentrated rhythmically driven nagging of ears and senses. Riffs gently niggle as the bass provides a fuzz kissed tonic to greedily swallow whilst all the while strong vocals dance over the bait with devilry in their tone and relish on their lips. The song continues to swagger and weave across the imagination, enterprise of the guitar as boisterously naughty as it is creative and the bass an irresistible growling incitement impossible to tear emotions away from.

It is a magnetic start which has little difficulty in making slaves of thoughts and passions, leaving the following Uhu a willing canvas to play with. An electro simmering ebbs and flows initially, its voice slightly smothered but eager to break free to greater clarity. That aspect is taken by the funk bred grooves and suasion of the guitar matched by the vivacious vocal delivery. The song smoulders, never lifting its gaze or energy from a wanton sway of its body and sex infused melodies. Not as dramatic as its predecessor but equally as enthralling, the song makes way for I hea eh scho lång nix mea, a song which like the first secures its initial conquest through repetitive coaxing before exploring an industrially inspired realm with clanking tubes, concussive temptations, and unpredictable almost maniacal imagination. The track pushes the earlier thoughts of De Staat to the fore, the song a cousin of their Sweatshop track without the same feverish urgency. It is a glorious trap for the passions warming them up for the even greater infestation to follow.

That virulence comes in the shape of the ridiculously addictive and epidemically infectious instrumental Kanzla. From its first second, guitars respectfully grind against the ears whilst the bass again adds a barracuda like tone to the abrasing lure of the song. The rhythmic restraint with punctuating twists of the drums only reinforces the delicious irritancy as the track persists with its rub through sonic rises and falls. The dip into a brief sultry teasing only inflames the senses more before the track reverts to its feverish meshuga of a tango, intermittently interrupting its blaze with further inventive twists.

Both the psychotic Fisole, where instruments are abused and random items employed for a warped bedlamic cacophony, and the noise rock taunting of Quicksand keep the passions breathless, the second of the two finding an element of Melvins and even Pere Ubu to its spellbinding guitar sculpted temptation. As impressively thrilling as they are the pair are only the appetiser for the pinnacle of the album, Gurdy. The track takes a breath before cantering eagerly through the ears, spicy short guitar strokes and rumbling riffing spurred on by the darkly sinister vocals and unrelenting rhythms. The track is pure 100% unbudging contagion, every flavour, trait, and inventive bait pure addictiveness. Imagine Mike Patton, Pryapsime, and Queens Of The Stone Age engaged in an illicit enterprise and you have the quite magnificent Gurdy.

Genderman Can provides a raw punk fuelled rampage next, vocals and bass antagonistic whilst the guitar boils the air with a blues tasting sonic toxin which again is only good for health and passions, especially its closing warped and sizzling smothering of the senses. From here the album relaxes its energetic stance to unveil a pair of slowly burning treats. Bomb comes first, its opening air awash with the fiery country blues flames which were hinted at on its predecessor. With pulsating beats and a psychedelic ambience drifting over song and listener whilst the vocals like the music flickers within a seductive fire formed around the narrative, the track is a mesmeric enchantment littered and primed with broad intrigue and unruly invention, but within a relatively sobering confine.

The closing A To Beans is just aural sex, a slow hip swerving seductress with smooth rhythms, a throbbing intent, and a sinister vocal invitation which should be avoided but impossible not to embrace as deeply as the noir blessed sounds. It is a ridiculously captivating end to a quite sensational release. As these last words are written contemplation of how BulBul avoided our attention is loud and incriminations rife, but it is hard to imagine previous releases being better than Hirn Fein Hacken so maybe this was the right time to find the band. We are heading back into their history as you read and suggest you do the same once you have been infected by this mad beauty.

http://www.bulbul.at/

http://bulbul.bandcamp.com/album/hirn-fein-hacken

10/10

RingMaster 08/04/2014

Copyright RingMaster: MyFreeCopyright

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Nexilva – Eschatologies

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If Eschatologies is the portent or soundtrack to mankind’s ultimate destination as a species it is hard to know whether to be engulfed in bliss or unbridled fear. The new album from UK progressive death metallers Nexilva is a maelstrom of brutal invention and exhaustive experimentation, a tsunami of sound and vindictive intensity which is as excitingly unpredictable as it is frighteningly intrusive. It is an encounter which is almost too involved and adventurous for its own good, smothering the senses with so much imaginative mayhem and creative exploration that even after a dozen or so rampages through its hellacious depths new corners and facets are still emerging. The accompanying promo suggests the release is for fans of bands such as Born of Osiris, The Faceless, and Fleshgod Apocalypse, something you cannot disagree with and certainly it will not sit easy with every metal bred heart because of its vast experimentation but if technical violence and an unrelenting examination of senses, psyche, and imagination ignites fires for you than Eschatologies is a scintillating must.

Hailing from Sunderland and formed in 2009, Nexilva released their first demo The Viral Annihilation that same year before more dramatically stirring up attention with debut album The Trials of Mankind a year later. Followed by the Defile the Flesh of Innocence EP in 2011, the releases showed a band with not only massive potential but also the ability and bravery to cross pollinate numerous extremes of metal into one threatening yet compelling fascination. Their live presence was no less potent and exhausting either, the band gaining strong recognition as they shared stages and tours with the likes of Exist Immortal, Aliases, and The Algorithm as well as their own shows and festival appearances over time. Eighteen months in the making and mixed/produced by guitarist Andy Mallaby, Eschatologies is the next mighty step for Nexilva. It is a journey through scenery draped in technical, death, progressive, and black metal to simplify the landscape; climates of the fantastic, realistic, and portentous investigating the end/rebirth of man.

Released via Ghost, Eschatologies opens the first chapter with I: Teste Humanitatem Mori, a short piece which unveils an initial dark nexilva-coverand welcoming ambience soon lit by a wonderful caress of guitar, its classical melodic touch soothing and inviting. All the while shadows are converging adding their menace to the rising vocal harmonies and warm melodies. They eventually break through with roaring caustic growls and stabbing riffs though they still court the elegance which voiced the start. It is a respectfully dramatic piece bringing clouds and uncertainty into view ready for The Misdirection of God to erupt with seemingly insidious intent. Immediately the vocals impress; the diverse ever shifting style and delivery from Gary King, very ably backed by that of bassist Ryan Banks, magnetic within the equally revolving and evolving tempest around them. The rhythms of drummer Connor Jobes rampage with crippling sinews and ferocious agitation from their every beat whilst the guitars of Simon Atkinson, Rownan Tennet, and Mallaby cast a simultaneously vitriolic and enticing web of sound around ears and thoughts. As mentioned previously there is so much accosting and intriguing senses that you cannot at first take it all in over one song let alone the album, but as traverses of and time exploring the song unveils irresistible bait like the classically honed keys with at times stand to the fore and in others flirt from a hollowed distance, the adventure just gets stronger and more spellbinding.

Both Our Progenitor and This Is Humanity, distinct in their characters and offerings are bred from the same almost bedlamic onslaught, though it is all controlled and precisely sculpted. The first of the two again concocts a lethal and enchanted storm for the beleaguered senses to immerse within, its predacious intent as rabid as it is contagious. The keys again seduce from within the uncompromising voracity and not for the last time whilst slipping easily aside the malevolent raging they provide a wonderful discord fuelled friction which just lights the imagination and pleasure further. Its successor takes a more premeditated preying of its recipient, grooves and keys seducing whilst riffs and rhythms cause havoc within the irresistible caressing. Twisting and turning not only itself but the psyche, the song adds hardcore vocals and progressive flights to its savagery, like the album making expectations redundant.

The melancholic II: Scientaia Tenebris opens up the next movement of the album to provide a respite before the venomous Necromancer seizes control whilst still employing the emotive melodies of its predecessor within its serpentine toxicity and rapacious enslaving of ears and emotions. Like all tracks, the song leaves you gasping for breath in body and thought, every turn a new extensive exploration to be taken within its whole endeavour. The Collapse immediately proves to be the same and with equal potency and success before the outstanding title track raises a new pinnacle for the release. The track spews malice and hostility from its first vocal and rhythmic touch, aligning them to punishing sonic and rhythmic frenzies. As all tracks to describe everything within would need a page per song but needless to say Eschatologies is a nonstop bordering pestilential rampage.

Cybernetic Lucidity disorientates and lacerates the senses next, its flailing rhythms and riffs a welcome distraction to the intensive suffocating invention broiling synapses from within their cage whilst after the dark and wildly simmering peace of III: СКЕЛЕТ, the band unleash the classically walled, viciously vehement Premonitions which features a guest appearance from Ricky Lee Roper. The track parades riffs and rhythms with a horde like mentality and appetite upon ears whilst its successor Invasion, lashes and chews on the wounds with sonic invention and a combined riff and rhythmic rabidity.

The album closes with first the tremendous Evil Will Prevail featuring Exist Immortal vocalist Meyrick De La Fuente, the song a ferocious blaze of spite, antagonism, and creative imagination. The track bewitches as powerfully as it annihilates, the expressive clean vocals and melody crafted passage towards its end a seduction within the masterful turmoil that lingers long into the final instrumental IV: Non Magis Adrogantiam.

Eschatologies is a thoroughly demanding and intensive proposition which only expands and broadens its hold and depths with every listen. As said there is a multitude of inventive exploits within every twist and turn which at times makes it a difficult listen in regard to taking it all in but unrelentingly thrills and invigorates as it bewilders and exhausts. It is a glorious maze of sound and invention from Nexilva, simply a ravenous fascinating aural kaleidoscope.

https://www.facebook.com/nexilva

9/10

RingMaster 08/04/2014

Copyright RingMaster: MyFreeCopyright

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Damn Vandals – Rocket Out Of London

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It is fair to say that psyche rockers Damn Vandals swiftly set themselves a place in British rock as one of the most exhilarating and promising propositions with their 2012 debut album, Done For Desire. It was an encounter drenched in originality and a feverishly diverse flavouring setting the band apart from most. To confirm and stretch all of its potency within a new mentally twisting maelstrom of psychotic goodness, the London band now unleash the senses infestation that is Rocket Out Of London. It is a glorious swagger of caustic abrasion and acidic ingenuity honed from a brawling incitement of garage punk, psyche and stoner rock, as well as a vein of raw punk, simply put demented rock ‘n’ roll at its most addictive.

As for a great many, our admittedly eager affair with Damn Vandals began with the release of their Beautiful Mind EP, a widely acclaimed encounter awakening attention and appetite for the potential and instantly impressive presence of the band. The release and subsequent songs though was only the taster for bigger and major things to come, Done For Desire thrusting the quartet to new levels and into a richer spotlight with its release. Uncompromising but with a contagion to its presence which works under the skin like a welcome niggling itch, the band’s sound has found a new depth and power to its virulence with the new release whilst still retaining the raw dark textures and unhinged threat which stirred up the passions so quickly upon their emergence. As evidenced by Rocket Out Of London, it has become a twisting intrusive beast which wraps with almost insidious intent around the ears, permeating every pore and synapse with an exhaustive toxicity which simply ignites the imagination and passions. Produced by Julian Simmons (Midlake, Ed Sheeran, Guillemots, Goldheart Assembly) as was its predecessor, the album takes the listener on a dirty and intimidatingly shadowed ride through explorations of themes such as celebrity stalking, hard liquor, death by dreams, madness and homeland security amongst many but ultimately just through the creative mad ingenuity of the band.

The album opens with the first single uncaged from its wonderful aural rapaciousness, Twist Up And Tangle. Released mid-March, the dv coversong laid down the strongest bait for the full-length and still holds its intensive grip with an epidemic bait of granite sculpted rhythmic punches and scything sonic swipes of guitar. From its first second the song is an inescapable cage for the senses and emotions, a scarring provocation soon given richer fuel by the ever distinct and voraciously delivered vocals of Jack Kansas. The track is swiftly into a predatory stride, prowling around the ears with a sonically slavering intensity from the guitar of Frank Pick and the dark throated voice of bass held in rein by Adam Kilemore Gardens but still adding commanding menace to the whole of the psychotic fare. It is a masterful and insatiable stalking driven by the magnetic beats of Chris Christianson, but one which with its spewing discord and melodic flames as well as corrosive hooks and breath, provides a raucous dance to shield the fact we are being preyed upon.

Like a mix of Fatima Mansions meets The Birthday Party, the opener alone wakes a hunger to which the following Cities Of A Plastic World adds its own imaginative virulence. The track opens with a rhythmic drama speared by a ridiculously contagious hook, its abrasing hot touch a niggling pleasure just hard to get enough of. Around its tempting Kansas again parades the song’s narrative with unbridled expression whilst the guitar of Pick continuously lights up new corners and adventures to court his primary enticement with skill and enterprise, the album easily his finest inventive and moment yet, as it is of the band itself. The track sculpts another immediate pinnacle in the impending lofty range of the album and is soon equalled by Too Lazy To Die Too Stoned To Live, a sultry stroll with a citrus edge to its grooves and melodic teasing. There is a definite lick of Queens Of The Stone Age initially and Eagles of Death Metal later to its constant erosive taste and hypnotic stance.

I Bring You Love which made up part of the earlier mentioned single keeps the album coursing potently through the body, its psychobilly/Cajun swamp-esque stomp with sliding toxic mesmerism and blues bred frisking irresistible. The track just gets better and more virulent with every crossing of its red-neck terrain with dirty violating rock ‘n’ roll scenery. With more than a feel of Screaming Blue Messiahs to it and always an essence of the previously mentioned Cathal Coughlan led band to the presence of Damn Vandals, the track is a delicious lingering antagonist to unreservedly submit to.

Both Number One Fan and Whisky Going Free provide a new mischief to fully devote attention and passions to, the first merging classic and incendiary garage rock for a rampaging stomp built upon the intensive frame work of Christianson, a cage again laced with riveting guitar revelry and craft. Its successor sidles boisterously up to the ears with tight sinews and deviously coaxing addictive grooves, the track a less expansive dark tango than say the last but with a no less leaner determination in its air and voice to seduce and inflame the passions, which it does with ease.

The following I Hate School hits the spot perfectly but lacks the spark of other tracks, a familiarity and somewhat predictable essence to its body slipping up against the surrounding triumphs. To put it into context though, with absorbing blues/psychedelically teased guitar invention from Pick and a certain unavoidable catchiness to its lure, the song still has feet and emotions fully engaged before next up Mad As Hell takes them on a similarly successful and potent ride, if again without quite matching earlier heady heights. The track rumbles and strolls with attitude and a thought immersing design all the same to keep the fire for the album burning eagerly.

The closing pair of tracks takes the release back to its highest plateaus, the first This Music Blows My Tiny Mind, another incitement with the stance of a predator and the drive of a volcanic eruption expelling sizzling melodic flames, searing hooks, and climactic rhythms building to a quite scintillating final drama. Its successor, the title track brings the album to a glorious closure, its addiction forging rhythmic slavery and scorching guitar endeavour an inescapable virulence guided as masterly as ever by the gripping tones of Kansas. Like a mix of QOTSA, Julian Cope, and Rocket From The Crypt, the track is a brilliant finale to a quite outstanding taking of the soul.

Rocket Over London with ease reveals that Damn Vandals is no longer the potential future of certainly raw British rock ‘n’ roll and garage punk but the template.

http://www.damnvandals.co.uk

http://damnvandals.bandcamp.com/album/rocket-out-of-london

9.5/10

RingMaster 07/04/2014

Copyright RingMaster: MyFreeCopyright

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The Afterparty – Distances

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Distances the new mini album from UK rock band The Afterparty is one of those thrilling releases which makes a sizeable and instantly agreeable initial impression but over a brief time it has hooked the emotions, reeled them rigorously in, and locked them away in an inescapable cage of lustful appreciation. It is a formidable beast of an album fusing melodic and alternative rock into one exhilarating riot of sound and passion. It is also an encounter which suggests that The Afterparty is still a work in progress which only adds to the excitement generated by the six track tempestuous stomp.

There is little we can reveal about the band except they consist of vocalist Nic Matthews, guitarists Matt Semmens and Joe Roshier, bassist Dave Sheard, and drummer Matt Russell, were formed in 2010, and have just come off a successful UK tour with We Caught The Castle and Road To Horizon. To be honest their music does all of the talking and Distances certainly shouts loud and vivaciously for them. Produced by Matt O’Grady and bringing previously released singles into a healthy union with new tracks, the self-released album lights up the imagination from start to finish, suggesting that The Afterparty is more than ready to explode into an intensive spotlight; an attention it is not hard to expect coming their way sooner rather than later.

Lost Cause opens things up and is sooner thrusting melody fuelled riffs and grooves with a pleasingly abrasive edge through the ears, The Afterparty 'Distances'vocals smoothing their passage with strong harmonies and expressive intent. The bass of Sheard just as quickly as the guitars grabs attention; its throaty tones a riveting shadow to the scorching enterprise and adventure sculpted by Semmens and Roshier. The at times rumbling rhythms from Russell also steal their fair portion of the scenery; his athletic craft understanding restraint and aggression within a song perfectly. The track continues to leap upon and side step expectations with invention and exhausting endeavour as it provides a thoroughly contagious and invigorating start to the release.

The following Cover Up strides purposely as its makes its entrance before relaxing into a niggling persistence of guitar soon joined by a clean vocal narrative and framing beats courted by the ever dramatic voice of the bass. It is not long before the song is into the pungent stroll of the chorus, infectiousness and climactic emotions a crescendo of irresistible and slightly familiar if indefinable persuasion. Like the first track, it intrigues with its unpredictability within a well-defined body of sound and intent, and like every song a fascinating proposition to surprise and enthral.

By the end of each track you feel you know them as a close friend such their addictive prowess and easily accessible inventiveness, the next up Open Road being no exception. The song romps with sinews an open attraction from its first breath but reins them in as the band explores the emotive landscape cast leading to the ridiculously catchy chorus, another explosive anthemic temptation which this time has a definite Fleetwood Mac to its melodic lures. One of the first singles to draw people into the arms of The Afterparty it is clear to see why with its easy but potent bait.

The band’s latest single When The Lights Go Out initially is a gentle walk with elegant stroking melodies though that bass once more adds virulently tempting shadows. It is a strong if under whelming start but within a minute things turn into a furnace of passion and inflammatory energy which simply awakens the song, musically, vocally, and in heart. It is an absorbing and anthemic fire, guitars igniting the air and rhythms caging all of the passion of the vocals and sonic endeavour within their commanding presence masterfully.

The outstanding Liar Liar comes next, the track thrusting its almost antagonistic intent and muscular body at the ears with riffs barracking and grooves entwining the senses whilst rhythms lay down their own hungry bruising. It is a glorious start with Matthews roaring as he rides their charge, subsequently bringing a harmonic union with the band when the song nestles into a less forceful but similarly imposing stance. It along with its predecessor discovers the perfect union of reserve and ferocity, restraint and fiery emotive expulsions, both telling you all you need to know about The Afterparty and the reasons you should watch them closely. The closing Within The Looking Glass only adds to that evidence with its drama and intensive emotion not forgetting immense musical quality.

It is hard not to be excited by Distances, especially as despite how mighty it is the suggestion that The Afterparty is still in the earlier stages of their creative journey is strong. It is another step in their ascent to eagerly relish and breed a hunger over but easy to feel that it is just the beginning of many very notable and inspirational horizons ahead which only increases thrilled anticipation.

https://www.facebook.com/theafterpartyofficial

8.5/10

RingMaster 07/04/2014

Copyright RingMaster: MyFreeCopyright

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Ferium – Reflections

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Parading a roaring muscular sound built from numerous metallic essences around a death metal spine, Israeli metallers Ferium more than lives up to the brewing buzz around them with debut album Reflections. Twelve slabs of creative brutality and imaginatively skilled endeavour, the release is a formidable and striking big step into the wider metal world, one which hits hard and impressively initially but only truly reveals its depths and strengths and those of the band across numerous exploits with its intrusive presence. The quintet delves into the rich wells of groove, technical, general extreme metal and more to enhance their core viciousness and persuasion, a fusion as proven by their first full-length which is something not exactly unique but definitely seizing attention and a hungry appetite as it starts setting its own path now and for the future.

Ferium was formed in 2006 taking initial inspirations of Pantera and Lamb Of God into their intent though that expanded over the years with influences from the likes of Textures, Gojira, and Death adding to the fuel driving their invention. Equally growing up in Haifa and the situation in their country has added depth to the lyrical and musical side of their emergence. The band does not directly or openly explore any aspect of the conflict and climate they grew within and felt personally but it is scenery which has brought a raw and uncompromising breath to their sound and presence. Their first release, The New Law EP in 2009 took the band into a strong spotlight at home and further afield, helping to lead Ferium to appearances at big home events such as Summer Carnage and Hallejujahas well as those abroad like Wacken 2009. Last year saw a more intensive time for the band, tours supporting The Agonist, Threat Signal, Mors Principium Est, and Dawn Heist around Europe and the UK following a show opening for Gojira in Israel. The end of 2013 was marked by the band signing a deal with Transcend Music and the worldwide distribution for the 2012 recorded Reflections, a release you sense could open up a highly receptive hunger for their presence.

Opening track By The Book lays an initial abrasive guitar coaxing upon the ears, a sonic wind brewing alongside it before being punctured Reflections Coverby the heavy probing rhythms of drummer Ron Amar. It is an intriguing start, one offering various options of where the song and album might go without revealing anything too soon. It is not long though before the drums increase their pressure, the bass of Yoni Biton closes in with dark intensive shadows, and the guitars of Elram Boxer and Guy Goldenberg sculpt a weave of tight grooves and searing riffs to transfix thoughts and emotions. With the harsh yet welcoming vocal abrasion of Tiran Ezra unleashing the first narrative, the track wakes up eager attention early, leading it into a magnetic fascination which in turn ignites the imagination. The thrilling song does not really explode at any point but is a constant blaze of invention and technical prowess which is stretched to more dramatic adventures across the album, in fact right away with DownHill From Nothing.

The second song entwines the ears in an infection fuelled groove from its first breath, the guitars seducing with full potency as bass and drums badger the senses into another swift submission. Again the vocals graze and roar with an unbridled causticity but only to accentuate the virulent lure of the song. The bass of Biton prowls and growls with understated but open ingenuity throughout the tempestuous offering yet it is the work of Boxer and Goldenberg which more often than not steals the focus upon the song, the melodies and emotive designs from their strings richly colouring song and imagination. Like the first it has an inescapable contagion to its enterprise and especially its grooved bait, and like its successor draws a greedy appetite for its invention.

Both The Very Existence and Mirror exploit an already eager attention with their individual persuasions, the first creating a weave of djent seeded technical manipulation with an almost thrash spawned antagonistic fury of death metal with metalcore bred essences. It is heavier and more intense than its predecessors without dismissing any of the melodically nurtured sonic exploration which marked their success. With a strong evocative ambience also washing the canvas of the song it is a thought provoking and longer to convince encounter, as is its successor though both refuse to relinquish the grip already seized by the release. The second of these two squall over and ravage the senses with again a stronger rabidity; vocally and rhythmically the track an abusive suasion whilst sonically it sears air and flesh, the combination another offering to feed the hunger inside.

The entrance of Side Effects is exceptional, an intimidating but irresistible gentle tempting from the guitars and the perfect lure into the spiteful aggression to follow. Its gait is almost stalking the ears whilst the outstanding bass hook and acidic guitar toxicity steals the passions below an unreserved rhythmic provocation. Its masterful adventure is replaced by the instrumental The Black Eyes, a piece ripe with classical keys elegance and scuzz surfaced energy. It is music which builds its size and intensity across its skilful narrative, inviting the imagination to cast its own tale though it is less successful with the passions especially with the bestial Lust Fool bursting in right away. It is a bear of a song, muscles holding sway within the black density and throat of the onslaught whilst the guitars lash and rhythms pummel the senses around the ever malicious vocals. It is a drama fuelled, adrenaline driven monstrosity of an encounter and thoroughly scintillating.

After the similarly predacious Caustic Value, an intrusion which easily feeds wants without lighting fires, the album takes another upturn with the brilliant Change Of Winds soon matched by Business On Demand. The first of the two romps with and dancing over ears and senses with grooves and jagged riffery from its first second, the track gnawing, jarring, and disorientating senses magnificently whilst Ezra riles syllables and tones for an equally malevolently textured assault, his variety in delivery a constant pleasure. The track twists and lurches wonderfully, all the time depleting energy and scything slices from the synapses until an exhausted pleasure lies in its wake, one soon re-energised by its successor. An open and familiar groove leads the way under the persistent cosh of rhythms and barracking riffs, the temptation recruiting full allegiance for the subsequent savagery vocally and musically which envelops the still dominant groove cast toxins.  Both tracks provide the pinnacle of the album and the band’s songwriting in brutality and epidemic seduction.

The album is concluded by Blood and its title track, the pair insatiable trespasses bringing an outstanding release to a mighty end, the first of the two an insidiously nasty demonic capture of ears and beyond whilst the last song simply churns up and suffocates emotions with mouthwatering invention and crippling intensity respectively. Wrapped in excellent artwork from Eliran Kantor (Hatebreed, Sodom, Atheist), Reflections is extreme metal of the highest order and shows Ferium as having the potential of forging truly major horizons ahead whilst giving a rather breath-taking treat for the now.

http://www.feriumband.com/

9/10

RingMaster 07/04/2014

Copyright RingMaster: MyFreeCopyright

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

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