Glass Cloud: The Royal Thousand

A sonic explosion to exhilarate and enrapture every sense and thought the debut album from US band Glass Cloud is quite simply stunning. It is an enveloping maelstrom of persuasive emotive atmospheres and a storm of dehabilitating aggression brought with an imagination and technical ingenuity to leave one in awe. When you have a band consisting of a great vocalist like former Sky Eats Airplane and Of Mice & Men frontman Jerry Roush, inventive and expressive guitarist Joshua Travis of The Tony Danza Tap Dance Extravaganza, and the supreme rhythmic prowess of bassist Travis Sykes and drummer Chad Hasty, you expect something good to come out of their union. Whether you could have imagined something as staggering as The Royal Thousand is debatable but their collective creativity has certainly given birth to something simply immense, a true colossus of a release.

Released through Equal Vision Records in the US and Basick Records in Europe, The Royal Thousand stretches then manipulates the ear and beyond from the first breath of opener White Flag. As guitars conjure heated weaves within the ear and Roush brings his usual impressive mix of strong vocals, the song spirals with majestic craft and incendiary energy to greater heights. The intensity it brews twists and grips tighter to evolve into a disarming rage of disrupted rhythms and blistering riffs within a warm sonic soaked ambience. It is majestic yet only an understated sample of what is ahead.

The following If He Dies, He Dies from an emotive caressing of the ear stalked by an intimidating air erupts into a thoroughly intrusive provocation of metallic fingerings from the guitars alongside rhythms leaving knees like jelly. The fusion of sonic and heated beauty with safety destroying corruptive intensity is beyond acclaim; the track is pure poetic violence and alone makes claims for Glass Cloud as the true masters of your senses.

Track after track the quality and invention is unrelenting, the likes of the quite brilliant Ivy & Wine an example of the continual ingenious dark enterprise leaving only numbed devastation in its melodic scathing wake. Even the melodic beauty of instrumental Prelude For A Ghost is brought with an eerie ambience to leave one looking over their shoulder.  Midway through The Royal Thousand and the opening song seems long in the past and against what impressively followed it seems almost ordinary in comparison though that is not a word one can truly use in any real context in regard to the release.

The mesmeric creative chaos of She Is Well And Nothing Can Be Ill takes the senses on a controlled yet perpetually evolving disrupting journey whilst the following Counting Sheep rampages in corners of the heart and emotions you never knew existed with phenomenal technical guitar intrusions within an atmosphere which colours thoughts and feelings with every hue of bruising.

Closing on firstly the dark hearted Memorandum whose opening passion and play is as hypnotic a piece as you can find anywhere and finally the outstanding From May To Now, the album is pure excellence veined with brilliance. Heavily and skilfully textured The Royal Thousand brings a new and deeper experience with each immersion into its pulsating fresh magnificence and malevolent aggression. Glass Cloud leaves you on your knees but also in total bliss.

RingMaster 27/06/2012

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7 Horns 7 Eyes: Throes of Absolution

The release of a three track digital EP in the shape of Convalescence last year from Seattle melodic/progressive death metalers 7 Horns 7 Eyes inspired much anticipation for their debut album Throes of Absolution. The trio of songs on the release showed the band had evolved in sound and might into a formidable and thoughtful band in craft, songwriting, and the bringing of those into an aural reality. The long awaited album more than confirms this and fulfils all the enthused eagerness that the EP spawned. Impressive, powerful, and imaginatively constructed it is a mighty and thrilling release, its open and undeniable glories far outweighing any negatives of which there are very few.

Formed in 2006 the band first drew attention with their self released debut EP from fans, media, and other musicians equally, especially from now ex-Nevermore guitarist Jeff Loomis who makes a guest appearance on Throes of Absolution. The sounds on the album are a long way from the early music from the band, their ability and skills let alone ideas having evolved and matured in the subsequent years. The recording of the album did not run smoothly though with a change in frontman meaning all the album vocals had to be re-recorded by new singer JJ “Shiv” Polachek. Finally though the album is unleashed via Basick Records and it more than builds on and expands the promise and hopes instigated by the earlier release.

     Throes of Absolution is not the easiest of albums to get to grips with, it is a demanding beast with depths that require and deserve full focus and time to explore and be consumed by. There is never a moment where the release goes for the instant and easy connection, the band only intent on making music that has an atmosphere and breath of its own. The album is almost like an immense groan, the release of dark and ominous emotions in the shape of intense and weighty riffs, threatening yet controlled rhythms, and melodies that burn as they light up the senses. The release feels alive in itself not merely from the skilled musicianship of the band and the energy they give to it. It is because of this the album is a challenge that confronts all before it and is all the more impressive for it. Some may have to take it in bits or stages but the rewards for the endeavour are immense.

From the opening beckoning almost peaceful beginning of Divine Amnesty the album wraps itself around the ear before bursting from within with thunderous rhythms, a predatory bass, and guitars that weave sonic colours and passions upon the senses. As the track flexes and reveals its muscular strengths the band brings emotive melodic imagination and manipulations to alternately sooth and further scorch the bruising caused by the intense sounds that surround them. Vocalist Polachek and his delivery are bestial; a black hearted growling creature all on their own that add to the dramatic and deepness of the song.

Each track that follows is wonderfully varied but within the same structure shown on the first, the brutality going hand in hand with the marked and intrusive yet mesmeric melodic invention and presence. Phumis: The Falsehood of Affliction alongside the likes of The Hill Difficulty and Delusions with its perfect mix of warm light and invasive dark, all turn listening into an experience involving passions, thought, and a deliberate submission before the invading extensive sounds. Throughout the band shows their obvious and controlled ability, the guitars of Aaron Smith and Sean Alf making each note and riff an exploration and satisfying experience for the listener whilst the bass of Brandon Smith prowls with a menace and bulky pulse alongside. The drums of Ryan Wood are excellent throughout too, the guy knowing exactly when to pummel and smash through the ear and when to bring vibrant restraint. The production of guitarist Smith has to be commended highly too; he allows each component of the band to have a clarity and depth without interfering with the overall intensity and organic flow of the songs.

Many of the track almost lumber across the senses but as a personal preference it is when the band raise the tempo and energy that they find even greater heights. Cycle of Self first shows this with its eager rampage, feisty riffs and merciless initial march whilst the guitars throw cascades of melodic expression down amongst the debris. The song does slow its stride as it progresses to evolve into a different but still impressive track. Vindicator is the best song on the album and again a raised energy within it takes it above the other fine tracks. The intrusive riffs and sonically sharp guitar creativity its offers is a seamless blend of opposing diversity from the flowing melodic elegance and crushing heavy dark aggression. Mesmeric and at times hypnotic the track is dangerous and irresistible.      

     Throes of Absolution is one of the best albums out so far this year and for those who want more than simply being crushed and barracked without any depth it is a must investigation. It is not perfect with the excellent vocals of Polachek lacking a distinct variation, whether the song is a long crawl or an intense rummage through the senses he stays within his own strong but similar delivery. The only other comment that can be made is that not everyone will or want to take on the challenge of delving deeper to find the rewarding treasures beneath the surface assault but it is doubtful the band really care about that and why should they as7 Horns 7 Eyes has created a great and impressive album for us to revel in it.

Ringmaster 20/04/2012

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Chimp Spanner – All Roads Lead Here

From the first brewing sound on All Roads Lead Here, the new EP from Chimp Spanner completely takes over and enthrals the senses, permeating deeply to inspire and instigate thoughts, imagery and most of all emotions. The release is striking and an eager imaginative collection of compositions that continue the band’s accomplished and irresistible diversity of sounds and ideas to combine in a haven for melodic ingenuity and technical expertise and inventiveness.

Chimp Spanner is the instrumental progressive metal project of multi-instrumentalist Paul Antonio Ortiz, a man who has impressed and left more and more awestruck with his stunning sounds and musical imagination. Also known for his work with Blessed Inertia and Monuments, Ortiz first released Imperium Vorago in 2004 as Chimp Spanner to be followed by At the Dream’s Edge in 2009, both self released. The latter drew great attention its way and the following year saw the second album find a wider release from a deal signed between Chimp Spanner with Basick Records.

All Roads Lead Here, again released in conjunction with Basick, was recorded, mixed and self produced in Ortiz’s home studio as with his previous releases. The EP continues where At the Dream’s Edge left us in bringing a staggering blend of evocative and emotive ambience with polyrhythmic insurgent rhythms and provocative progressive melodic creativity. The release penetrates far and wide with its dual djent inspired riffage and emotion spilling harmonics alongside warm excitable melodies. Simply it is irrepressibly inventive and enjoyable, a feast and formidable delight of strong and inventive imagination and sound.

The pulsating and muscular ‘Dark Age Of Technology ‘ opens up the EP fusing crystalline melodies and sweltering atmospherics to a metallic djent like spine. The track’s progressive flow and vibrant expanse is a spiralling fallout from the initial explosion in the ear the track gives, radiating warmth and stirring up emotions. The heavy and soaring elements of the song come together in a inspirational union and it is impossible not to be swept up in the track’s graceful intent.

The whole release really plays as one movement but can be broken down into different and distinct pieces as well, though the release’s three part glory of ‘Moebius’ is a defined piece that has to come as a whole to fully experience and enjoy its journey. Between the e opening track and the first part of ‘Moebius’ the brief and haunting ‘Engrams’ forms a slightly spaced out link. The guitars are like magical caresses but beneath them there is a subdued but distressed sound bringing an ominous feel alongside the beauty.

‘Moebius Pt I’ from an initial mystical flow erupts into pulse racing insurgency before intermittently switching seamlessly between the two, bringing them together fully as the track evolves. The track explores the senses absorbing them into its vast expanse of infectious melodies and welcoming rhythms. At times the guitars are verging on caustic but completely mesmeric however they venture through the ear. There is so much going on that every visit comes with new adventure and though it is an mass of creativity it never becomes messy or confused something that applies to the whole release.

‘Moebius Pt II’ is a more angular and intense piece without neglecting further flowing sounds from the keys and touches of distorted harmonised guitar. It exudes a wonderful mellower tone as it progresses with still the metallic spikiness of rhythms and guitar strong as it flows right into ‘Moebius Pt III’. This piece in some ways feels like a summing up paragraph to the previous duo of parts though the intrusive scathing riffs later breaking out open up more stunning avenues. Its progressive ventures are as riveting as they are consuming, inspiring the most focused fascination possible and confirming the impressive originality of the release.

Ending on the expressive sonic skies of ‘Cloud City’, the sublime All Roads Lead Here EP is nothing short of a triumph and places Chimp Spanner to the fore of progressive metal music. You all really do need to hear this. Oh and for additional information there will be a strictly limited edition clear transparent vinyl version available with the exclusive addition of the Supereroremix EP which is equally impressive.

www.chimpspanner.com

Pete RingMaster 29/01/2012

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Uneven Structure – Februus

The anticipation for the debut album from French progressive metalers Uneven Structure was tempered a little when finding out how long Februus took to create. Actually it was not the time taken as that shows care and the element of perfection in the band that has to be a good thing, it was reading the quote from guitarist Aure Pereira who commented on the album “We have been constantly re-writing Februus over the past two years with the aim of turning it into something really special and soulful. We wanted to be sure that we had put the best of us in it and I think we’ve been successful at doing that.” It was the ‘constantly rewriting’ part that raised a little concern as any artist in any medium knows and finds there comes a point where something is finished, it is at its height and continued work upon it simply takes the subject further away from its envisaged finality. Of course now one regrets doubting the sextet as Februus is a masterpiece of creative songwriting and its stunning realisation.

Formed in 2008, the Metz based band released an EP a year later called 8 (available as a free download in its entirety from the band’s official website) and immediately drew acclaim and eager enthusiasm for their debut which is released via Basick Records October 31^st.  Februus is a concept album spanning across two discs dealing with evolution, the passage from nothing to a beings completion. A bold effort for the first official release for any band but as the time spent on it shows Uneven Structure push and stretch their skills, ideas and songwriting until they achieve their intent. As good as 8 was there is a marked leap in quality and levels with Februus , their progressive metal and djent polymetric rhythms and riffs fluid within the astonishing ambient and atmospheric soundscapes. Expectation was of sounds loaded with Meshuggah/TessaracT type polyrhythmic layers but though they are prominent they fuse within the intelligent melodic tapestries and ambient passages, from this is where the real power of the release lies.

 Februus is one of those fine albums that have an instantaneous connection as well as containing substantial textures and intriguing corridors to explore on each subsequent visit. It is a flowing album from the opening aggressive ‘Awaken‘ through to the closing ‘Finale’ on disc 1, each track merging into another with seamless elegance and effect but still making each song distinctively separate. From this the album works as a single experience or in its individual parts, though the greatest satisfaction is from experiencing Februus in its entirety. As mentioned ‘Awaken‘ strikes intensely before unveiling its melodic might and the impressive vocals of Matthieu Romarin, in a release of only highs he is one of the most triumphant elements, his voice and delivery a perfect balance between harsh and clean.

The opener flows into ‘Frost’ a darkly toned track with taunting riffs and a less violent attack though just as intimidating in it’s different attack. The trio of guitarists in Jérôme Colombelli, Igor Omodei, and Aurélien Pereira, who also provides ambient flows with synths throughout the release, unleash stirring and emotive sounds that make the song and Frebuus more than an aural experience. Romarin again fills the song with a perfect mix of light and dark over the forceful rhythms from bassist Benoit Friedrich and drummer Christian Schreil, in a band of talented musicians he really is imperious.

Tracks like ‘Hail’, ‘Awe’ and ‘Quittance’ enflame the senses with their startling construction and unique sounds, the band the instigators of imagery and emotions with their thoughtful and original arresting compositions. The two ambient fuelled instrumentals of ‘Exmersion’ and ‘Limbo’ are as striking as any other song and effective in making a respite to the intensity though both carry their own strength, especially the latter with its haunting and disturbing feeling of sensing something is there but impossible to touch or clearly view. This leads into the album’s best track ‘Plenitude’ which is the realisation and conclusion as it joins ‘Finale’ of the concept within Frebuus.

The production from guitarist Igor Omodei is impeccable with every element, sound and intricacy openly heard but still an even part of the overall mixture. There are no obvious flaws to Frebuus and with its depth and uniqueness it is at the head of the best releases this year. The second disc contains three tracks running 30 minutes of ambient sounds that run on from the first disc’s closing track and conjures up more imagery as it plays in the mind and senses. If there is one album to make a deliberate b-line to this is it, Uneven Structure has set a new standard for melodic metal with their debut and will surely make a lot of bands reassess their own sound and approach.

http://www.unevenstructure.net

http://www.facebook.com/unevenstructure

RingMaster 26/10/2011

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Aliases – Safer Than Reality

No doubt people will want to label and tag Aliases and all one can do is wish them luck because the Manchester quintet wonderfully step outside of any genre you want to lay at their door with a sound that is as distinct and impressive as the day is long. Call them a metal band because that is primarily what they are but with their own unique and expansive musical corner. There are a few bands that contain elements that make Aliases so impressive and some that tread a similar path without having the originality, but none spring to mind that are taking metal down the exciting and inventive avenue that this band is.

The band began in 2010 with the creative union of ex SikTh guitarist Graham “Pin” Pinney, guitarist Leah Woodward, vocalist Jay Berast, plus drummer Darren Pugh and bassist Joe Heaton. Both ex-Veils. The band immediately started work on their debut EP releasing in the interim a rough demo of ‘We Should Never Have Met’ in July this year. Met with a strongly positive response it led the band to be invited to play the prestigious Euroblast Festival in Cologne, Germany. August saw the release of Safer Than Reality via Basick Records, a label bringing more than their fair share of impressive and unique metal to the world and with this and the Circles album, two of the best releases anywhere.

The EP consists of eight varied and stunning tracks and when we say varied we mean within the songs themselves as much as the whole EP. The tracks are a riveting and intriguing array of ideas, sounds and attacks that fluctuate, resonate, and explode in a colossal portrait of expressive noise and music creation. Amongst the eight tracks there are two brief instrumentals which are delivered with emotive passion and are much more than simple momentary relief between the maelstrom of experimental and incisive sounds.  

‘What’s Left For Us’ opens up the EP hitting hard with djent scything guitars that explore and probe the senses over a rampaging rhythm attack from Pugh and Heaton. Vocals are a gruff growl mixed with clean, an at odds harmony that works perfectly, Berast as forceful and controlled as the exploration from Pinney and Woodward. The thing about Aliases that this first track brings and is repeated throughout the release is at times a track plays as if it is two or three separate songs playing at the same time. Not the best way to describe it but the discordant pieces that are integrated into the flow of the song are stunning and inspired.

The ‘Reality Of Beliefs’ takes over with eager fingers from the guitars dramatic play searching within the ear over a cleaner rock vocal with scrapings of growls and soulful flows. This was the one track that brought similarities with another band other than the obvious SikTh connection. The band’s rock/metal leaning and again instinctive creativity comes as easy as they do from UK band Tricore and though their sounds could not be more apart in many ways the construction and seamless meld of directions within the song is a skill that they both impressively have.

The best tracks on Safer Than Reality are the titanic ‘We Never Should Have Met’ and ‘All That Glitters Is Gold’. The first is an addictive and imposing eager clash of frantic sounds and impressive ideas. It rumbles incessantly behind a strong groove that sweetens the senses as the drums give them a firm and intrusive work over. The second of the two songs brings again the distinct sound where melodies and instruments play at extreme odds to others and the vocals, to create a track as triumphant as it is majestic. Many bands try to use discordance and the majority successfully but it is hard to think of one that does it to the extreme and brilliance that Aliases do. In an already brilliant EP these moments are a highlight of the highest level.

To know more about the EP simple go and listen, there is so much more and within the EP that we have barely covered. Safer Than Reality if not already should be on your to listen list and Aliases in your ears constantly.

RingMaster 06/10/2011

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7 Horns 7 Eyes – Convalescence

With their three track digital EP Convalescence, Seattle based technical progressive death metalers 7 Horns 7 Eyes have not only shown themselves to be a strongly expressive and powerful band but also given an indication of what their eagerly anticipated forthcoming debut album Throes of Absolution has in store.

Strong on riffs, emotive melodies, and incessant power the release shows a creative band that is not afraid to push boundaries and play upon and with the senses. Opening track ‘Vindicator’ carries a two prong attack, its intrusive riffs and sonically cutting sounds playing alongside opposing diverse and flowing melodic elegance in musical transactions, exchanging pieces of the songs in a seamless blend. It is harsh and at times brutal especially under the direction of the pummelling drums of Ryan Wood and Brandon Smith’s deep bass, whilst vocalist JJ “Shiv” Polachek IV delivers a heavy and deep rasping vocal soaked in menace and guttural intent adding to the dark intensity of the track. Countering this though is the scorching and melodic guitar play from Aaron Smith and Sean Alf and some excellent vocal harmonies that effortlessly flow behind the aggression. Traditionally evil carries a hypnotic beauty to lure the victims in and this track and the music of 7 Horns 7 Eyes is the same, menacing and dangerous but almost hypnotically impossible to ignore.

The title track centres the release rebalancing the senses before the final onslaught. Carrying a haunting atmosphere ‘Convalescence’ is a relatively brief instrumental, its grand arrangement plays like a mournful reflection of darker places tinged with a resemblance of hope still unconvinced of its own validity. A dramatic and thoughtful track that leaves the ear far too soon though its ‘premature’ end does mark the arrival of the final impressive track.  

‘The Winnowing’ is a tense formidable track laying on an increasingly building ominous feeling. It’s mid tempo crawl never sinks into a sludge/doom dirge like predatory assault but it still keeps the consuming invasion moving on a like minded slow and even pace. Dark and as foreboding as the song is at times, the wonderful progressive guitar work from Smith and Alf lift it into varied and masterful fresh directions that engage and satisfy evenly.

Convalescence is a strong and pleasing release that increases anticipation for the band’s debut. It at times does suffer a lack of really striking and unique heart stopping moments that really surprise and set the band way ahead of contemporaries but it also suggests that final step in their development might just be around the corner, maybe on Throes of Absolution. The EP shows 7 Horns 7 Eyes is a skilled and talented band that deserves attention and with Convalescence are more likely than not to receive it.

http://www.facebook.com/7horns7eyes

RingMaster 13/09/2011

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Circles – The Compass

On a few rare occasions upon hearing a band for the very first time there is an instant understanding and emotional sustenance of one’s musical needs and desires and the sense of music that is on a much higher and unexpected level from the start. Australian metalers Circles are such a band, their immense and impressive debut mini album The Compass instantly setting them apart from the majority of other bands and at the forth front of not just progressive and technical metal, but metal/rock itself. The six stunning tracks on their release reveal a quintet of musicians and song writers impactful in ability, creativity and technical skill as a unit, and music that oozes belief, confidence and a sure handed combination of melodies and ruptured structures that excite and ignite the senses.

Melbourne’s Circles are a relatively new band having formed in 2010 but hit a chord with an immediate mass of fans with their Prelude demo in the same year. Live shows cemented and increased awareness amid a rising fervour for their sound in their homeland whilst gathering attention beyond its shores. February of this year saw the band sign to UK label Basick Records and work on tracks to become what is The Compass quickly followed. With the mini album now released and the glory of their djent based tangent littered progressive metal ingenuity there for all to hear, it is no surprise they have rapidly garnered such acclaim and intense enthusiasm their way. 

‘Frontline’ opens up the release with electronic and synth pulses that beckon in a throbbing beast of a bass riff soon joined by the striking guitars of Ted Furuhashi and Matty Clarke. The track winds its way through its attention seeking length to great effect. To be honest the track does not pull down trees and really only intrigues but does ensure continued attention with its more than satisfying and enjoyable blends of harmonies, melodies, and driving power, though the further it progresses the bolder and more challenging it gets with a dramatic climax to envy. The song does instantly show the sheer power and impressive range of vocalist Perry Kakridas, his seamless and effortless mix of soaring smooth vocals and growling and scathing aggressive bursts outshining most other vocalists currently.

The second track ‘Clouds Are Gathering’ takes over and from this point the atmosphere is sparked into a blistering and searing intensity that never stops until the albums fading last notes. The track has everything and some, all elements that are needed to make a song sure to be immortalised in the heart. Titanic unpredictable driving riffs and constructs with a technical sharpness that never dulls in their incisive energy and attack merge into flowing harmonious melodies that sweep throughout, framing the jaw dropping and wonderful vocals of Kakridas. By the close of The Compass it is clear in time he will be classed up there with the likes of Mike Patton, of which it is apparent the Australian has been influenced by as it is that Faith No More have the band. For what will not be the only time on the release the track brings the elements that made FNM the inspirational leaders of so many fused into their own eclectic writing skills and sounds.

Not allowing the listener to take a breath the third and best track follows and ‘Act 3’ is a brute of a power soaked forceful song. Even in its mellower inserts and harmonious swells it is as intimidating but in an engaging way. The drums of Dave Hunter as on all tracks drive the song without breaking its emotive essence whilst bassist Drew Patton once more gives a compulsive resonating spine to the track. The three remaining tracks are just as powerful and fulfilling on the album, ‘Eyes Embedded’ with a sound that has a God Forbid/FNM like flavour, the tight and technically intelligent momentum of ‘The Design’, and the closing atmospheric clear and stormy merges within the enthralling ‘Ruins’, all continue the absorbing and wonderful quality already shown.

It is basically simple, The Compass is easily one of the very best releases so far this year and Circles will be one of the most respected bands of all time in what could be on this evidence, the very near future.

http://circlesband.com

http://www.basickrecords.com/

RingMaster 13/09/2011

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