Anti Clone – Hands Sewn Together

anti clone

If you thought nu-metal was a redundant flavour then hold on to your floral panties boys and girls because it is not only alive and viciously kicking but it has been twisted into a whole new glorious personality by UK geniuses Anti Clone. Genius is just what the Lincolnshire quintet is for not only has the band reaped the most flavoursome and essential essences of the genre and fused them with a healthy dose of varied other spices, they have bred those inspirations and accompanying familiarities into a fresh and new dawning. It is not the forging of a brand new ground-breaking exploit but without doubt the beginnings of a template destined to spark a fire in others.

Formed in 2011, the Boston band like so many went through a tempestuous time line-up wise before the two sets of brothers in Peter (lead vocals) and Drew Moore (drums/ programming) alongside Conor (guitar) and Liam Richardson (guitar) alongside Fraser Burch (bass) came together. The band from there were soon earning a powerful reputation for their live performances and sound locally which was emulated as Anti Clone spread their musical fury across the UK starting with a tour alongside Eridium last year. Since then the band has graced stages with the likes of American Head Charge, Sworn Amongst, ESO, Maplerun, Evil Scarecrow, and Bloodshot Dawn. Following the success of debut single 1984, the band’s Matt Hyde (Machine Head, Trivium, Fightstar, As I Lay Dying and Slipknot) produced Hands Sewn Together gets its national release and it is hard to see the British metal scene being the same ever again.

It only takes the first few moments of opener Take This Pill to turn attention and imagination on their heads and lay down bait which sets the seeds to a lingering ardour soaked reaction. Coarsely surfaced riffs size up ears first; their CDHSTSACtouch a rough rub before scythes of sonic enticement sears the senses through the guitars. With controlled yet punchy rhythms punctuating the initial lure to equally appealing success, Peter unveils his outstanding vocal expression, his deliver subsequently shown to be as inventive and varied as the sounds around him. The track continues to twist and flirt with the imagination and passions, elements of Korn making strong hints though maybe more so the song plays like a mix of Mudvayne and Fuckshovel with a rich dose of Drowning Pool incitement. That too is only a spice as Anti Clone proceeds to sculpt an antagonistic seduction which oozes originality and mouth-watering invention.

The simply outstanding start alone would be enough to wax lyrical about the promise of the band, but that potential is shown to be far more than just a future possibility by the following Here Comes The Flood. As different in character as it is similar in its creative alchemy, the second song completes the persuasion that release and band is something special. Charging from the blocks like Usain Bolt caught short, muscles and attitude bulging with every beat and note, the track is a carnivorous tempest of sinew driven temptation coursing with a (Hed) PE like anger and contagion. It is a riveting swipe at the senses which only intensifies its might and coaxing with an insatiable torrent of rhythms from Drew which in turn inspires guitars, bass, and vocals to collide in a breath-taking brawl of ingenuity. To be quite honest if there has been a better track unleashed this year it will have been something really sensational.

The furious drama of the track is equalled by that of 1984 though it comes as a more reserved proposition. The slow courting of vocals and drums stabs skirted by the excellent dark throat of the bass is another irresistible lure from the band. Behind it a seeping breath of portentous atmosphere is released but it is also a slow brew which hints and taunts before the guitars begin to stretch their presence and narrative with melodic enticing amidst a similar rising of passionate energy vocally. Eventually taking big strides rhythmically with potent hues of guitar enterprise on board, the song swells with an American Head Charge seeded adventure before repeating its magnetic sequence but with a fuller weight and evocative dexterity. Glorious in its harmonious reflection and raw in its impassioned protest, the track is a masterful.

The following System, which also features John Knight of Synaptik, makes a more controlled entrance like its predecessor but this time within an openly voracious frame of sound and intent. There is an intimidation to the track from its first breath though which ignites a sudden twist as the song escapes its compelling rein to surge with inventive nostril flaring into a riveting stomp of crusading rhythms and sonic tenacity. As all tracks it is also as unpredictable as they come, playing like an aural jigsaw which is unafraid to let its moves make rude and clunky interruptions to enhance further an already thrilling beast.

The EP ends with its most hostile offering, vocals and grooves from the first syllable and note a raw abrasion which develops its own infection soaked enticing. The Usurper is a brute of an encounter, a hostile and uncompromising protagonist which deceptively loads up with hooks and squealing grooves to seduce as it gnaws on the senses. Again it is another facet to the sound and presence of Anti Clone, no two songs on the EP sharing a whisper of ideation and undeniably none as ferocious and unrelentingly invasive as the closer.

Hands Sewn Together is pure joy, an encounter which leaves the majority of releases this year standing in its shadow whilst as declared earlier making for a standard setting proposition. Even though Anti Clone has only just started redesigning and warping British metal, it is impossible not to get truly excited about the band.

The Hands Sewn Together EP is available now @ http://www.anticlonehq.com/

www.AntiCloneHQ.com

10/10

RingMaster 25/08/2014

Copyright RingMaster: MyFreeCopyright

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Shevils – Shivers

shevils

Having a soft spot for a band, as we have with Norwegian hardcore protagonists Shevils, can also mean that demands and the want to be impressed comes with greater force and an intensity which can be unfair. For others it might be a stumble waiting to happen over which the artist has no control but with the Oslo quartet it seems to be a challenge they bound over with ease. The release of their new single Shivers finds the band once again chaining hooks and contagion into a fiery roar of sound and passion whilst taking another leap in potency and irresistible enterprise.

Formed in 2011, Shevils took little time in drawing enthused attention and acclaim through singles such as Is This To be (Our Lives)? and debut album The Year Of The Fly, both in the year of their founding. The Necropolis EP a year later widened that attention across the globe but it was the impressive second album Lost In Tartarus which reinforced and pushed the band to a new plateau in not only sound but also critical acclaim. The foursome of vocalist Anders Voldrønning, guitarists Christoffer Gaarder and Andreas Myrvold, and drummer Anders Emil Rønning have reaped the triumph of their last full-length and blossomed it into an even more raucously scintillating exploit with Shivers. Shevils_Shivers_300dpi-1024x1024Shevils ascent has been unabated so far and the new track definitely adds further fuel to their impressive emergence.

The band waste no seconds teasing or coaxing in the listener, Shivers exploding into life as instruments and vocals cast a ferocious blaze on the ears. Just as little time is taken before riffs and hooks line the senses next, both jabbing and infesting the imagination and appetite with a punk brewed rampancy aligned to the outstanding vocals of Voldrønning assisted by the band’s mass calls. This is something which the band has shown for a while that they are skilfully adept at, casting bait which rhythmically, vocally, and sonically makes for an inescapable anthemic toxicity, but it is the ingenious twists and inventiveness of their songwriting and creative tenacity which sets them apart and enslaves once again in the single. Guitars carve out intrigue soaked turns throughout the furious charge of the track whilst the bass adds its own carnivorous throat and endeavour to the hostile beats and vintage punk clad onslaught.

Shivers is exceptional, the best song we would suggest to come out of the creative drama and fury which fires the music and adventure of Shevils. If the single is the sign of things to come from their next album scheduled for early next year, then we will have even more horizons of scintillating storms to come.

Shivers is available now @ https://soundcloud.com/shevils/shivers

http://shevils.com

10/10

Ringmaster 15/08/2014

Copyright RingMaster: MyFreeCopyright

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Various Artists – Operation: Underground

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There are nowhere enough compilations albums around these days especially when it comes to unleashing and promoting the potency of the underground scene. The seventies and eighties saw a plethora of important collections bringing impressive introductions to hordes of bands and often making a springboard for those propositions to find healthier and stronger horizons. Today it seems almost a rare treat to be presented with such an encounter, though amongst those which have emerged there have been many impressing releases. Adding to that list of triumphs and setting a template and example for others to follow is Operation: Underground, the new release out of New England independent label Bluntface Records. Consisting of 27 of the most potent attention grabbing extreme metal bands from the world’s underground, it is an outstanding slab of creative hostility and malicious introductions. The fact that it is released as a free download only adds to the might and weight of the uncompromising incitement.

Created and sculpted by label owner Otto Kinzel, himself renowned for his solo work and with his band Chemical Distance, Operation: Underground it is fair to say has no real fillers in its body, something else few releases of this size can claim. It comes with a showcase of quality and talent which demands close attention, exploring everything from black and death metal to grindcore and other varied extreme provocations. The album quite simply goes for the jugular from its opening moment and is unrelenting until the last pleasing violation of its final track.

Operation: Underground gets off to a voraciously impressive start through its opening pair of bands. Hailing from New York, brutal death metallers Abdicate make the first blunt incision with their track Burning Ascendance. Taken from the album Fragmented Atrocities, it is a furious decaying of the senses with grind seeded carnality. Clad with inescapable malice driven by gutturally spewed vocals which themselves are aligned to rampant riffs and a violently rhythmic tenacity, the song instantly chains and enslaves ears and thoughts with its hellacious intensity and scintillating causticity. Perfectly raw and loaded with exciting potential, it is an immense start soon left in the wake of the following Human Decimator. Uncaged by Massachusetts five piece Carnivora, the track from an opening sample lure wraps ears in a venomously addictive groove and angrily cantankerous rhythms. It is a staggering start swiftly pushed on by the outstanding vocals and magnetic signs of guitar and predatory bass baiting. Subsequently entwining groove and thrash in a unique explosion of flavoursome toxic metal, song and band instantly take a swing at top track honours and to be honest never relinquish their hold despite numerous challenges. From the Danvers hailing band’s excellent Eternal album, the song with its predecessor sets a high marker for the album which to be fair it never really strays too far from.

Ireland’s Legion of Wolves comes next with their death metal spawned track Kings Of Tyranny. Taken from recent release Legio Luporum XIV, the song prowls ears and imagination with a black hearted demeanour and similarly coloured sounds. There is a pestilential air and intimidation to every riff and swing of sticks as well as with increasing malice the gruff vocal squalls, but also an emerging melodic craft which transfixes as it tempers the enmity of the track. From the Irish success both US band Goreality with the rapier like corrosiveness of Skin On, Skin Off and Florida’s Echaton keep imagination and satisfaction high, if not quite matching the early songs. The first of the two creates an incessant thrash fuelled death metal rapacity which is as easy crawling over the senses as it is discharging an adrenaline lit trespass whilst its successor with Behold The Nexus offers a more technical premise compared to its barbarous predecessor. Do not expect to have things easy though as the song roars and scythes with jaundiced respect and impressive individual prowess over the senses and into the passions.

Markradonn come next with a track from Final Dying Breath EP called Internal Hate Unbounded. One of metals most individually sounding propositions, the Florida band create an experimental tapestry of death and black metal filtered through a progressive and symphonic rapacity, resulting as the song shows in a startling imagination fuelling encounter. Its ferociously compelling presence is left a little pale though by the caustic sonic irritancy of The Seventh Trumpet Sounds from Arkansas duo Critical Dismemberment. The song is an abrasing and unpolished smog of bad blooded death metal soaked in inventive rancor and appealing potential proving ears with healthy pleasure.

Maine’s Sacrichrist suffer from an unflattering production to their song No Savior to really impress though it does not fully smother a promise which suggests more than it delivers. Nevertheless the track grows in strength and persuasion over time to make the band one to keep an eye on alongside extreme heavy metal quintet Wrathsputin. The Massachusetts band unleash a gripping fury of sonic nastiness and rhythmic bullying in their song A.N.U.S. (A Nation Under Satan), to create another riveting moment in the album, especially with the potent enticement of contagious grooves and melodic spillages which litter the excellent song.

     Green Army from Bangladesh is another to have a diminished success thanks to the poorer recording quality of their song Reborn of the Blackened Phenomenon, though again to be fair it does not stop the accomplished and adventurous skills of the band shining through before The Slip from the excellent Garbage Can takes over. A two-piece from Ottawa, the Canadian band creates an irresistible savagery of slam grind which manages to seduce and scythe through the senses with equal attraction. The song is another setting the loftiest pinnacles on the album definitely not matched for personal tastes by Malcontent Manifestation from Inverticrux. Actually from its first gothic clad doom brewed musical seconds the track flirts with the imagination to reasonably strong success but vocally the New Hampshire band leaves emotions cold and unconvinced, that aspect a maelstrom of textures and styles which will either click for you or not.

Another Irish band in the tasty shape and sound of Syphor step up next, their track For What Remains, from the album of the same name, a predatory blend of thrash and death metal courting many other textures and spices in an 10625117_10202114872106082_8340698001833330811_ninfectiously gripping web of riffs and grooves hosted by great serpentine vocals. The Dublin band easily set themselves as another to explore further as does the ear grabbing Solium Fatalis who follow them. Dead Sands Of Time is a beast of a track, its tone bestial and weight trapping whilst its strenuous grooving and rhythmic animosity spins an inescapable web for thoughts to bask within. Maybe their sound is not rife with originality but certainly the band leaves a hunger for more as insistent as the imposing sounds which breeds it.

Infested Prophecy also fails to a light fire in ears and imagination with Abandon Departure, though there is plenty musically to spark a watch of the Massachusetts band once their blackened malevolence is given a willing production to aid the trio’s musical talent and adventure. Certainly as all the bands they are not lightweight in their offering to the album, the same easily said of both Canada’s Accursed Spawn and Florida’s Prophecy Z14. The first of the pair sear ears with a sonic and rhythmic violence through their song Burned Into Sterility which is as warped and psychotic as it is ridiculously captivating. If wanting some new Cryptopsy or Dying Fetus like sounds then turning to the Ottawa five would be a rewarding move whilst the following protagonists roam and hunt down the senses with a weave of technically driven death metal annihilation to matching success. With a swing and swagger to every element of its tempestuous onslaught, Torn from the Flies is a thought provoking proposal, not as dramatic in its capture as maybe it should be but providing a wholesome and mercilessly ravaging exploit all the same.

New Yorkers Gutted Alive lifts the lid off another stretch of commanding and impressive offerings with their track Force Fed Acid. Arguably the most brutal track on the album it is an addiction fuelled tempest of cruel rhythms punctuating sonic and vocal spite complete with a delicious nagging slingshot of grooves and flesh stripping riffery. The song is a masterful temptation to embrace and fear simultaneously which is matched stride by violent stride by Infection of the Masses from New York sextet Assault on the Living. It also niggles its way in to the psyche, repetitive textures and grooves only adding to the virulent bait and lure of the expansively flavoured sound. One of many bands you immediately feel will not be a secret for much longer they are swiftly emulated in might and quality by My Missing Half. Another foursome from Massachusetts, the Bostonians forge an enthralling canvas of melodic death metal in Empty Dreams which is as enticing with its sonic and melodic colour as it is through its rigorous design of sinew built antagonism. With essences of The Black Dahlia Murder and Between the Buried and Me bringing hues to an otherwise fresh sound and presence, the band add another name to the busy check out list inspired by the album.

Italy’s Symbolyc provide their very palatable style of extreme incitement next, blastbeats and grooves as binding as the alluring vocal predation and melodic veining the stormy heart of 300 Demons. Their fury is as potently enticing as that of German metallers Spreading Miasm and their sonic pestilence The Harvest, a track which is unfussy aural toxicity with every enjoyable twist and violation wished for in an accomplished slab of extreme metal. It also finds an unpredictable invention which lifts a strong song into a great encounter, something not quite discovered by Texans Core of Desolation in their track The Return of Death’s Glorius Design, though it also is not blessed by the most understanding of productions which smothers the chance of greater success as certainly hinted at within the still enjoyable offering.

Operation: Underground begins its closing run with symphonic black metallers Aberration Nexus, the solo project of Chris Meyer from Victoria in Australia. The erosive and immersive embrace of The Solvent That Cleanses The Earth immediately smothers the senses in a melodic expression filtered through a thick atmosphere and sonic rabidity. It is an absorbing if uncomfortable experience pointing to a potential which will flourish ahead with the right touch and scenery for Meyer to grow within. Its strongly satisfying presence makes way for the Egyptian influenced death metal of Romanians Horus, their sound a warm melodic wash over a hostile frame, governed by deep throated vocals. Their track Revelation is an imaginative entwining of symphonic seducing and menacing landscapes which again lays seeds to a keen appetite to learn more before it in turn is followed by the similarly imagination capturing Suffer The Winter from Ohio metallers Vengeance Within. Without courting open originality, song and band cast a shadowed and intrigue rich terrain of potent melodies and jaundiced intensity which casts a widely flavoured and lingering presence to entice more investigation.

The album is closed by Terminality from Californians Dark Measure, yet another band on the release unafraid to explore a merger of styles and ideation to create a fiery and richly appetising conclusion to a tremendous doorway into some of the best emerging bands in extreme metal. Operation: Underground is a thrilling project from a label which lives the independent scene and really does support the cause.

Operation: Underground is available from Tuesday August 26th for free download @ www.bluntfacerecords.com

9.5/10

RingMaster 25/08/2014

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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No Sin Evades His Gaze – Age Of Sedation

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Introductions from emerging bands obviously come in many shapes, sizes, and with varying success, but few leave as rich a hunger and lustful an ardour as inspired by UK metallers No Sin Evades His Gaze and their debut album Age Of Sedation. A riveting maelstrom of styles and flavours honed into a dramatically imposing and scintillating tempest, their release is an extraordinary entrance from a band young in years but mature in creativity and craft. There has been a loud buzz brewing around the quintet for a few months now and it is obvious as to why now.

No Sin Evades His Gaze was founded in the middle of 2013 by vocalist James Denton (ex-Ravenface). Completed by guitarists Kevin Pearson and Dan Thornton, bassist Matthew “Moat” Lowe (ex- Bleeding Oath), and drummer Theo Harvey (ex-Ravenface), the band gripped attention with the release of the single Age Of Sedation in May of this year, the track soon earning critical acclaim and media attention to match the appetite of the band’s growing fans. It was a potent hint of things to come, a rich suggestion of their new album but still merely a teaser to its blistering presence and might. Forging a ravenous and fluid web of everything from metalcore to technical and groove metal, progressive to death metal, the album is a raw and brutal hostility brought with the most elegant of touches and intensity of adventure. Not all songs startle as rigorously as others but each dramatically impresses with insatiable aggressive invention and rapier like imagination. Age Of Sedation may not top best album lists come December but it will be high in the majority of candidates.

A Crack In The Looking Glass is the opening intro to the album; it’s coaxing a thought challenging vocal sample surrounded by a melodic fanfare fuelled by a portentous breath. It is not a dramatic entrance but certainly awakens 10514663_279269198932257_7855588474433333182_nattention and intrigue which the following title track swiftly exploits with its masterful provocation. Continuing the brewing almost epic ambience of the first piece, riffs are immediately rubbing on the senses as a climate of change and volatile intent boils up around them. Percussive incitement and heavy bass tempting soon add to the fascination embracing ears with the guttural growl of Denton a savage provocation in their midst. The track in full stride is a beast, tight melodic veining and caustic riffery aligning to violently antagonistic rhythms from Harvey and the ravenous intensity of the basslines. There is also an intimidating swagger to it with teasing grooves simply igniting the senses. It is obvious to see why the song set greedy anticipation in motion for the band’s album and it is only the start of something special.

     Motionless In Obedience instantly sets out its own contagious bait as drums and guitars unite for an initial canvas of temptation which brews up into a magnetically layered and impressively textured weave of ideation and sound. Orchestral whispers and sultry melodic colours permeate the intensive pressure and intent of the track whilst grooves and hooks offer a barbed lure which slips comfortably into the agitated depths of the encounter. As with all songs, each moment is a passing twist in a growing picture, the aggressive growls of Denton evolving into an outstanding clean delivery with the frontman impressive in each extreme, and the overcast menace of the song finding a clearer melodic air to seduce through. Like a mix of Meshuggah and TesseracT merged into another of Between the Buried and Me and Sepultura, but still only part of the sound, the track continues the immense start of the album.

The sonic enticement of Filth makes a transfixing lure to a bordering on carnivorous onslaught, essences of Korn and Mudvayne flirting with the industrial hints and barbarous maze of the song’s invention. It is an addictively compelling provocation, much like the album, which uses every note, chord, and pestilential syllable to assault and inspire. Its apocalyptic presence evolves into a sense of awakening as it fades away with crystalline charm before air and ears are baited by another unpredictable threat of tenacious riffing and rhythmic athleticism which sizzles with spite and ingenuity. Vocally as its predecessor, the blend of roaring rancor and melodic enticing is as masterful and rewarding as the seamless merging of vicious intensity and creative rabidity.

Both the predatory Roll Up The Royalty and Debris strikingly feed a hungry appetite. The first is a bruising fury of raptorial grooves and scarring riffs caged by inventively pounding rhythms off set by the again excellent vocal mix courted by the cantankerous charm of the bass and a mystique wrapped sonic exploration. Its successor sees the bass of Lowe offering another predacious character of sound and rugged contempt whilst over him vocals scowl and croon entwining venom and harmonious enticement. At its heart the track is a toxic treat with scything beats and scorched grooves sculpting a scintillating net of creative resources and bewitching imagination.

Age Of Sedation continues to abuse and ignite the senses with its enthralling tapestry of sound and inventiveness, The Cycle Resets an incendiary blaze of sonic poise courted by a twisted fight of rhythmic brilliance whilst the next up Biometric Alchemy laces its vigorous terrain with industrial strains of tempting and potently evocative flames of sinister melodic radiance. It is another glorious pinnacle in the album; the song’s first half a towering oppression of carnal malevolence which evolves into a stunning progressively seeded fire of melodic expression and vocal brilliance. Think Soilwork meets Fates Warning to give some kind of idea to its excellence.

The release is completed by firstly the infection dripping enmity of The Guillotine Blade, a creative war for the senses and template for the imagination to immerse in. Its every turn oozes ingenious challenges and stirring provocation cored by an infestation of enslaving grooves and sonic tempting. Its triumph is matched by closing track Affinity, the most aggressively mellow proposition on the album but still littered with rhythmic animosity and stabbing riffs. It is the swarming flames of melodies and warm vocals which steal the passions though, their beauty an absorbing caress in the final creative and ravenous blitz of the release.

The song is a richly flavoursome end to a stunning debut from No Sin Evades His Gaze. The fact that Age Of Sedation just gets more powerful and enthralling with each listen, not forgetting exciting, suggest that the UK has a band to set the metal world ablaze if not now within near horizons.

Age Of Sedation is available digitally and on Ltd Ed CD now @ http://nosinevadeshisgaze.bandcamp.com/album/age-of-sedation-2014

http://nosinevadeshisgaze.com/

9/10

RingMaster 21/08/2014

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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We All Die (laughing) – Tentoonstelling

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After their riveting and extraordinary album Thoughtscanning of last year, the appetite for something more from We All Die (laughing) has been the epitome of hunger. It is a want and need now richly satisfied by the band’s new offering, the Tentoonstelling EP, well certainly by half of it. Consisting of two tracks, one from the duo of Déhà (Maladie, COAG) and Arno Strobl (Carnival In Coal, 6:33) and a second piece by Mathieu Drouet, a French photographer for whom We All Die (laughing) composed the lead track, it is a provocative encounter of instrumental temptation which pushes the imagination into dark and sinister landscapes.

When asked by Drouet to contribute a track to a contemporary art project for his Grande Plage exhibition planned for January 2015, We All Die (laughing) crafted the instrumental Variation on the scanning of thoughts, a piece 760137644422_TOX038_We-All-Die-(laughing)_Artwork_600x600inspired by and a companion to the band’s extraordinary one track album. The exhibition itself is based on photography of Drouet which the artist ‘considers worth being used as cover artwork for music releases’. Consisting of twelve pieces, he chose a similar number of bands to contribute a track (also including The Lumberjack Feedback) of which a single copy 12″ EP would be released with one of his pictures as the artwork along with an’ experimental audio rendition of the photography’s digital file’s data’, basically an aural portrait of the picture cloaking the release.

Variation on the scanning of thoughts is a piano sculpted exploration, a shadowed and brooding suggestiveness which wraps seductively around the senses and imagination whilst soaking both with melancholic expression. Noir lit jazz scenery colours the evocative canvas throughout whilst sharing hues with a more choral persuasion, their entwining suggestiveness a haunting embrace within the oppressive atmosphere. The press release with the EP declares the track as more depressive than the band’s adventure upon Thoughtscanning which is easy to agree with, yet as the music permeates ears and emotions there is also an imposing beauty and stark elegance which ignites the warmth of hope in song and reactions. As always with the band, it is a healthily long piece which provides a template for the listener’s imagination to fill and colour whilst emotionally it is a provocation which is as cinematic in drama as it is intimate.

The following Grande Plage, OP. 1, Movement #1: Le Noir from Drouet is the complete opposite and whilst you can understand and respect its breeding, the track is an underwhelming challenge. A sonic expanse of electronic smog, a static wave which ebbs and flows but makes for a constant irritant, the track is a ten minute excuse to return to the majesty of its predecessor. Again it is a piece which will inspire or push away individual thoughts and imaginations, with ours unreceptive, but it is a pale if initially intriguing companion against the magnificence of the lead track and the musical alchemy of We All Die (laughing).

Tentoonstelling is available now Kaotoxin Records @ via http://listen.kaotoxin.com/album/tentoonstelling

https://www.facebook.com/wealldielaughing

Check out the excellent photography of Mathieu Drouet @ http://www.mathieu-drouet.com/

For the track Variation on the scanning of thoughts 10/10

RingMaster 21/08/2014

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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Edge of Haze – Illumine

(c) Olli Kiikkilä

(c) Olli Kiikkilä

As much as there is a creative adventure and aggressively provocative breath to Illumine, the new album from Finnish metallers Edge of Haze, there is also a unique and mesmeric charm to its melodic metal which sets it and its creators distinctly away from the crowd. It makes for a tremendously striking proposition which brews up an atmospheric embrace through the entwining of progressive and alternative metal with a melodic and ambient fuelling. The Espoo quintet’s sound is a thick and vibrantly textured proposal which is as thrillingly adept at seducing or savaging the senses. From this the band’s second album emerges as a masterful treat which like an emotive sea laps upon the ears and imagination with varying intensities and successes whilst offering a perpetual enthralment of invention and irresistible persuasion.

The seeds of Edge of Haze begin with the metal band Damage, a project vocalist/bassist/guitarist Eero Maijala and drummer Janne Mieskonen began in 2007. Subsequently joined by guitarist Lenno Linjama two years later and with a couple of demos under their belt, the band expanded with the joining of keyboardist Akseli Savola and vocalist/guitarist Iivo Kaipainen which led to the renaming to Edge of Haze in 2010 as well as a change in direction sound wise, a new progressive and melodic strain of ideation and flavour merging with the heavier metal sound bred through Damage. The departure of Kaipainen led to the addition of Markus Hentunen as debut album Mirage begun its birth in 2011. Released the following year to strong acclaim, its success and presence is destined to pale against that of Illuminate such the latter’s riveting journey and potency. Loosely based on the book Escape From Camp 14 about a man living under a totalitarian regime that upon realising his submission to this life attempts an escape and sets out to find the landscape of his soul, Illumine musically and lyrically provides a fascinating presence which paints that theme’s journey with imagination sparking colour and thought involving prowess making a thrilling treat for ears.

Opening track Drawn releases a haunted whisper of ambience before guitars cast a provocative web of melodic expression courted by a just as magnetic keys spawned atmosphere. It is a potent start which is soon settling into a sturdy yet Cover artwarm stride, its sinew sculpted grooves seducing ears as the excellent tones of Hentunen work on the senses. His vocals are immediately compelling and masterful within the slightly tempestuous breath of the track, adding greater strength to the narrative and the impressive canvas below him. A soft and elegant drift of voice and sound brings another unexpected and intrigue ripe twist to the already absorbing and impressive emprise, the eventful track sparking thoughts and passions with sublime ease.

The Pyre brings an openly more aggressive and muscular proposition wrapped in a sinister and imposing climate of dark shadows and intent. As its title suggests, the song is a blaze of scorched sonic endeavour and rippling invention, its ravenous air entwined by a melodic beauty and that almost mesmeric vocal quality of Hentunen, which here is supported potently by the coarse growls of Maijala. The track continues to climb over the senses and imagination with an inescapable web of enslaving sounds, a solemnly flavoursome gothic darkness and drama aligning its lures to the voracious and seductive essences soaking the persistently evolving picture. Its heady almost oppressive design is powerfully contrasted by the melodic beauty of Urban Reverie, its opening gentle parade of rhythmic vivacity within a vocal and guitar spawned majesty providing an emotive urbanity which spreads throughout the imaginative coaxing terrain of the song.

The following Crushed is like a reality check to the dreams of its predecessor, riffs and rhythms an antagonistic stabbing from its opening second whilst snarl spewing grooves and vocal scowls add further predacious bait. The melodic and harmonic side of the track is equally as pungent in its voice and resourcefulness, Edge Of Haze able to merge both extremes whilst giving each a creative clarity which radiates its side of the drama. The scintillating maelstrom of ingenuity is first followed by the decent instrumental 3:30 A.M., its dystopian ambience another reminder to the tale’s political and social landscape, before Into The Red Sun makes its piano composed engrossing entrance. Over scenery of possible escape, Savola transfixes ears and thoughts before the track erupts into a powerful ball of sonic heat and creative tenacity. Riffs and grooves seduce with a slightly carnivorous texture before a relaxation of intensity makes a refined platform for Hentunen to lay his ever fascinating tones. Possibly not the most overall gripping track on the album, its every turn still brings an appetite filling adventure which tightly grips attention and stirs up greater hunger for track and album, its epic finale alone a creative alchemy.

Both Unlearn and A Storm At The River keep listener and release entwined, the first an exciting charge of energy and virulence coloured with celestial fire before unveiling the richest vein of hostility found on the album. Of course like all, the track is a series of moments seamlessly linked and united for a compelling and exhilarating incitement of ingenuity whilst its successor is a smouldering glide of emotive grace and evocative ambience woven into a melody fuelled flight of passion and reflection. The pair epitomise the complex structures and contagiously intricate flavours which paint every song, as mentioned every shift of a track’s body or thought a new expanse of pleasure and intrigue.

Illumine is concluded by firstly the fiery atmosphere and sultry sounds of Rainfall, its exploration bringing an emotional continent of insecurity and suffocating angst within the fluid movement of the song which easily combined being mellow and immersive with stormy and intimidating within a swoop of a chord or a caress of vocals. Final track A Newfound Horizon provides a ten minute journey of its own to bring the album’s musical and lyrical narrative to a powerful close. Again in all aspects the song merges serenades and croons with roars and inhospitable ambiences, its ridiculously addictive investigation of new lands and emotional extremes glorious.

Illumine is a sensational release, one where some tracks steal the heart more than others but each piece of the creative puzzle leaves ears basking, imagination devouring drama, and passions bursting with a want for more. Edge of Haze has made a striking statement for progressive and melodic metal, and you can only feel it will be the first of many ahead.

The self-released Illumine is available digitally and on CD now @ http://edgeofhaze.bandcamp.com/

https://www.facebook.com/edgeofhaze

9/10

RingMaster 22/08/2014

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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Six String Slaughter – Born Unspoiled

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Creating a tempestuous onslaught bred from the pestilential malevolence of death metal and the virulent antagonism of thrash, Danish metallers Six String Slaughter unleash their debut album to reinforce and push into greater attention their emergence as one of the more compelling protagonists within extreme metal. Ten tracks of exhaustingly confrontational and ravenously intensive enterprise, the release is a brutal and riveting protagonist twisting an old school spawned sound with intrusive invention and merciless sonic savagery. It is fair to say that the album is not flooded with striking uniqueness and undiscovered toxicity but with the band members bringing forward two decades of experience and adventure into its ruinous incitement, Born Unspoiled is a ruggedly accomplished aggressor with a hunger and intent which leaves the pack in its wake.

Six String Slaughter was formed in 2007 by ex- Corpus Mortale members Søren Jensen (guitars/bass) and Nicholas Maschøln (drums) who not having played together for many years decided to “collaborate on this new project to see if the original energy was still there.” Spending a year writing songs and searching for the right vocalist, Daniel Wilkens was brought into the band which swiftly led to the release of The World Slaughter EP. Their debut release was eagerly received and met with acclaim as was the Frederikssund trio’s The Next Slaughter EP which was uncaged a year later in 2010. Signing with Horror Pain Gore Death Productions not so long ago, the band now unleash their first full-length and such its corrosive rabidity of sound and intent aligned to pure thrash contagion it would be foolish not to expect similar and stronger attention rising up around the Born Unspoiled as with those earlier encounters.

The album opens with its title track and in no time is running over the senses with nagging riffs and heavily swung rhythms which are soon joined by the bear like growls of Wilkens. It is irresistible bait especially as a hornets nest of riffery frontcoverniggles away before being pushed aside by an intensive heavyweight pressure of vocal and portentous energy. It is a fleeting moment in the persistently turning gait of the song though, the great irritant of riffs returning to re-ignite the senses and imagination whilst Maschøln pounds the former to an inch of their being with inventive and violent beats. Jensen casts an inescapable web with his guitar alongside the deliciously threatening and throaty bass endeavour which adds further to the masterful and pleasingly unpredictable start to the album, though it is soon left standing by the outstanding Holy Lies. The second track from its first breath is swinging grooves and rhythms around like Godzilla throwing buildings, every second a colossal incitement of creative rabidity and toxic enticement honed into one of the year’s best tracks. Managing to lumber with the sheer weight of its intensity but also bounding with voracious enterprise, the song is magnificent, a horned beast driven by the craft and energy many bands dream of and few achieve.

The following Gathering Dust makes a more reserved but concentrated entrance with a winding flame of guitar. It is soon a rampant barbarity but still reins in some of its rancor and intensity to stalk rather than devour ears. Not quite matching its predecessors though, the song still fires up thoughts and emotions potently ready for the challenging maliciousness of Everywhere (There are Prophets). It also prowls the senses but finds a greater concentration of infectiousness to its core hostility whilst brawling group calls add to the persistently gripping guttural baiting of Wilkens. Riffs lash and tease with open rancor whilst rhythmically again the song is a maelstrom of attitude and viciousness, it all making for a thrilling violation.

Both Nothing but Death in the End and I am not at War bring a different colour to the constant pugnacity of the release, the first a corrosive predation of darker toned riffs and bass predation twisted into a virulent and mouth-watering groove of the richest persuasion. A brew for addictiveness but tempering its inescapable bait with a blackened sonic expression which slowly meanders and permeates the senses from within the unrelenting blasting of Maschøln, the track is another pinnacle of the album swiftly backed by its successor. With only the lyrical prowess something to challenge with its at times ‘lazy’ and simplistic repetition, the track is still a forceful and captivating quarrel to sink eager teeth into for strong satisfaction.

Virulent Narcissism is a less dramatic brute of a song but still holds plenty to light ears and appetite with its strenuous riffing and sharp grooves within a cage of pungent rhythms whilst the next up Careless which features Anders Lundemark of Konkhra, is a tangle of waspish grooves and crippling rhythms led by bile splashed snarls. Like the previous song it also fails to reach heights of previous tracks but makes a statement to enhance the album and puts other bands in the shade.

Born Unspoiled is brought to a close by firstly the brawly charms of Building the Monuments and an excellent cover of the Brutal Truth track Birth of Ignorance, each a maelstrom of intensity and sound bringing an outstanding release to a thunderously thrilling conclusion. As said earlier maybe strong originality is a low factor in Six String Slaughter’s album but few death or thrash blended releases have pleased and impressed as powerfully or with the shape of invention the band offers here.

Born Unspoiled is available via Horror Pain Gore Death Productions now @ http://hpgd.bandcamp.com/album/born-unspoiled

http://www.sixstringslaughter.com

8.5/10

RingMaster 20/08/2014

Copyright RingMaster: MyFreeCopyright

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