Seizing time and opportunities: an interview with Enfeeble

enfeeble

German metallers Enfeeble might still be a bit of a secret to the wider metal world but with new album Encapsulate This Moment they have made a potent statement which should grip a stronger attention. It is an album which arguably does not quite fulfil the open potential of the band and their blend of melodic and heavy metal with metalcore predaciousness, but certainly makes a potent impact and in hindsight a lingering lure which brings you back to its compelling confrontation time and time again. Wanting to find out more about the band we had the pleasure to ask guitarist Pascal (Baal) Stafflage and the band about the origins of Enfeeble, their new album, life for a metal band in their hometown, and much more…

Hi and many thanks for taking time out to talk with us.

Firstly can you tell us how the band and its members came together?

It was a few years ago in 2005…Luke was the singer of the school band and I was looking for a singer and guitarist for a new band. I asked Luke if he wants to start a band with me and he was excited directly. A drummer and bassist were found quickly and so we started as a small punk rock band. In the coming years we’ve had many changes on bass and drums. Since the beginning of 2013 we are the current cast.

Did you have any deliberate idea or direction for Enfeeble from the start?

Absolutely no…We started as a punk rock band (like Sum 41, Blink 182…) in 2005 and somehow we grew old and became some sort of metalheads with a little bit of punk rock influence. With the fast and harder music, we feel more comfortable.

You come from the Lingen in Germany. What is it like in the town and surrounding areas for a band trying to emerge?

Really bad to be honest…This whole area has a couple of metalheads but unfortunately most of them retain to a special kind of genre and it´s not our genre. Maybe it’s the country life here. We have no idea what it is. Therefore, we travel a lot around the country.

coverYou have just released your second album Encapsulate This Moment; how do you see the evolution of your sound to it from your debut full-length Too Ugly to Show it!?

We never really see the evolution ´cause we are right now in this process of evolving. But when you compare Too Ugly To Show It and Encapsulate This Moment you can hear that we have become more “metal” and try to improve our skills at our instruments all the time.

Did you approach the new release any differently to the previous album, whether through simply the experience of previously recording something or to achieve something specific?

We have changed the bass player, drummer, studio and attitude. So you can see…almost everything. The result is Encapsulate This Moment…A significant improvement.

With its strong blend of aggression and grooved endeavour, did you find yourself developing a broader bravery in your songwriting for the new album than ever before?

Of course… Almost every month we find new bands and therefore new influences. The songwriting is affected by this as well. And we try to sound unique as every other band to.

What were the biggest inspirations for the album musically and lyrically?

Musically it´s some bands like Killswitch Engage, Protest The Hero, Dream Theater or Threat Signal.

The lyrics were also created by experiences of everyday life.

How does the songwriting process work within Enfeeble?enfeeble3

We got some different ways. Either we play all together and discuss every part and the arrangement. Or Baal writes a song and we refine just a few parts or Baal and Luke sit together on a weekend locked up from the world only surviving with pizza, beer and energy drinks.

Did you find the tracks developing new characters during the studio process or stayed pretty much as intended going into the situation?

We worked together with Jörg from Soundlodge studios and he gave us some of his advice and we rewrote some parts. It was a very inspiring and enjoyable time with Jörg. We learned a lot and had good experiences.

The album has an invigorating rawness to its breath; did you do anything in particular to encourage this aspect?

Luke has a raw natural voice. No fake – All original. Maybe if he starts with smoking and whisky drinking, he becomes the new Lemmy. Just a little big joke :-) Honestly we would not change much on the vocals. Only improve, not change.

Was anything learnt during recording Encapsulate This Moment which surprised you and will be taken into your next release?

Less is more! Some parts, where we have had some double bass and blastbeats are now a standard rock beats. But in the mix it sounds a lot heavier. That was an important experience for us.

For us it is the title track to the album which gives us thrilling chills, is there any moment or essence of the album which gives you extra satisfaction?

Maybe it´s A Million Voices, because the song is really complex in itself and it’s always fun to play it. But also As We Were Like Shadows ´cause it has a personal story and Luke has sung it so fucking beautifully that Baal was crying in the studio. (Beautiful bastard).

You have a strong reputation for your live performances, a different proposition to the studio of course but do you think you captured that same intensity and honest raw quality on the album also this time around?

We guess not. We are always a bit nervous on stage but we believe that we also therefore play with so much energy.

Talking of shows how is 2014 planning out so far for the band ahead?

We already have some confirmed dates. However, we continue to search for new performances… Also internationally. Current dates are always on our website http://www.enfeeble.de

Back to Encapsulate This Moment; tell us about the striking artwork for the album.

We had the luck, to work together with Björn Goosses of Killustration. We had an artwork in our minds but his suggestion (what he thought when he thinks of Encapsulate This Moment) was just perfect for us.

enfeeble 2What comes next for Enfeeble other than shows?

We are working on new songs for the third album. We want to hit the studio in the beginning of 2015. Maybe by then we have found a label who wants to work with us. That would be a dream come true.

Thanks once again for chatting with us, any last thoughts or words you would like to finish with?

Encapsulate all your moments! And thanks a lot for the interview.

https://www.facebook.com/EnfeebleOfficial

Read the review of Encapsulate This Moment @ http://ringmasterreviewintroduces.wordpress.com/2014/03/07/enfeeble-encapsulate-this-moment/

Pete Ringmaster

The Ringmaster Review 27/03/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

 

Goldray – Self Titled

Goldray Press shot 3

Ahead of the band’s first full-length later this spring, we take a look at Goldray’s self-titled debut mini album which was released earlier this year. Consisting of four mesmeric and dramatic soundscapes bred in early seventies psychedelic temptations within fiery rock embraces, the release is an enthralling encounter fuelling the imagination and emotions whilst laying down the most compelling bait for the upcoming album.

Goldray is the project of Reef guitarist Kenwyn House who formed the band in 2010 when teaming up with vocalist Leah Rasmussen (Hydrogen, EMI, Bedrock, Renaissance). Sharing the vision to create music ‘blending psych and prog experimental arrangements resulting in a dynamic that took them towards psychedelic rock’, the pair enlisted Kula Shaker drummer Paul Winter-Hart and bassist Sinah Blohberger in 2010 and 2011 respectively. The band’s second year saw Andy Treacey (Faithless) take over the sticks whilst in 2012 Geoff Laurens (The Resistors) joined the band to take over bass duties. Financed via Pledge Music, the mini album features performances from both the previously mentioned drummers as it revels in the inspiration of the psych rock tradition of the late-sixties and early-seventies. House has commented on that influential period by saying “That era is so avoided by most of the media and the musical orthodoxy which is strange considering how powerful that time was for music and culture. Much of what was being said then – freedom, war, environment – is just as relevant, if not more relevant, today. It’s such a rich area to draw on.

Co-produced by Clive Martin with House and Rasmussen, with final touches provided by Brit Award-winning producer Pedro Ferreira, the Goldray_Artmini-album saw its first ‘soft’ release to pledgers last November with an official release on the band’s own Akashic Records late January. It is a proposition which washes over the senses with melodic flames which seduce as potently as the almost siren like voice of Rasmussen, though she only leads the imagination into inciting adventures of sonic invention within evocative landscapes rather than any destructive intent. Opening song Outland instantly transfixes attention with an initial caress of thick sonic coaxing, a firm and strong yet gentle beckoning. With a darkly resonating bass tone joining in with the celestial caresses of Rasmussen’s delivery, a sultry air and heat envelops the senses as the band paint its intensive canvas. The track continues to drift and entwine around thoughts and emotions but with a bordering on exhaustive intensity and drama which enflames ears to imagination, passions to appetite. It is an immersive flight which challenges and seduces with equal strength before leaving the psyche in the hand of the closing glance of Instrumental: The Arrival, it a lingering spice which only increases the already awoken anticipation for the album as it closes the first song.

The following Calling Your Name emerges from dark imposing shadows and a menacing rhythmic stalking, a discord kissed surface to the guitars an additionally sinister taste to the portentous entrance. The voice of Rasmussen provides a beacon through the darkness, holding back the dark nightmares and drawing in breaking shafts of melodic warmth and magnetic beauty. It is a glorious evocation soon surpassing the potency of its predecessor. Its towering and slightly threatening walls frame an unpredictable and transfixing waltz, rhythms and bass continuing their heavy persistence whilst vocals sublimely entrance within their cage. The best track on the release it is a delicious danger and seduction rolled into one.

Indigo Sky courts a warmer climate though shadows and intensive incitement are no stranger to the soundscape either. As Rasmussen soars through the evocative textures and expansive sonic painting, guitars and rhythms unveil rich provocative hues and inventive temptations to bewitch and push the senses whilst the bass again lays down a dark lure which only adds to the engrossing call of the journey.

The closing Diamond Road is in many ways the most strongly sixties influenced offering, its body and melodic soul seemingly more impacted by those evocative flavours of the time  especially with the delicious Doors like keys, though just as boldly it embraces a richly coloured modern sonic fire. Completed by the brief Instrumental: The Busking Magician, the track is an epically enthralling conclusion to a similarly compelling release. Goldray’s first official offering is a strikingly full and fulfilling encounter which if a hint of the upcoming album provides the strongest enticement possible.

http://www.goldrayband.com

8.5/10

RingMaster 27/03/2014

Copyright RingMaster: MyFreeCopyright

 

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

http://www.audioburger.com

 

Tyson Leslie – Train Wrecks, Havoc and Heartbreak

Tyson Leslie Promo 2

US musician Tyson Leslie has been a vibrant part of the Kansas City music scene for over twenty years, playing in cover bands such as Karma, Baloney Ponyz, and 90 Minutes, whilst also aiding onstage the likes of Corey Taylor (Slipknot/Stone Sour), Gavin DeGraw, Paul Gilbert (Mr. Big), Carmine Appice (Vanilla Fudge, Rod Stewart,), and George Lynch (Dokken/Lynch Mob), as well as recently touring as a temporary member of Red Line Chemistry. Train Wrecks, Havoc and Heartbreak is the debut of his own material after two decades of playing other people’s music and such its irresistible infectious charm and masterful anthemic might, you have to ask why it took so long for the man to thrust his own songwriting talents forward. Merging a tasty mix of rock pop, country rock, and melodic invention, the album is an exciting romp to set ears and passions firing.

Leslie provides everything from song writing and production to the multi-instrumentation and vocals on the release with only KC drumming legend Go-Go Ray a constant addition. Train Wrecks, Havoc & Heartbreak does also see guest back-up vocals from people such as  David George (David George & A Crooken Mile), Laura Roach (Solus), Jacklyn Unruh amongst many, as well as guest solos from Tory Stoffregen (Enuff Z’ Nuff/New Black Seven), Josh Johnson (The Slowdown/Wonderfuzz), Freddie Francis (Saucy Jack), and Samantha Fish. It is a vibrant proposition which from its opening seconds is dancing with the senses.

From a failed attempt to start its motor, Little Green Honda bursts into life with vivacious riffs and crisp beats, hooks immediately taking tysonleslietrainwreckscoverarta welcome grip. The strong vocals of Leslie soon join the ride, his delivery clean and potent to match the surge of the power pop heart of the song. With keys winking throughout and grooves flirting with ears, the track is an infectious romp with a familiar yet refreshing presence. Not for the last time, Leslie veins a song with skilful guitar craft engaging enterprise ensuring the album gets off to a thumping start.

The following Crazy All Over provides a rich country rock twang to its initial caress, keys and melodies equally southern rock heated and inviting. Undemanding yet irrepressibly resourceful in sound and vocals, the track strolls with a commanding swagger and coaxing rhythmic mischief sparked further by magnetic sonic endeavour before stepping aside for the equally enjoyable She Danced Under Lights. The third song on the album brings a choppy eighties riffery to its entrance and similarly timed breath to the vocals. The sharing of an excellent female delivery with that of Leslie to lead the song is potent as the expressive sound, the resulting warm seduction rife with feisty attitude playing like a meeting of Nick Lowe and T’Pau.

Selective Amnesia bounces in next with jaunty keys and punchy rhythms within a rock ‘n’ roll dance which easily reminds of Dave Edmunds, never an unwelcome inspiration for a song to embrace. The track leaps and bounds through the ear with an appetite to rock which triggers the same in the listener, its anthemic lure contagious and unstoppable. It is an exploit to get pulses racing which A Mourning To Lament brings back to a more stable rate with its melodic breeze and emotive caress. A gentle yet keen song in gait and invention, the track makes a pleasing stop on the journey of the album, keys an emotive narrative, but does slip in impact against the tremendous presence of the album to this point. Nevertheless it is an engaging song feeding the greedy attention inspired, a success matched by the ballad Goodbye To The Rain. Once again piano and vocals craft the evocative narrative which is further strengthened by flames of guitar and emotion.

The thumping drive of Suckerfish has the release flipping up the gears again, guitars and rhythms guiding the imagination into an epidemic dance of insatiable addictiveness pushed by again outstanding vocals and harmonies from Leslie and guest. Its mighty temptation is taken one better by the Costello-esque croon Stranger, a song which plays like an old friend with recognisable habits and brand new deeply gripping hooks. It is a masterful piece of rock pop matched by the distinctly differently guised but similarly delicious Wasted Time. Power pop at its best, the song has feet and voice recruited early on with passions close on their tail.

Both If He Comes Home and Blanket For Your Soul provide further proof of the varied flavour to Leslie’s songwriting, expression, and humour, the pair engagingly crafted melodic suasion in their respective rock and bluesy offerings. Their pleasing if underwhelming, again only in comparison to the weight and power of songs around them, presences are soon paled by the excellent 88 MPH, its urgently fuelled energy and rhythmic grin another impossible to resist adventure within Train Wrecks, Havoc and Heartbreak. The final song with its Lennon and McCartney like make-up, The Last Word, provides a closing ‘lullaby’ with its fine sounds and lyrical enticement, a last kiss from the strengths which have bloomed across the album.

    Train Wrecks, Havoc and Heartbreak is an excellent introduction to the solo side of a highly respected artist. Better late than never they say, and it certainly applies to the Tyson Leslie.

http://tysonleslie.com/

http://tysonleslie.bandcamp.com/album/train-wrecks-havoc-heartbreak

9/10

RingMaster 27/03/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

 

Bask in Feathers: Introducing Rooster Cole

Rooster Cole pic

If like us you have been impressed and excited by Brighton band Black Black Hills, you might just get a tingle, again just like us, at the thought of a solo project from the band’s frontman Mark S. Aaron. When the man in question got in touch telling us about his new solo project Rooster Cole, there was an immediate intrigue and excited eagerness to find out more and once we had embraced the first two songs from this new adventure, there was little option then to share. As expected from previous exploits there is an elegance and grandeur to the sound of Rooster Cole but equally it has an intimate presence skirted by wonderfully invasive shadows. Nick Cave springs to mind as a comparison in many ways but truly the project has a uniqueness which seduces from the first note and syllable.

As mentioned Mark S. Aaron was /is the frontman to Black Black Hills, not too sure on their state of being right now to be honest, a band which has supported the likes of Twin Shadow, Maps & Atlases, and The Vaccines. Their sound also found good acclaim from the likes of Edith Bowman, Nick Grimshaw, and Huw Stephens, with their single Far From My Arms chosen by Lauren Laverne as one of her show’s MPFrees of the Day and placed on the Radio 1 playlist. Rooster Cole sees Aaron step out alone with a pair of captivating tracks as his first temptation. Still to play live as he works on further songs with a single and video planned for later this year, Aaron is already brewing up some hungry attention and it is easy to see why with the magnetic charm of his first offerings.

The two songs marking Rooster Cole’s emergence are More Than You and The Waiting Place, two sultry evocative persuasions which simply entrance the imagination as potently as the ears. More Than You moves into view on a breeze of jangling guitars and a broody bass tone, all gentle and restrained in their gait but rich in their expressive hues. Once the distinctive tones of Aaron open up the narrative’s croon a thicker emotive embrace cradles thoughts immersing the listener into a smouldering climate of heat and incitingly suggestive seduction. The song is still tempered in its urgency yet has a sway and swing which makes feet submissive but once the epic voice of sound and vocals in their varied delivery clasp the chorus, new incendiary heights and tempting depths are opened up. The song is simply glorious, its broad shoulder of sound expansive yet intimately caressing with lyrical and vocal enterprise. With keys bringing further colour rich flavour to the song it alone sparks a hunger to keep Rooster Cole under close attention.

The Waiting Place is a slower bewitchment, a piano led walk through resourceful scenery of discord kissed melodies, percussive kisses, and the noble come sombre yet emotionally incendiary vocals of Aaron. The song is covered by a red skied emotive climate, its potent vivacity a tempering lure to the shadows unfolding within the irresistible tale. There is an essence of Helldorado and Saint Agnes to the track at times and of the Dennis Hopper Choppers too, but all mere comparative spices in the ingenious design of Rooster Cole.

Though not official releases the two songs are available from Rooster Cole as free downloads from https://soundcloud.com/roostercole, an offering it is easy to loudly recommend all treat themselves to. Using the pair as inspiration, the suggestion that Rooster Cole will be a name on the lips of the country and in the ears of a legion of feather enthusiasts on a future horizon is unavoidable. https://www.facebook.com/roostercolemusic

RingMaster 26/03/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

 

 

Sunsmasher – Hell/Noise/Church

sunsmasher

A sonic suffocation and intrusive adventure which smothers the senses whilst igniting the imagination, Hell/Noise/Church the new EP from Scottish metallers Sunsmasher, is one of those exhaustive violations you can only welcome hungrily.  The three track release is not a comfortable listen but certainly a compelling ravaging to which addiction is an easy option. A merger of doom, crust, sludge, noise and plenty more, the Glasgow trio’s sound takes no prisoners and shows no mercy ensuring that their new EP is an inescapable predator, one fuelled by a thrillingly corruptive toxicity.

The Glasgow quartet was formed in 2010 with the intent to create ‘claustrophobic, intense, and violent music’ with essences bred in the member’s background in the Scottish grind, crust, and hardcore scenes. Debut release, the Mammothian/Loud/Cult demo a year later drew good attention and helped the band to a potent following which was accelerated as Sunsmasher exhausted stages alongside bands such as Conan, Dragged Into Sunlight, Monarch, and Wormrot. The last couple of years saw a few line-up changes in the band and a stronger crust and noise inspired sound emerging through their original doom seeded invention, the result as evidenced by Hell/Noise/Church, a not exactly unique but certainly a hellacious proposition individual to the band. Mastered by James Plotkin (Khanate/O.L.D.) and recorded with Kevin Hare (Black Sun), the new release easily pushes Sunsmasher into a greater spotlight, one deserving to reward as much as the band thrills.

Axe To Grind emerges from an increasingly intensifying and swirling sonic incitement, though the emergence is more a vicious launch at Sunsmasher - Hell-Noise-Church - coverthe ears with guitars and drums carving chunks from the senses and synapses whilst vocals squall with a razor sharp edge and malicious savagery. It is a brutal abrasion of hardcore and noise voracity which within seconds has ears ringing and emotions cowering. The band soon teaches though that they are unafraid to experiment and wrong foot as the track suddenly stops and drops into the thick embrace of an oppressive sludge prowl. Bass and drums find a restraint to their onslaught, though not their bestial intimidation, whilst the guitars merge a melodically hinting sonic tempting with a deeper guttural growl. It is a riveting enticement which consumes and invigorates simultaneously; a droning bait veining it all to captivate infectiously as a stalking low slung groove seduces. With vocal and atmospheric torments searing the air, the track is hypnotic slavery which grows stronger and more compelling over time.

The following Redeemer is just as rapacious but uses a ‘lighter’ sonic toxin to master senses and passions early on. There is a discordant lilt to the guitar call which immediately adds a tempting edge to the opening crawl whilst the lumbering rhythms and heavy throat of the bass provide a formidable canvas for the evolving stature and incitement to ravage. The best track of the three, the song worms its way into the psyche for a long term and intensely lingering chastisement.

Final song Perdition lets a great bass line draw in the imagination first, guitars soon joining it’s tempting with magnetic riffery. The initial premise of the song is almost gentle in comparison to that of the previous tracks, a caustic yet embracing abrading. It is not for long though as the weighty intensity of the track smothers all to enclose and consume the senses. Confirming the invention and exploratory heart of the band, the new thick doom clad swamp of sound is speared by a heavy swaggering groove right out of the Pantera songbook before merging all essences into a choking and enlivening strangling. As all the songs, it twists and turns with enterprise and malevolence, employing all the flavours announced at the start of the review into a mouthwatering and contagious destruction.

Obviously Sunsmasher and Hell/Noise/Church are not going to be for everyone but for noise corruption and feral sonic sculpting within a sludge/doom landscape it is hard to recommend much better.

https://www.facebook.com/sunsmashermlc

http://sunsmasher.bandcamp.com/album/hell-noise-church

9/10

RingMaster 26/03/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

 

Kobadelta – The Hidden Door EP

Kobadelta

Expelling a captivating kaleidoscope of emotive shadows and sonic light, The Hidden Door EP is a transfixing and quite compelling proposition from a band beginning to draw intensive praise and acclaim its way. The creators of the magnetic release are UK rock band Kobadelta; a quintet from Newcastle who are stirring up an energetic and demanding appetite for their imaginative sounds. Consisting of five enthralling and expressive mergers of psychedelic and melodic rock with blues and spatial rock ‘n’ roll additives, the band’s new release is a masterful temptation which whether fully seducing or simply awakening eager attention leaves senses and imagination greedy.

With the Ritual (Time Flies) single of last year under their belt as well as the sharing of stages with bands such as Temples, Splashh, and Kobadelta-The-Hidden-Door-EP-e1394372154357Superfood, Kobadelta takes little time to excite ears whether new or old with the opening seconds of first track Supernatural Cause. Drums and bass cast the initial temptation to excite senses with the guitar soon adding its melodic lures to the coaxing. It is an instant web of persuasion which seemingly draws on The Doors and Echo & the Bunnymen, an embracing enticement which smooches and dances with the imagination whilst the vocals of Dom Noble croon with expressive strength. Throughout its heated narrative and melodic climate, the song sways before and leans bewitchingly upon the emotions, the tangy sonic design by guitarist Alex Malliris and mesmeric charm of the keys from Jordan Robson a potent spice for thoughts and passions. The track is an exceptional entrance, one which simply gets stronger and richer over time marking the band out alone as something potentially special.

The following Electric Chair as the first launches its bait with the crisp rhythms of drummer Chris Malliris and the especially alluring throaty bass prowl of Jonathan Marley leading the coaxing. There is a swagger to the song from the first note, one egged on by a delicious guitar twang and fiery sax caresses but most of all by the sheer inventive mischief of the song.  Also as its predecessor intriguing shadows and a heavy air to certainly the rhythmic intensity borrows the imagination in its own purposeful casting whilst the guitar and keys colour that emerging canvas with inspiring and immersive psychedelically bred hues. It is a masterful enticement continuing the impressive progress of the release.

Not Above & Not Behind moves in next with its acoustic and vocal union, Noble confirming his skilled and potent delivery is as varied and consistently compelling as the sounds. Admittedly taking a little longer to fully persuade than maybe other tracks, the song emerges as a thoroughly absorbing incitement before making way for the title track, a musically expansive encounter spawned from the same emotive reserve and descriptive strength as its predecessor. Big rangy beats steer the fire of passion and sonic design though arguably the drama and truly incendiary spark of earlier songs is lost somewhere in its flames. Nevertheless it is another heavily brooding and accomplished suasion for ears and satisfaction.

The closing Love Stoned Chic is a deliciously intensive smog of fuzzy sonics and raw atmospheres thickened further by an impacting rhythmic penetration and guitar causticity. Veined by a searing melodic toxin and gently invasive keys, the track ventures into the realm of The Doors once again though it is impossible to take too much of the originality of the song away from Kobadelta.

A release which increases its potency and persuasion the more you let its fingers tease and search the senses, The Hidden Door EP is a rousing and enthralling adventure proving Kobadelta to be on the frontline of the most exciting and fascinating emerging rock bands around in the UK. Expect big things for and from them ahead, something to eagerly anticipate.

https://www.facebook.com/Kobadelta

http://kobadelta.bandcamp.com/

8.5/10

RingMaster 26/03/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

The Milton Incident – Innocence Lost

Picture

French alternative metal band The Milton Incident has built a strong following and reputation in their homeland with their resourcefully potent and rigorously impacting sound whilst also making initial inroads further afield and with the release of their debut album Innocence Lost, it is not too adventurous to suspect that they will be making a similar mark on the attention and passions of the rest of the melodic metal world. Consisting of eleven tracks which are as dramatically contagious as they are skilfully crafted with a fusion of groove and alternative metal with plenty more spicery involved, the album is a thrillingly imaginative proposition. It is not exactly ground-breaking, songs holding a familiarity at times to previously trodden exploits, but with an incendiary passion and distinctly inventive sculpting to the individual premises, it is a release to capture emotions and spark greedy appetites.

Hailing from Paris, The Milton Incident since forming in 2010 has laid down a more than solid presence with a similar strong fanbase through their sound and live performances. Shows with the likes of Kreator, Moonspell, Dagoba, Vulcain, Mass Hysteria, KlogR, and Eyes Set To Kill has only increased the spotlight upon them whilst their music has been played on numerous radio shows worldwide. Recorded with Steeves Hostin (Beyond the Dust) and mixed/mastered by Shawn Zuzek (Daughters of Mara), the Dooweet Records released Innocence Lost makes a stirring full introduction to the band, one destined to leave a lingering mark on the widest attention.

From the opening title track, a short disturbing intro of intimidating sound clips and melodic intrigue, the album launches into a fiery and Covermuscular persuasion with Deadset. Its initial coaxing is a menacing almost predatory incitement but it is not long before strong vocal harmonies and melodic entwining wraps engagingly around the ears. That heavier threat is never far from the surface though; expelling bursts of cantankerous grooves and rhythmic antagonism throughout, stalking and gnawing the senses alternatively with the melody rich embrace of the track. It is a striking encounter soon exceeded by the riveting Torn Down, grooves and rhythms again bordering on carnivorous but the perfect complement to the expressive vocals and sonic endeavour which soaks the imagination as rewardingly as the melodic flames. There is a Stone Sour essence to the track in many ways though the song ventures in areas which could be compared to others like Three Days Grace and Tool as well as later Mudvayne too, yet the result is definitely particular to The Milton Incident.

The snarling Deus Ex Machina featuring Shawn Zuzek, rampages across the senses next, again the band merging dark rapacious elements within its elegant and exploratory melodic adventure. It is a magnetic slice of metal which evolves and explores before the ear, an invigorating provocation as contagious as it is intense. Its fluid drama is succeeded by the absorbing Dearest Enemy. From a cyber, almost starkly harsh ambience, the song immerses thoughts in an emotive reflection musically and lyrically whilst aligning them with more cryptically savage elements to its suasion. Like its successor Split Second, the song does not ignite the same heat of passion as other tracks but still leaves thoughts impressed and hungry for more, both tracks skilfully crafted and enjoyably presented with the second of the two holding a Poets Of The Fall like potency before its incendiary climax.

The thrills are turned right up yet again with Dopamine, a virulently infectious confrontation of bruising rhythms, rigidly barbed riffing, and passion drenched vocals. It is a masterful storm of uncompromising aggression and respectful melodic enticement ensnared and driven by ridiculously addictive grooves and unbridled enterprise. A major moment on the continuing to impress release, it is soon matched after the enjoyable emotive breather Irukandji, by Pyromaniac, another growl of senses stripping riffs and inflammatory rhythms courted by a deliciously acidic and caustic groove. With a range and depth of vocals to match the fire and intensity of its intent, the song prowls and sways with primal seduction and thoughtfully lit rapaciousness; like the sinewed assault of an American Head Charge fused with the emotional melodic waltz of an Alter Bridge.

The lofty heights are continued with the outstanding and voracious Conspiracy of Silence, the track an almost pestilential provocation with synapse spearing riffery and sonically drenched bait which infects ears through to passions. Its tremendous outpouring leaves a slight shadow over the following Memento, though the song only adds further coals to the pleasing fire and power of the album, whilst the closing 10-56 provides a classically seeded canvas for the imagination, one coloured by thick melodic hues and epically dramatic emotion. It is an imposing and compelling encounter from The Milton Incident concluding an equally bruising and irrepressibly seducing experience.

    Innocence Lost is an excellent full debut from a band you can expect to be hearing much more of. The Milton Incident has the potential to be a major instigator in melodic metal as their sound explores its brewing individuality for greater uniqueness and impact, something to eagerly anticipate.

http://themiltonincident.com/

8.5/10

RingMaster 26/03/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com