Svart Crown – Profane

Exhausting and demanding, Profane the new album from French extreme metallers Svart Crown is also a rewardingly riveting confrontation, a release which feeds on fears and anxiety to create an intensive ravenous expanse of sound extinguishing light and escape. It is a sonic predator which devours and corrupts thoughts and emotions but equally sends them into a realm of provoked and fired up imagination.

Formed in 2005 by vocalist/guitarist J.B Le Bail, Svart Crown make their first impacting mark with the EP Bloody Crown and then debut album Ages of Decay of 2008, but it was its acclaimed successor, Witnessing the Fall two years later which ignited a strong hunger and recognition for the band. Bleak and rapacious the album made a striking inventive mark within extreme metal like very few others, soon backed up by an onslaught of live shows  ever since. New album Profane immerses the listener in a sonic desolation which seizes every pore and thought through skilled and voracious malevolence, its theme of the sickness of humanity reeking and breeding corrosive unrelenting caustic enterprise through music. It continues the sounds already discovered on the previous album but sets them out with a fresh breath and new adventurous declaration which leaves full satisfaction and fascination.

With a line-up completed by guitarist C.Flandrois, bassist L.Veyssiere, and drummer N.Muller, Svart Crown open up their Listenable Records released album with the insidious charm of Manifestatio Symptoms. The track, from setting a sinister ambience, stretches its sinews through a resonating atmosphere of sonic temptation which charges with eagerness through the ear, its brief instrumental presence impacting whilst opening up the senses for the character laden onslaught of Genesis Architect. Lurching over the ear with muscular rhythms and guitar scorching wrapped in an abrasive embrace, the second track proceeds to intimidate and test with a wealth of toxic sound and equally intrusive invention all guided by the guttural yet enterprising vocals of Bail. As with most of the tracks there is nothing which openly lingers within the song, a hook or groove which you can hang your memory on to but the whole experience is a long lasting and compelling confrontation which stays deep within far beyond the passing on of the sonic furnace.

The following blackened squall of Intern.Virus.Human and the mutually corrosive bedlam which comes in the shape of In Utero : A place of Hatred and Threat continue the impressive start, the first admittedly not quite touching the same heights of the opener but the second setting its own plateau of a maelstrom, deranged rhythms and sonic ingenuity flailing the ear for a rich pleasure. The album never settles into an expected rhythm or course of provocation but is constantly challenging and igniting the psyche and emotions with uncompromising vehemence as in the previous pair of songs and the likes of the lumbering Until the last Breath as well as the rampaging title track, both unleashing their passion drenched spite in a diverse and individual uncomfortable furies.

The album truly reaches its greatest height in its closing stretch of sonic antagonism where songs like the primal instrumental Venomous Ritual, a track with a virulent toxicant seeded in the great bass snarl and repetitious riffing prowling the greedy tempest of sound, and the bestial Ascetic Purification which employs a scathing abrase of hardcore within its savage distortion, rip any remaining thought of safety from the listener.

Closing track Revelatio : Down here Stillborn emerges immediately from the grip of Ascetic Purification to push further the rabid sonic persuasion and invention violence rifling ear and senses. It is a final and arguably the most devastating statement of quality of album and band, a track where grooves and melodic enticement carry the same poison as the brutal rhythms and barbaric riffing. It is an outstanding conclusion to an album which stands on the frontline of recent extreme metal offerings. It carries the flag for invention, passion, and imagination and though you can also say it might fail to be as memorable as other less deep releases, it is easy to hear which is the most rewarding.

http://www.svartcrown.net

8/10

RingMaster 22/05/2013

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Antipope – 3 Eyes Of Time

With more grooves than a tyre wall at Silverstone, 3 Eyes of Time the new album from Finnish harsh progressive metal band Antipope is an intriguing mix of flavours and spices within a weave of eclectic metal influences. Awash with vibrant melodies and pleasing progressive enterprise it is a release which ignites plenty of appetite for the band and whilst not being the best or most original record to step forth over recent months it is undoubtedly one of the most enjoyable.

Formed in 2004, the Oulu band have always been aside of most extreme metal bands, essences of black and death metal standing side by side with those of doom, gothic, and industrial metal within a continually evolving landscape of ideas from the band. After numerous EPs and demos Antipope drew the strongest attention with their debut album Desert which was released in 2010 on their own TCM Records. It was followed by the band signing with Violent Journey Records for the follow-up House of Harlot the following year and also this their third full length. Their second album saw the band create an even more groove laden collection of songs which 3 Eyes Of Time pushes further within its rich wealth of shadows and rapacious sound. The new release also sees vocalist Mikko Myllykangas take on bass duties after fellow band founder Santtu Heinilehto left the band in 2012, and leaves an eager wash of satisfaction for its imagination capturing escapades.

Opening song Close makes its introduction with a melodic beckoning of a singular guitar which smacks of The Eurythmics song Sweet Dreams, it is a heavily shadowed lure with bass in tow soon joined by a magnetic sonic tease and the expressive vocals of Myllykangas offering a slight Marilyn Manson feel. Once settled into its place the track wraps emotive arms around the ear whilst the vocalist moves through varied deliveries to bring a pleasing and unpredictable voice to the melodic wash now in charge of the still attention grabbing sinews. It is not a startling encounter but a strong and satisfying beginning to the release which passes over to the excellent Last Chance.

Guitar and bass immediately provoke and niggle the ear with compelling temptation whilst concussive beats begin their offering to the brewing sense of antagonism. What follows is a tempest of demanding but thrilling rhythmic and riff laden hunger lain with potent melodic endeavour and power metal like embraces. Admittedly the song ebbs and flows with the insistent and industrial honed urgency leaving the appetite greedy whilst the gentler flames incites a drop in intensity to the brewing ardour but it all goes to make the song imaginative and enthralling.

The following stroll of electronic and gothic metal fusion The River Standing Still, keeps attention firmly gripped, its heavy shadows and symphonic whispers expressing a temptation which is rich and teasing whilst the solo and melodic invention leaves a healthy desire for more. There is a sense of The New Jacobin Club to the dramatic presence of the song which asks and gets stronger involvement in its narrative whilst the following likes of the Fear Factory/ Type O Negative sounding Burn with riveting rhythms from drummer Tuska E. adding stronger addiction to the thrillingly carved textures from guitarists Juho Rikberg and Antti Karjalainen, the mix of smouldering atmospherics and fiery invention that is Exposure, and A Decomposing Ritual of Absorption all offer variation and refreshing individuality to the album. The last of these three is a prowling and consuming sinew veined cloud of blackened progressiveness and melodic acidity dripping emotive provocation and inciting expression.

With both The Logic of Self-Discovery and closer Guiding Light bringing further potent highlights to the album, the last a brawling insurgence of thrash filtered intimidation with sonic intrigue and melodic magnetism, 3 Eyes Of Time leaves a full stomach of pleasure and invigorating creative energy. It can be argued it also leaves a feeling of a lost opportunity in its wake as throughout there is a feeling that songs could have been pushed into greatness and adventure but it does offer complete enjoyment which is impossible to dismiss.

http://www.antipope.info

8/10

RingMaster 10/05/2013

Copyright RingMaster: MyFreeCopyright

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The Amenta – Flesh is Heir

Standing over the ear like a colossus and preying on any weakness it finds, Flesh is Heir the new album from Australian extreme metallers Amenta is a leviathan of craft and intensity. Bringing harsh exploration and black hearted adventure in all it offers, the release is one of the most scintillating and frightening aural predators to emerge in quite a time.

Formed in 2002 by Erik Miehs (guitars) and Timothy Pope (noise and fx), The Amenta has moved on massively since their initial black metal invention, their sound evolving and gaining an almost organic life of its own as through their releases the band stretched and pushed not only themselves and the listener into darker nastier and more rewarding corners, but extreme metal itself. Making an immediate impression with their Mictlan MCD the year of forming, the band next signed with Listenable Records who released their debut album Occasus in 2004, the record showing a sense of avant-garde irreverence and boundary challenging brutal invention which has expanded and brought the Sydney based quintet to the fore of experimental and uncompromising aural devastation. Through the likes of n0n in 2008 and the EP Chokehold of 2012, as well as V01D which was a collection of re-recorded older tracks, instrumentals and remixes and released a year earlier than the EP, the band has unleashed a continuing and growing furnace of deep anger, violent malevolence, and rapacious invention. Flesh is Heir is the pinnacle of that and their creativity so far, an album which is schizophrenic in its touch and overwhelming in its breath, but most of all a towering tsunami of dangerous imagination which simply consumes the passions.

From the opening avalanche of sound and intensity of the title track, Flesh Is Heir ravages the senses and emotions, its collision of all strains of extreme noise and craft honed into an onslaught of insidious manipulation and intrusion.  It opens on, in hindsight after what follows throughout the album, a relatively restrained embrace, the guitar of Miehs gently gnawing on the ear with sonic persistence whilst riffs offer a scathing stare backed up by the heavy tones of bass from Dan Quinlan. It is slightly unsettling but with enough respect to allow the listener to take a grip before the sense of impending ferocity. As the guttural growls and throaty of scowls of Cain Cressall step into the mix with pure intimidation and the rhythms of drummer Robin Stone cage and press with raptorial pedigree, the track seems to take one deep breath before savaging the senses . It is a feral intensity driving the creative and perpetually shifting attack, the band coming at its victim from all angles and depths for a full submission whilst rewarding with striking and enriching imagination. There is a beauty to the song which seduces, guided by the excellent temptation of Pope and his keys, whilst the rest of the track vociferously chews on the emotional carcass.

Through Ego Ergo Sum and Teeth, the release continues to dazzle and intrude, the first capturing the imagination with an electronic ambience of haunting temptation within another ferocity of unpredictable and thrilling enterprise wrapped in annihilatory intensity whilst its successor has a psychotic bedlamic heart which excites and disorientates whilst once more leaving the deepest scars with its primal animosity and barbarity. Whereas the second song on the release is a strong companion to the opener this track lifts the band and album to another level of threatening enticement such its delicious invention drenched in carnal hunger. From the song the instrumental A Womb Tone takes over and it is sensational.  The keys of Pope taking emotions through a hypnotic yet nightmarish realm, the suffocating ambience and distorted breath from the resonating pulse of the piece, the darkest compelling shadow and fear to endure and greedily enjoy.

As songs such as the industrial tinged merciless Sewer, the sonically engaging but wholly vicious The Argument, and the scintillating Cell, unveil their malicious beauty a full rapture for the album is ignited. It is a challenging and uncomfortable journey but as evocative and enthralling as possible, the latter of this trio of songs especially engrossing with its soundscape of emotional struggle and ingenious sonic bred alchemy. Lyrically the album stems from ‘the constant war in the human psyche between the faction that desires obliteration and the faction that struggles in the mud’, and this song is just one triumph laying the ugly side of man in a rapturous irresistible lure.

Passing through the maiming assault of Disintegrate and another riveting distressed ambient world of instrumental A Palimpesest, the album offers a final triumph in Tabula Rasa, the track a fire of crippling rhythms, carnivorous riffs, and synapse scoring sonics all held in rein by the exhausting vocal attack of Cressall. It completes an outstanding and inspiring album which fires up the passions and sets a high plateau for other extreme noise protagonists to aim for, though there will be few to equal the impressiveness of The Amenta right now one suspects.

http://theamenta.com/

9/10

RingMaster 09/05/2013

 

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A Vision Grotesque – Ethereal Benefactor

After a rather impressive album in the storming expanse of aggression invention that was Metaphysical Hypnosis, North Carolina extreme metallers A Vision Grotesque have returned even stronger with the stunning EP Ethereal Benefactor. Everything about the release is a step on from their strong debut, from the songwriting to its accomplished and inventive realisation the record screams startling progression. It is a senses thrilling imaginatively exhausting beast of an exhilaration, melodic extreme metal at its finest and most riveting offering a brutality and ferocity to sear paint from walls and flesh from bone which was equally a strength of the previous album, but the band has honed it with greater craft, maturity, and melodic enterprise into a sizzling fire a confrontation.

Formed in 2004, initially as Art of Dying until having to change to A Vision Grotesque after legal action brought by a Canadian band of the same name, the band has left immense and acclaimed marks on the local metal scene with their first demo and the following Homicide Utopia. Wider recognition came with subsequent releases King of the Massacre and Waking Up To Hell, both released in 2007, and Metaphysical Hypnosis of 2011. The last album as well as the second of the two released four years earlier was produced by Jamie King (Between the Buried and Me,, Scale the Summit,  Human Abstract) who returns for the new EP. Their live performances over the years have equally garnered rich acclaim as the band continually earned a strong reputation for their immense sound but Ethereal Benefactor leaves all before longing in its wake. It maybe only four songs but the release opens up a new and one suspects what will be a strikingly successful new chapter in their rise, such the impressiveness of the release.

The EP also features the first appearance of new guitarist Ron Dalton who joined in 2012, and alongside fellow guitarist Jeremy Bennett, bassist Daniel Quinn, drummer Steve Beaver, and vocalist Joseph Dobbins, has found a new intensity and ingenuity to the songs of the band which is loudly noticeable. As the opening scintillating title track shows alone, the growth in band and members from the last album is startling and that was a great release in its own right. As the first song and whole release douses the senses in merciless intensity and creative enthrallment thoughts still bring the likes of In Flames, Between the Buried and Me, Black Dahlia Murder, and At The Gates to the fore but now A Vision Grotesque stand apart with more distinctiveness and uniqueness of their own. The opener takes mere seconds to gnaw on the senses with tights caustic riffs and thumping enslaving rhythms whilst the vocals of Dobbins growl and scowl with a malevolence brewed from the heart to tonally and vindictively ride the equally vendetta fuelled sounds. The sonic mastery from the guitars sears and thrills whilst the clean vocals and harmonies making their declaration just lift the outstanding song further. Unpredictable and continually evolving within its thrusting intensity, the song is a hypnotic joy, its melodic flames a co-conspirator with the surrounding primal furnace raging in the successful seizure of the passions.

For Those with Eyes to See erupts with insidious efficiency and as with its predecessor explores and ignites the senses with strikingly accomplished sounds and invention. The guttural and serpentine mix of vocals is an exhausting scourge whilst the rhythmic bombardment is as vigorously contagious as it is destructively unrelenting. Once more the guitars bewitch and intimidate with carnal riffs and acidic sonic imagination to captivate fully, whilst the cleaner light and blackened shadowed depths of the song blend in a fluid and scintillating union. As with all songs there is much more going on than is noticed or taken in across one or two intrusive rides but every following encounter simply unveils and exposes new nuances and at times different facets to the character and hearts of the songs. The following We Bleed for Tyrants is no different, its nasty ambience of an opening releasing the cage for a savage consumption of the listener with those barbaric rhythms and carnivorous riffs grinning in blissful violence as they ravage the ear and beyond. The reins of melodic fascination and skilful sonic alchemy prevent total devastation with an almost sadistic smile of their own, and unite with the maliciousness elsewhere for another sensational maelstrom of brutal beauty.

Completed by Discontinuation, the song one more excellent extreme subjugation of the passions, Ethereal Benefactor is outstanding. The final track does not quite live up to the others but still is a thrilling call to the new level that A Vision Grotesque has reached up to and made their own. The EP is surely the final turn of the lock to the widest recognition for the band so bring on the next album is all we can say as anticipation is in overdrive now.

http://www.avisiongrotesque.com

https://www.facebook.com/pages/A-Vision-Grotesque/6242394678

9/10

RingMaster 21/04/2013

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Wandersword – Waiting For War

Making its steps into the wider world, Waiting For War the debut album from Russian metallers Wandersword is a richly enjoyable firing up of the senses and passions. Released  in their native land last year, the album now gets a wider unveiling via Blasphemour Records and it is one of those releases which if it had remained hidden it would have been a crime. As with most albums there is room for growth and expansion of the already strong promise openly shown upon the nine track rampage of Viking, folk, and melodic extreme metal, but it is still a deeply satisfying and invigorating encounter which is destined to find plenty of devouring appetites.

The quartet of Wandersword riles up and recruits the emotions and passions with tracks which are musically impressively accomplished as well as imaginative and equally aggressive with the energy to bring blood and energy to the boil. With all songs sung in Russian, the album is a rousing and enthralling rampage which signs up the listener into its epically toned charge with masterful ease, the opening title track the blatant instigator and lead into the dramatic and stirring encounter to follow. The dawning ambience and narrative of the brief intro is the stuff of warriors and brewing civilisations, a peace and calm stalked by emerging grandeur of emotive and quarrelsome atmospheres. It is an evocative and descriptive piece, and though many bands now employ this type of beginning to releases, Wandersword make it work more potently than most.

First full song The Valiant Viking immediately is prowling and stirring up the senses, the heavy riffs, punchy rhythms, and sonic painting of the guitar an intriguing and beckoning invitation hard to refuse. The vocals of bassist Andrey Anikin are harsh and caustic to the ear, his tones not the easiest to engage with at first but a strong and effective antagonism to the melodic wash permeating the song. Muscular and direct in its intent, the track is a pleasing start if not quite the triumph the intro was suggesting, but undoubtedly is a welcome introduction with moments of irresistible temptation, like the galloping inspiring climatic flourish with its Cossack like energy and voice.

Scarlet Sunset opens on a peaceful warm scenic impression, guitar and warbling whispers bewitching the ear for the thunderous explosion of riotous rhythms and equally antagonistic riffs, both extremes merging with skilled enterprise as the track snarls and invades the senses. Again the vocals bring a moment of insecurity towards the track but into its stride the album soon proves they are not an issue, just a growling confrontation to learn to find a union with.

The release hits its first lingering highest plateau with Strange Ships’ Trail, the album getting stronger and more impressive the further into its battle you go. From the first note the song has a ravenous energy and anthemic hunger which drives and steers the passions with merciless strength and compelling passion. The rhythms of drummer Alexey Krasnov find their most punishing sinews whilst the bass of Anikin finds an impacting growl and predatory snarl which is contagiously addictive, and with the guitars of Alexander Manukhin and Albert Osmilovskiy as inventive and ideally adventurous as they are raptorial, the combination is an immense capture of the imagination and passions.

Next up Masters Of The World continues the elevated plateau, again an evocative and gentle warm welcome shaping its place in the ear before stretching its flanks into an intensive intimidation attached to mesmeric and elegant melodic beauty, all veined by rolling rhythms which chain and spark up the instinctive pleasures inside. Enflaming further the craving for what is on offer, the track steps aside for the outstanding and best track of the album Peaceful Guard to unleash its irresistible hex and dance. With the keys and orchestral pull of the song bringing a siren like captivation to the fore, the track expands upon it with scything riffs and rumbling rhythms whilst the melodies cascade from the skies of the song with magnetic radiance. It is a dazzling track with the guitars painting upon the fascinating muscular canvas, a descriptive inspiration and the keys simply a sense of joy and eagerness to the battle of the heart of the track.

Both 40 Warriors and Northern Gates rage like thunder across the ear with strikes of melodic and ingenious flames spearing their excellent fields whilst the closing cover of Russia, a track originally from a band called Purgen, is one more piece of unreserved pleasure to eagerly consume. Waiting For War is a tremendous album and one sure to light up the passions of a great many with its re-release. It is a battle cry from Wandersword which could grace any field of battle and inspire greater determination.

https://www.facebook.com/Wanderswordband

8.5/10

RingMaster 18/04/2013

Copyright RingMaster: MyFreeCopyright

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The Moth Gatherer – A Bright Celestial Light

    A Bright Celestial Light is one of those releases which dares you to offer a description of or to place a tag on its creative tempest then laughs in your face as only a colossal lists of adjectives and genre references could just about do it justice. A perpetually evolving debut from Swedish experimentalists The Moth Gatherer, which takes on a new and refreshing aspect which each and every re-engagement with its stunning presence, the album is a quite incredible and ever twisting imaginative fire which inspires and consumes the passion let alone thoughts for a thrilling, often openly aggressive, and mesmeric experience.

Consisting of Alex Stjernfeldt and Victor Wegeborn, the band employs a maelstrom of flavours to its unique inventiveness, from metal and caustic rock, sludge and doom, to progressive and ambient and much, much more. The band and new album leaves the term unpredictable a slowly reacting, missing the target call on their persistently surprising and shifting ingenuity. Across its quintet of towering tracks the band never over complicates anything, progressive it surely is but with a uncluttered invention and understanding to the whirling imagination at work, it incites and lures in the listener without leaving them bewildered or shell shocked by the continually moving imagination. To share a comment Stjernfeldt made about the album, he said “We just want our music to be an emotional explosion“. Something the pair succeeds in doing with startling effect and craft. He went on to say “A lot of the songs is about death, missing people you loved who have passed away and losing hope in mankind. We want the music to make you feel like you can move mountains with it. I wish for that when people hear our music, they start to dream away.” Again to agree with him the band evokes thoughts and emotions with ease and to immerse within its descriptive depths an easy and irresistible lure.

Released through Agonia Records, the Karl Daniel Liden mastered album which also has a guest appearance from Member 001 of The Konsortium, begins its persuasion with The Water That We All Come To Need. The song slowly emerges from a gentle ambience and brewing atmosphere with singular guitar strokes and a dawning rich breath soon joined by inviting beats. It is a part primal wholly organic start which works on and with the inner rhythms of the listener to pull them into the exploding caustic ravage soon to follow. The vocals graze with scathing aggression upon a scene setting feel before the track quicksteps through a sonic blaze of shifting tempos and incendiary intensity veined with sharp acidic melodies and cutting barbed aural hooks. To describe the whole expanse of the song, or any other, would need a full individual review but leaving plenty to creep up and leap upon your senses let us just say the track winds around the senses and passions with riveting and dazzling enterprise. Its darkness is never far from the melodic light, always pressing and intimidating its temptation, whilst the bright sonic entrapment which permeates the different stretches of the soundscape is a constant temper to the at times brutal shadows.

     The following Intervention has a hardened rawer touch to its squalling tones whilst the vocals bring an urgent, maybe needy caress to the fire. Again shifts into melodic elegance across evocative and richly suggestive smouldering escapes are emotionally charged and aurally descriptive yet seamless in their emergence from and as persuasive leads into harsher corrosive and equally compelling sonic and predatory structures. The exceptional piece makes way for the highlight of the album, the brilliant A Road Of Gravel And Skulls, a track which rumbles along and crumbles defences with its cascade of punkish attitude, electro brilliance, ravaging extreme metal and hardcore abrasions plus so much more. The song is a demanding and richly rewarding excuse to visit thoughts and emotions, to let them find their own unique questions and visions, but most of all it is a creatively inspiring and passion sparking fury of invention and innovative imagination.

With The Womb, The Woe, The Woman and its hooked, grooved, and wonderfully melancholic beauty, not forgetting the exceptional snarl of the bass to add further provocation and the closing A Falling Deity, a song which is a free fall of intensive emotive suggestion and impacting scarring yet refreshing ambience, the album engrains itself further into the heart and thoughts. We have not done the album justice with our words, not sure anyone could, but with only the exhausting length of some tracks as a contrived niggle just to be mischievous, A Bright Celestial Light is a stunning release which certainly fans of the likes of Neurosis, Pelican, Breach, and Cult of Luna will greedily devour whilst it has plenty for all adventurous metal and rock hearts. The Moth Gatherer is going to be a major force ark our words.

http://www.themothgatherer.com

9/10

RingMaster 18/04/2013

Copyright RingMaster: MyFreeCopyright

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Pyrithion – The Burden of Sorrow EP

Put As I Lay Dying frontman Tim Lambesis with two exceptional guitarists and a desire to explore the heaviest sounds possible and you get the impressively tormenting confrontation of Pyrithion and debut EP The Burden of Sorrow. The three track slab of maliciousness is a monster of a violating rampage upon the senses, a trio of songs which are corrosively compelling as they creatively carve up of the senses and then spew out of the debris.

In his own words vocalist Lambesis has said “I have wanted to do a heavier and more traditionally metal band for a while. Being that I own a recording studio, I thought a great place to start was by asking my engineer who the best guitar player is that he has recorded. I wanted to team him up with one of my favorite guitar players growing up.” The result was the bringing in of Ryan Glisan from Allegaeon and ex-The Famine guitarist Andy Godwin, which has subsequently bred  a brutally impacting and equally promising new force to extreme metal. Released via Metal Blade Records, The Burden of Sorrow is an uncompromising and passion igniting furnace of cataclysmic rhythms, ravenous riffs, and sonically driven melodic ingenuity honed into a merciless and quarrelsome tempest of intense pleasure.

The release opens up reasonably restrained for the start of The Invention of Hatred, the guitars coaxing fires from the heart of the following fury ridden by the expected venomous growls and heavy squalls of Lambesis laying their distinctly intensive weight and presence onto the ear. It is mere seconds later that the track explodes into a torrent of energy and grooved inducement from the guitars, whilst the drums splinters bone with their mighty sinews and the vocals bleed spite and rasping viciousness with every syllable. Arguably there is not a great deal new going on across the surface, though beneath the sonic solo and sparking shards of melodic invention give evidence that there is an underlying uniqueness finding its voice, but as a confrontation and ferocious experience it could not be fresher or more skilfully accomplished, and before the track has laid down its final blow the presence and promise of the project is greedily devoured by the passions.

The following Bleed Out continues the carnal seduction, its hypnotic yet destructive rhythms and impressively varied textures of abrasion driven vocals recruiting the emotions with ease whilst again the guitars rampage and wantonly persuade the passions with insidious devilment and unreserved ingenuity. Neither Godwin nor Glisan try to steal the show from the intent and heart of the songs, but brilliantly stretch and evolve their presence with a craft and invention which is irresistible and strongly imaginative.

Final track Rest in the Arms of Paralyzed Beast lays down its welcome with a subdued and emotive breath, the guitars teasing the air whilst painting a narrative in the mind before hell opens its door to expel another leviathan of intensity and aural abuse. The most diverse of the three songs with a serpentine groove veining the plundering of the senses with intermittent heights of strength but a continual taunting of the ear, the song is unpredictable and magnetic within its ruinous intent. The break into a less consuming stretch which lies in tune with the start allows a breath to be quickly swallowed before the song re-ignites its predatory instincts for a thunderous primal ravaging once more.

Hopefully this is the start of much more to come from Pyrithion, the band not being just an occasional ‘supergroup’, because on the evidence of The Burden of Sorrow we are in for some murderous and exciting times.

http://www.pyrithion.com/

8/10

RingMaster 17/04/2013

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Kruna: Last Century

   

    Last Century, the debut album from Italian extreme metallers Kruna may not be offering anything distinctly new but it is one hell of a towering confrontation with torrents of anger, passion, and intensive sounds to please any metal driven heart. The release unleashes a compelling fusion of viciously addictive rhythms, frighteningly carnivorous riffs, and scorching melodic fires for a result which is constantly compulsive listening and more often than not quite irresistible.

Having sparked strong attention with their 2007 demo Fragments Of Memories, the quintet from Vajont spent the past few years expanding and honing their songwriting and creative skills whilst consistently igniting live stages. Now they are set to enflames passions with their Riccardo Pasini (Ephel Duath, Slowmotion Apocalypse, Extrema) produced first full length confrontation. Their previous release is said to fuse their early influences such as Sepultura, Slayer, and Black Sabbath with the newer sounds of Black Dahlia Murder, Soilwork and Hatesphere at the time. That description still stands in regard to the album but the Bakerteam Records released Last Century shows the band has stretched and expanded their ferocity and invention even further  to at times also offer loud whispers of bands such as Whitechapel, Napalm Death, and As I Lay Dying.

Opener Man God’s Temple immediately takes chunks out of the senses with ravenous riffs, crippling rhythms, and a fiery groove which twists around the ear whilst searing its flesh. As the caustic vocal squalls of Daniele De Piero bring their abrasion to bear upon the listener, the thrilling rhythms of drummer Aaron Sabadin cage and quell all resistance whilst the guitars of Irvin Sabadin and Enrico Clarin prey and torment with acutely crafted grooves and venomous sonic riffery. It is a wholly impressive first encounter with the bass of Riccardo Padoan bringing its own individual menace to the raging onslaught with malice and enterprise.

From the corrosive start the album continues its immense stance with Bloody Centuries and the excellent Confessor. The first gnaws and consumes with a furnace of intensity and abusive rhythmic violence speared by again finely tuned acidic grooves and breath-taking energy whilst the latter is a tsunami of rhythmic violence and exhausting intense malevolence. It is also highly contagious with an intermittent groove lashing the ear and an insatiable hornet like insistence and sonic spirals igniting the strongest passions before its stunning presence. Complete with eager melodically gaited guitar persuasion the track is easily the best on the album and impossibly infectious.

Phoenix comes next and features a guest appearance by Alberto Zannier of Italian melodic death metal band Slowmotion Apocalypse. Again it is an excellent fury with equally striking musicianship and melodic blistering to its tumultuous presence. After the brilliance of its predecessor it certainly has a battle on its hands to compete but nearly grabs the same heights and passion to compete with Confessor.

Songs like Death Without War, Back In Time, and the closing pair of Death By War and Armor impress but also underwhelm a little as arguably they of all the tracks, fail to deliver anything unheard before. They are still fully imposing and enthralling riots though and will continue to find an eager welcome for their feisty and merciless passion and sounds. Before those final songs though extra fires are ignited firstly with Ten Lies, its crushing energy and ruthless rhythms leaving feelings in bliss whilst a bass resonance complete with a throaty quarrel is possibly the finest moment on the album, Padoan finding a satanic menace and voice with his four stringed beast which is just stunning. Mob and Not For Me also leave a tortuous and deeply satisfying ardour in their wake to complete what is an arousing and impressive release.

     Last Century may not have anything particularly new to bring to the storm on the surface but with things bubbling below and an insatiable intensity as well as skilled enterprise; the album shows Kruna to be a band extreme metal is destined to have a lot of time and greed for.

http://www.kruna.me/

http://www.facebook.com/krunaband

8/10

RingMaster 26/03/2013

 

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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Brutal melodies: an interview with Efthimis Karadimas from Nightfall

     

It is hard to fully measure the impact Greek dark metal weavers Nightfall have had on melodic death metal and its related extreme metal neighbours not only in their homeland but across the genre itself, but with each album they have explored and stretched its limits with imagination and aggressive hunger. Their latest album Cassiopeia is no exception, the Metal Blade Records released triumph an equally mesmeric and intimidation beast of inspiring imagination and dark melodic grandeur. To find out more about not only the album but the band, Greek metal, and its history we had the pleasure of talking with vocalist and band founder Efthimis Karadimas.

Hi Efthimis and many thanks for taking time to speak with us.

Thanks for your time mate!

For over twenty years Nightfall has been not only one of the major underground metal musical voices but also a leader of Greek metal. As your great new album Cassiopeia spreads its senses wakening qualities around the world do you feel extra responsibility over the impressive depth of Greek metal which only now the world seems to be awakening to?

We act responsibly since day one and this is one of the main reasons why Nightfall is still around doing well. Being true to yourself is a big deal in all aspects of life; Nightfall has always acted in prudent ways to deliver pieces of art sincerely and free of expectations other than that of artistic expression.  Making people around the world paying attention to the Greek scene is a compliment. I am honored and proud at the same time Pete.

How do you keep the fire inside burning so intensely after two decades of offering hard work, acclaimed releases, and impressive creative imagination to the world, how have you kept complacency and obstacles all bands find at bay?

It is the spirit of the Underground that’s marking our ways. We have never treated art as a means to make a living or commercial success or to simply have some fun. Through music we try to cure our broken souls; we literally drag the demons lurking within us all the way out to the light where we burn them out. That effort people seem to appreciate in a high degree. I see no other reason really.

How would you say Nightfall has changed or evolved the most over the years?

That’s kinda difficult question to respond to as I am part of this band since the very begging and can’t really see things from outside. Actually I feel like we do the very same thing described previously; killing demons to relief our souls. Techniques and skills surely change but the essence remains the same.

Like most bands line-up changes are a part of things, has the ones you have experienced also gone towards the freshness you have held onto with your nine albums in some way, the new ideas being brought in by new members over the years sparking new ideas organically?

Playing with new musicians each time is so refreshing it makes me wonder how some bands keep the same line up for years without getting bored or drown into a loop of repetition, which ultimately kills any seed of art and creativity. Each time a new guy comes in we all get excited and longing for the amalgam of new and old tastes that soon will be produced as a result of that addition. Nothing remains stable for long; nothing remains unquestionable. That motion is energy. And energy is life!

Before we move onto your new album tell us how you see things have changed, if at all, for new bands breaking through from when Nightfall did and those trying to do so now, especially in Greek metal.

Back in the old days the whole process of producing, releasing, and communicating your music was too difficult. However, it was these very difficulties that made most of us, the old guard, to build a character through which our sound and style matured. This sort of maturity is something I feel like missing from the new bands. Easy access to high tech gear is not necessarily leading to any better results when talking about art. It is the struggle and the pain that spawn the lyrical drama. I am sure current economic depression will be the ground for some momentous works in the near future. And please dudes, stop playing the rock stars, the party is over and the chicks have already been pregnant by someone else. No hard feelings

Your previous album Astron Black & the Thirty Tyrants looked at man and his place throughout time as a theme and Cassiopeia feels the same at investigating with stronger focus man and his attitude and arrogance within the world even with its more mythical title and initial ‘voice’. Can you delve deeper into the premise for Cassiopeia and its inspiration?

I adore history and mythology. It is the manual of human race. Every single shit you face in everyday life is there to read and see how it first appeared, in which ways it was developed and how our ancestors managed to deal with it successfully or not. Furthermore, for huge issues like those of believing in something divine or of trying to make a better living individually or collectively historical data-cum-guidance is imperative since they are eternal and vast issues to cope with within one’s finite life. That very continuity of these problems proves the smallness of our species. Struggling to give sufficient answers to such questions is a two edge sword; it fuels our lust for knowledge but also fuels our egos when we feel like becoming closer to such an “answer”. Arrogance works as an internal mechanism of self destruction that’s detonated once a person feels superior thanks to a sort of power he happened to enjoy at a certain period of his life. Like a mechanism whose scope is to remind humans about our limited range of action. Cassiopeia’s story is a parable. What happens in the western world the last few years fits well in that story. Politicians and economists as Cassiopeia and Andromeda believed their capacity was great to an extent they could solve fundamental problems like those of harmonious coexistence of millions through artificial wealth and unity. So they came forward providing answers as to prosperity and easy life via cheap credit and unification that apparently eliminated hardships like poverty and wars. Soon masses switched from actors in life to viewers of life losing touch with reality.  Depression, anger, confusion now whip the backs of people and nations as hard as the tamer does to the lions and the tigers in his effort to push them back into their tinny cages. I don’t say it was a good or bad decision. We don’t make a political statement here. We only make a reference to the incapability of human race to overcome our smallness and the punishment follows any effort to step into gods fields and play their role.

Do you find humanity and its mistreatment of the world and themselves a continually inciting source for you creativity and lyrical ideas?

Totally. But it is not about mistreatment exactly. We, humans, are only broken. And as broken creatures we cannot achieve perfectiveness. We always struggle to proceed, and that effort takes its toll from time to time.

Do you see your lyrical ideas in albums as a narrative reporting problems and thoughts or as a more forceful provocation where you hope people will feel a reaction and think for themselves?

I express my worries and share my fears with people who feel more or less alike. It is a matter of mental communication I think. It is like telling a friend of yours, hey I have that fear lately about that thing, and he replying to you, yes, I feel the same too. It is kinda relieving, isn’t it?

The members of Nightfall are based across the world I believe, so how long did Cassiopeia take to emerge as the finished album?

We took advantage of technology. Distances have narrowed and ideas reach the receivers in the nick of time. You know, you exchange ideas and then you physically meet to arrange the details. However, that time we took it a step further by doing the recordings in different places, there where each one felt more comfortable to work with the engineer he preferred best.

How was the recording of the album made, together at a certain point in time or in stages without you meeting?

In stages actually. The process was long and enjoyable

How do you make the album sound so organic and united if recording separately and does doing it this way restrict how you evolve songs as a band which maybe you could push further if all together in a studio?

It is because we don’t try to alter the original course of the compositions. It is what we said previously about how important is to be true to yourself. As soon as a new composition emerges we follow it suit; we add anything it wants and not stuff that may sound “better” or more complicated or unique or they fit that or the other audience whatsoever. Ultimately the track becomes solid like any living organism after having absorbed all the vital elements its body requires to become strong. This is a marvellous process full of excitement and surprises as to how the ideas finally evolve to real tracks. The final stage takes place at our drummer’s studios in Germany (Soundlodge studios).

Are you a band which works on a few songs at the same time or take each individually through to a certain point in their realisation before starting another?

Everything starts from a bunch of ideas. You know riffs and forms that pass through our feeding system so to speak. We never say let’s compose a fast or a slow track or anything else like moving with a plan. Inspiration flows rich and we only channel it through strings and wires

How has Cassiopeia differed, if at all, in its creation to previous releases whether in writing or how you approached it in the recording?

To my ears Cassiopeia is a Brutal Heavy Metal album whose highlight is the right balance between melody and brutality. The fact that we recorded it in different places played a significant role to the final result. Think about it, being at your favorite place delivering without stress. Awesome!

Do you constantly find how you approach new albums changing due to experience and preferences gained over the years?

I can’t say we pay that much of attention to such technicalities. Life is taking good care of it. It loads us full of shit and negativity and then we discharge it through creativity. Criterion track from Astron Black album is exactly about that actually.

Is there any element or part of Cassiopeia which gives you the deepest warmth in hindsight?

I love guitar work in it and I love the ways their melodies mix with my brutal vocals. Yes, that’s so cool.

In Britain we try to ignore a certain Mr Icke as coming from our shores haha but you have been inspired to write The Reptile Gods by him I believe? Do you find an appreciation of the views from people with the same kind of beliefs as he and how do you see ‘aliens’ in the fabric of man’s history and beginnings?

That’s a funny story cause nobody can prove it right and those who can prove it wrong don’t have the ways to do it in a manner acceptable to the former. I am neither a fan of such theories nor their enemy. I only admire the distance such minds walk into their imagination’s jungle and how much they believe what they “see” there. This is amazing, but hey, don’t try it at home.

Cassiopeia is your second album since returning from a ‘hiatus’ for the band from 2005 to 2010, and the second with Metal Blade Records, this is a union which seems to be rewarding for both sides maybe more so than previously found in the earlier years for you?

I agree. Both these two albums and the line-up show some strong signs of serious workmanship. I am not sure about the exact recipe but I am sure the pauses played a good role. The industry is pushing many bands to unstoppable releases, promos, and stuff, ok; everyone understands it is not good but hey when you make a living out of it you need to follow otherwise you are dead. Our decision not to play that game but simply be the old school kind of artists who are making their shit around no matter what has helped us to develop a stress free attitude that I think it really works. Think about it. It is so pity so many bands started from the underground with the aim to play music and finally turned into fully pro acts in the vein of mainstream pop music investments, doing every single shit to expand their fan base. How pitiful and distressed is that really?

You are not a band which has an over active intent towards performing live, is there any reason for this or just down to the positioning of members around the globe alone?

Frankly speaking, the best part of being in a band is the composing and recording process. After that everything relates to marketing and promotion. It is ok, no problem about it, but allow me to believe that the artistic value of a piece of aural art is not becoming greater if you performing it live. And since I have a plethora of other interesting things to do in my life, touring is not among my priorities. However, should a good offer comes in, we always take it under consideration. Maybe for Cassiopeia we will go on and do at least one tour. Let’s see  :)

What is next on the horizon of Nightfall?

We are preparing a video clip, like the old good days, and then we may travel a bit around to give some shows.

Again Efthimis thank you for chatting with us.

My pleasure Pete.

For the last words of the interview would you like to state the case as to why people need to check out not just Nightfall but Greek metal in general?

Hey, good things come in small packages

http://www.facebook.com/nightfallgr

Read the review of Cassiopeia @ http://ringmasterreviewintroduces.wordpress.com/2013/01/25/nightfall-cassiopeia/

The RingMaster Review 18/03/2013

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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In Vain: Ænigma

    It has always been known or certainly suggested through their previous albums that Norwegians In Vain were masters at merging conflicting extremes, the release of third album Ænigma is the undisputed truth of that thought and declaration. The album is a compelling and invigorating tempest of opposites, beauty and destruction, peace and overwhelming sonic consumption, simplicity and inciting creative ingenuity. The release is arguably not stretching new boundaries but instead honing the already explored and distinct reaches of the band into their most impressive and intrusive piece of grandeur yet.

From their debut album The Latter Rain in 2007 which saw a rich and expansive blend of guest musicians and vocalists adding to the creative shock to the system for progressive metal, the band has reaped strong critical acclaim. Its successor Mantra three years later made an equal impact though for some was a mixed bag of tracks within what was still an ultimately thrilling and provocative release. The album confirmed the creativity and sound of the band as something apart from most other bands with similar musical intent and placed In Vain amongst the most respected melodic extreme metal conjurors. The Jens Bogren (Opeth, Soilwork, Borknagar, etc) produced Ænigma focuses all the already impressive elements and invention of the band into a towering and imaginative maelstrom of uncompromising pleasure, the album in many ways summing up of all that came before and was seeded in the earlier albums and expanding it into a new exhilarating and inspiring canvas of fresh and sharpened ideas.

As their previous albums, Ænigma is released via Indie Recordings and takes mere moments to awaken and perk up thoughts and senses. Against the Grain emerges from a sonic provocation with instinctively pervading intensity from the rampaging riffs and ravenous rhythms soon consuming the ear whilst the individual vocals squalls of Andreas Frigstad and bassist K. Wikstøl, the first venomously serpentine and the latter a hardcore bruising, ignite further primal pleasure through their impressive union. Once the clean vocals of Sindre Nedland join the now magnetic lure of the song, submission to its invitation is complete, the beauty and the beast persona of the track irresistible and incendiary for the passions. The expressive voice of the guitars of Johnar Haaland and Kjetil D. Pedersen soak the senses in courting and intimidating mastery, evoking and provoking reactions from emotions and thoughts throughout the continual senses searching imagination of the song.

The track as soon to be the whole album, has precise intentions with its  thought leading sounds and songwriting, which holds an inviting lyrical poise, but allows and invites the listener to spark their own unique feelings and visions to feel fully involved and part of the whole process of Ænigma. As progressive winds swarm through and around the ear within the often predatory extremes within tracks such as Image of Time and Culmination of the Enigma the band secures an addiction from offering inspiring and unpredictable variations within the also impossible to predict harsh torrents of annihilatory storms. Individually songs like the sublime instrumental Southern Shores or the elegantly malicious Rise Against offer an inspiring and emotionally inflammatory experience unique to themselves but part of the full album become another beast and encounter to devour and thoughtfully respond to, something which arguably may have been missing on previous releases, a consistency which brings a different fulfilment to taking songs as singular pleasures.

The pinnacles of the album come through Times of Yore and To the Core, the first an almost rabid yet reserved prowl of the listeners psyche with drummer Stig Reinhardtsen opening the gates to his most vicious rhythms and energy and vocals preying on the damage with spite and greed. With contagious acidic grooves and almost questioning melodies the track is immense, a furnace of passion and craft employing the richest essences of the band and their invention from its deepest most intrusive shadows whilst employing an infectiousness of melodic temptation. The second just gnaws on bone, senses, and emotions with yet untapped vehemence and an unrelenting savagery of riffs, rhythms, and vocals. Bestial and primitively violent, the track is a mighty lasting sonic pyre with glorious melodic flames of vocals and guitar enterprise.

Ænigma also impressively finds extra irresistible persuasion with each visit, from being impressively invigorating it reaches a higher stature over every encounter to become one of the essential hungers for the passions. In Vain have left a bench mark for all progressive extreme metallers to aspire to, we wish them luck.

https://www.facebook.com/pages/In-Vain/65782594989

9/10

RingMaster 13/03/2013

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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