Italian metallers Burn of Black have a sound which you almost feel should not work but as their new EP Danger shows it does and with very enjoyable effect. Combining what is primarily a blend of alternative and gothic metal as well as thrash, heavy, and power metal, the release consists of songs which twist and thrive with multiple flavours. At times there is so much thrown in that it borders the outskirts of messy but the Cavarzere quintet fused it together with passion and skill to produce a release which is richly contagious.
Formed by guitarist Marco “Markwild” Piva, Burn of Black instantly brought the influences of various musical backgrounds and experiences of its members into play with the band adding and evolving additional flavours and sounds as line-ups changes occurred over subsequent years. Inspirations from the likes of Exodus, Testament, Nightwish, and Kamelot, to gothic and melodic death spiced the early sound and with further diversity riling up and expanding the music with each change of personnel, the result is a riot of multi-coloured enterprise which despite almost overloading its invention into a disorientating maelstrom, ignites potent hunger and a full enjoyment for its adventure.
With a line-up of vocalist Giacomo Cordioli, guitarist Alessandro Bassani, bassist Sylvia Fabbris, and drummer Alberto Lèmoni 
alongside Piva sculpting its assault, the Inverse Records/Sweet Poison released Danger makes the strongest initial persuasion with Thrown Into The Chasm. The track is a mesmerising instrumental formed from dawning ambience, delicious acoustic lilted guitar embracing, and rising intensity of epic melodic breath. It is a dawn to the release which lures one in fully though the following Fears Driven To Insanity immediately avoids the expectations the previous piece sparks. The track unleashes short sharp scythes of sinew strapped riffs and equally imposing beats whilst the guitars bring their own abrasion to bear on an already eager ear. Into its stride with the bass and riffing as carnivorous as you could wish for, a trait of the whole release, the song whips up a furious energy mixed with great melodic vocals from Cordoli, his delivery set in classic airs and contrasting perfectly the aggressively carved presence in place. Twisting and shifting its stance with elements of nu, progressive, and post hardcore added to the blaze, and impressive sonic skill endeavour from Piva, the track is an enthralling and thrilling fire to bring the EP into full view.
The following Charon’s Rebellion gnaws on the bones and senses of the listener within seconds, the corrosive riffs coated in brutality and predatory intensity. Whilst they chew and subjugate the ear, the vocals calm the wounds with again great melodic persuasion whilst the emerging groove is as infectious as the harshness around it is intrusive. Once again the band merges diverse elements into a seamless understanding union which only intrigues and flips the switch of passion. To be honest going against what was said earlier slightly, the more a track and the release is ventured and embraced, clarity of thought and intent emerges and dispels the feel of closely missed chaos.
The title track lacks the dramatic power and presence of its predecessors, a classic metal flame making the biggest call within the still rapacious riffing and rhythmic bombardment. The song is impressively presented and constructed but fails to find the hook and grip of the others tracks, and arguably it’s less intense mesh of flavours is the cause of its weaker presence. There is no such comment applied to closer Slave In Chains. A mere breath between songs is all it takes for the release to raise another major snarl and vicious surge of riveting and caustic riffing accompanied by a groove which dances on the passions with wanton mischief flanked by a warm melodic breeze. Drummer Lèmoni has his most impressive moment whilst the bass of Fabbris prowls and threatens with bestial depth. It is an excellent track which like the song just before, does not infuse a vast amount of flavouring but this time hones it into a brawling exhilarating storm.
The Danger EP is a release which might split opinions though it is hard to imagine anyone not finding enough to offer up a positive outlook upon it, but for us it is a release which is adventurous and invigorating. In many ways there is nothing new going on but equally there are few bands creating a sound from so many varied and rich existing essences as enjoyably as Burn In Black do. The Danger EP just might be the start of something big.
8/10
RingMaster 17/05/2013
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instant lure of the vocals of Aaron Stainthorpe followed by the ever delicious emotive breath of the violin, Shaun MacGowan using the canvas set to paint a potent impassioned melancholic weave upon its surface, which seals the brewing recruitment to its premise. The heavy laden walk of the track consumes senses and thought, wrapping them in dense feelings for the guitars of Andrew Craighan and Hamish Glencross to seduce with their personal narrative and suggestively confronting riffs. The concussive approach of the drums certainly in cymbals and percussion does the song no favours to be honest, nor the release as a whole, but such the excellence at work around them it is a minor niggle especially when the song slips wonderfully into an elevated groove lined enterprise which reminds of the same heart recruiting, passion lighting anthemic temptation which veined the early work of the Skids, the slight Celtic whispers irresistible within the rhythmic snarl of drums and bass of Lena Abé. It is an explosive virulence which makes way for a gentle folk crafted climax for a little bit of disappointment despite its own personal beauty, such the quality and lure of what heralded its appearance.
instantly engage and open up attention and intrigue. Resting in a potent gait with the vocals of Taylor offering an immediately tasty surface to his delivery matched throughout by the tones of Jones when in union, the track is an eager and persuasive slice of invention. It comes with moments veined with strong whispers of Avenged Sevenfold which makes a familiar but not overriding spice to the encounter whilst the craft of the band grips with compelling skill. The sinews of the song badger and manipulate the listener with riveting hunger whilst the melodic enterprise leaves a brewing greed for more investigation in its wake, whilst the vocals it has to be said seal the deal. They may not be the best you will hear but there is something about all contributors and their union which enhances and brings another outstanding texture and depth to the songs.
spread an epidemic of a grooved riff upon the senses, its tone offering a mischievous invitation coated in an irresistible swagger. Stomping away with glee and enterprise the compelling lure is soon joined by the caustic riffs of Archer and Howells, their wonderfully abrasive yet wholly tempting sister groove recruiting any remaining doubts about the song. Settling into a steady stride as the vocals of Howells next lay another expressive persuasion upon the song, the crisp firm beats of Pilling frame it all with equally incendiary inducement. It is a heavy slice of pure rock n roll which makes no demands apart from subservience to its riff and groove sculpted call, something which is willingly offered within the first minute.
explodes into a muscular stroll of scuzz lined riffs and throaty bass calls within a cage of rhythmic sinews and acid warm keys. Taking a breath for the vocals of Harlow to start their lyrical declaration with an effect coating to his expressive delivery, the song stomps its rhythmic feet and waves a welcoming sonic finger at the emotions which is irresistible. There is wantonness to the stirring and sturdy spine of the song whilst the keys and melodic caresses within the riotous breath bring virulently infectious sultry temptation. The track dances like a combination of The Black Keys, Kings Of Leon, and Eighteen Nightmares At The Lux, leaving no passion and primal urge untouched.
air but also a feeling of irresistible compulsion soon reinforced by the expulsion of squalling acidic vocals from Montgomery, punchy rhythms, and a groove which gnaws at the ear with immediate contagion. Bass and guitar make a vociferous call within the fiery assault, their temptation relatively familiar but extremely potent whilst the vocals continue to leave a raw and uncomfortable challenge to accept or fall before. The track has a rich breath of punk to its harsh muscular ferocity, like a mix of Cancer Bats and early Therapy?, and leaves the appetite burning for more which is soon rewarded with the following Seismic Toss.
in 2011, its songs now making up half of the new EP which leaves no one in any doubt as to the craft and impressive invention of the band. Put On A Show opens up the record and passions, its initial engagement a tender caress of guitar within a hazy atmosphere which drifts down upon the ear and thoughts. Picking up its feet the song entertains crisp beckoning rhythms from drummer James Porter whilst the guitars of Mike Brown and Chris West drizzles some sonic enticement into the air, before expelling a big breath of vocal harmonies and the instantly compelling bass lures of Martin Dale. Once into its stride the outstanding vocals of West narrate an emotively textured embrace within the song with those harmonies again expanding moments with all wrapped in the fizzing electro sounds and accompanied by the excellent roaming presence of the bass. Across its length the track moves through gentle reflective persuasions and contagious energetic recruitment of the senses with a seamless formidable ease to leave a feeling of joy and breathlessness.
an impending sense of grandeur, that epic voice growing louder by the second. Bone shuddering rhythms next step forward alongside intensive riffs and beckoning shielded vocals to open up the sinews of the track, their spreading arms bringing savage riffing and the caustic squalling venom of vocalist Allen forward to accost and sear the ear. Throughout the malevolence the keys strike a balance with their beauty, a warm seductive temper to the raptorial hunger crawling all over the rest of the sounds which across the shuffling gait and evolving premise of the song continually makes the warmest persuasion to contrast but stand akin of the corrosive elements bred elsewhere.
wind loaded to a brooding bass and twisted riffs accompaniment. Installing a groove which whips head and passions from their slumber, the track unleashes rhythms from drummer Tim Clark which cage, poke, and explore the senses the further into the song you go whilst the bass of Ivan Coulburn offers a rapacious presence from first note to last, its presence a predatory link between the drum incitement, the flames sonic class of guitarist Jason Dean and the excellently continually shifting vocals of Sean Donovan. His delivery stalks a range of squalling provocation and malice dripping growls to ride the extensive grooves and invention of Dean like a tempestuous beast. The fact that the song and release as a whole does not always push the envelope and limits of its most potent elements is really the only ‘flaw’ you can lay at their doors, the track walking the lip of full adoration and addiction causing might but never quite taking that last leap of faith. Despite that the opener is an immense introduction which the rest of the songs only qualify in their individual and richly pleasing stances.
