Weapon: Embers And Revelations

Embers And Revelations is the first album on Relapse Records from Canadian death metallers Weapon and a release which with its seeds fully bloomed in old school sounds, is a refreshing and impressive slab of blackened glory. It is a blistering piece of enterprising and accomplished punishment which captures the imagination with ease.

Weapon has already made the world of blackened death metal take notice with debut Drakonian Paradigm of 2009 and its successor From the Devil’s Tomb the year after, but it will be Embers And Revelations which sets them as one of the most exciting bands to emerge in recent years, its evolution in sound and craft notable and impressive. Led and formed by Bangladeshi vocalist/guitarist Vetis Monarch the band has found its full voice musically and creatively and set free one of the best genre albums of the year. Its old school breath reminds of Morbid Angel,  Immortal and Mayhem but with its distinct Eastern essences the album offers something different and inspiring.

The release opens with  First Witnesses of Lucifer, its distant ominous stirring evolving into a larger shifting of muscle and jabbing riffs speared by fine vocals from Monarch. Into its stride it is a stroll of feisty riffs and roving guitar melodies keen in their endeavour but reserved in attack. The track soon lets its intensity off the leash and becomes a furious onslaught though it still holds back venom and unbridled aggression. The guitars of Monarch and Rom Surtr explore the senses with skill and craft, the sonic enterprise at ease with the abrasive riffs, whilst the rhythms of drummer The Disciple and the bruising basslines of Kha Tumos add depth and intimidation.

It is a strong start but soon exceeded and left in the shade by firstly Vanguard of the Morning Star to be followed by Crepuscular Swamp, Unhinged Swine and Liber Lilith. The first is bursting with vehemence and oppressive shadows, a track as venomous as it is inventive and mesmerising, those Eastern spices flavouring its rich blackened stock and devouring breath. It is a track which the more you delve into its presence the stronger it becomes, turning from an impressive companion into a feverishly essential one. The second of the three is a consumptive slice of well structured and insatiable passion, an engaging, steadily senses chewing  tempest which raises its heat and fury the nearer to its climax it moves, the riffs and sonic meandering quite dazzling.

    Liber Lilith is just glorious, a track which starts as a storm of less defined textures than on previous songs but with a bruising mass ripped by partly submerged addictive grooves and senses wilting sonics. Into its later half the track forges anthemic shouts into its pulsating flank and hypnotic weaves of guitar alongside the ever impressive beats and skills of The Disciple. A song to leave the whole body resonating, it is a bestial treat.

Emerging from Grotesque Carven Portal, an instrumental furnace, the title track rampages and storms the barricades with tumultuous energy and squealing intensity generated from the guitars and driven by pummelling rhythms and the guttural throat expulsions of Monarch, whose tones accentuate the passion and intent of the tracks as effectively as the music. Lyrically like all songs it is a challenge due to the low abrasive unrefined growls but not an issue to deflect from the obvious heart of the songs.

Completed by the disturbingly contagious and deeply intrusive Disavowing Each in Aum and the dirge majesty of Shahenshah, the album is a full and inventive beast with numerous facets to its attack brought with a perpetual imagination ensuring only intrigue, quality, and satisfaction.

http://www.weaponchakra.com/

RingMaster 02/11/2012

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Nachtblut: Dogma

Dogma the new album from German band Nachtblut certainly grabs the attention from its first surge of energy to the last. It is a storm of inspired black metal and symphonic industrial with strong strains of classic metal for extra flavouring to lead the ear and senses on a lively and corruptive journey. Like a festering brew of Rammstein and Deadstars with the insatiable blackness of a Cradle Of Filth or Dimmu Borgir, the album is a readily pleasing and intriguing release.  Though it does not really leave one breathless with excitement or amazement it without reservation treats one to an imaginative and compelling companionship.

Originally a solo project by vocalist Askeroth, Nachtblut meaning night of blood in English, evolved into a full line-up as the singer found like minded musicians to share his visions and imagination. Through their  love shows and the  self released  The First Supper of 2007 the band drew much attention their way. Shared stages with the likes of Immortal, Sodom, Watain, Varg, and Endstille followed as their provocative nature and sounds brought them acclaim and arguably equal despise but always attention. 2009 saw the band release their concept album Antique followed by its re-release two years later when the band signed with Napalm Records who also release Dogma. Long awaited the new album from Askeroth, guitarist Cross, bassist Sacerdos, drummer Skoll, and Lymania on keyboards, finds a defined maturity to their sound and an inspiring imagination, as well as an irresistible union between two distinct genres.

The album, opens with the title track and probably the song closest to being truly black metal on the album. The atmosphere brought from the simply keys and exploratory guitars sets the tone for the track with the blackened vocals of Askeroth as vehement as the songs is mesmeric in its emotive breath. The track is striking without leaving a lasting impression though the following Der Weg Ist Das Ziel certainly achieves that with its military like initial beats and driving riffs. Striding with a heavy metal intent and heavy symphonic air the song is a commanding and satisfying beast with extra impressive asides in the shape of the pipe like keys and melodic hooks.

The likes of the striking Rache and impressive Macht leave one further satisfied but it is with a trio of songs that the greatest highlights of the album are found. The excellent gothic gaited Ich Trinke Blut with its glorious full melodic heart aligned to a venomous intensity, the hypnotic  Eiskönigin, and the predatory industrial toned stomp of Mordlust, all easily standout. Each is a rampage of strong invention, imagination, and wanton desire to envelope the senses with an intrusive yet infectious majesty. Arguably the album as a whole does not quite live up to these songs but there is never a moment where ingenuity and compulsive listening is left wanting.

Closing on Vulva and Schritte further songs that are impossible to leave until their final notes depart, the album is an impressive fusion of styles brought in a fluid elegance and formidable might. Possibly Dogma as a whole lacks enough moments for more of its tracks to remain in thought and memory after their leaving of the ear but whilst together there is nothing less than a pleasurable and rewarding exchange of emotions and enjoyment.

Ringmaster 25/06/2012

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Interview with Adar and Omut from Shturm

Though still really an undiscovered area outside of its borders the metal scene in Russia has a wealth of diverse and exiting bands that are slowly coming to light. One of the best comes in the powerful and impressive shape of blackened death metallers Shturm. They have just released their new album Karmaruna, an album that rages and rampages with a defined craft and refined thought. Having strongly enjoyed the album and intrigued to find out more about the band we had the pleasure of having twin guitarists/vocalists Adar and Omut from the band tell us more about Shturm and their album.

Hello and welcome to The Ringmaster Review, many thanks for talking to us.

Would you first introduce the band and its members?

Adar & Omut: Hi! Thank you for your questions! Now “Shturm” is 3 persons: Adar (vocals, guitar), Omut (guitar, clean vocal) and Petreno (drums)

When and how did the band first start?

Adar: The group “Shturm” has appeared early in 2003. I and Sinner (bass, vocal) had organized it. At that time we were playing “war black metal” which can be heard on demo “Shape Of Chaos”. A year later the debut album “Fresh Christian Meat” had been recorded. It wasn’t only a black metal album, there was much more death metal. In 2009 label FONO Ltd. released our second album “Kalahia”. It was a blackened death work. Our image was reflecting the influence of black metal.

What were the influences that led you to getting into making music and those that inspire you now?

Adar: First we were influenced by such groups as Marduk, Immortal, Hipocrisy. Later we couldn’t avoid the influence of such monsters as Nile and Behemoth. Now the influence of these bands is very low. Listening to our album “Karmaruna” everyone can notice there the influence of different groups. So it’s difficult to say exactly who has influenced us during its creation.

Your music has evolved deeply between your demo Shape of Chaos and debut album Fresh Christian Meat in 2004 and your excellent new album Karmaruna. How would you describe the change and maturity that has emerged?

Adar: Really, I don’t know how to answer this question. As the years roll by everything turns out of itself. The childish maximalism concerning the views about life, music and fashion disappears. The music horizons broaden and you want to compose more interesting, distinctive music. Hereby “Karmaruna” appeared. The symbiosis of styles and views about life. We couldn’t allow us to make such a bold album before but now the time has come to break musical ranks and to experiment.

You started out as a brutal black metal based band really originally as you said earlier, what was the thought behind the band at the time?

Adar: That’s right. At that time we were 17 and we were only interested in protest against society, religion (especially Christianity), foundations, all these fops listening sugary pop music. We were like a bundle of nerves, drinking a lot, haggling. All this was reflected in our music – fast, raw, aggressive. It was a true black metal concerning all: views about life, texts, behaviour, attitude to people. We hated those who differed from us and we thought we were the strongest. We even had a song “Overpeople” which speaks for itself.

It seems that when you Omut, joined the band and struck up a strong understanding and combination with Adar that things really began for the band and the new defined shape and direction to your sound. Is that how it was?

Omut: After my appearance in the band much has changed as compared with previous course of things. But changes weren’t revolutionary. I and Adar, we were developing in the direction which was interesting for us, we were creating “Shturm” and we continue to do it. I think changes were gradual and logical.

So the change as much simply a natural evolution of the music as it was down to this reassessing of things then?

Omut: We always try to generate some unexpected, unpredictable decisions within the scope of our musical and lyrical ideas. That’s why the development of the band and of all that connected with it can be considered as planned (because all is often carefully planned) and spontaneous (because musical ideas for a new material are a great surprise even for us).

As mentioned Shturm started out as a black metal band and has evolved through death metal to an even more brutal form though without losing your skilled intricacies and creativity. Have you found you have lost a few fans from the evolution though obviously gained a great many more?

Adar: Oh, yes! Having broken through the ranks of death-black metal we have been subjected to criticism by our old fans. We were reproached for being pop and fashion oriented. But we don’t anger as it’s not true and we prove at our concerts that we are metal group as before but now we are not interested in playing only within the frames of several styles.

What was the metal scene like in Russia over the first few years and did it help or hinder your progress?

Omut: Metal scene of extreme genres in Russia has always been not impressive especially during the times of the formation of our group. It can be explained by the legacy of ban on this music made in The Soviet Union. While all the world was developing in the sphere of heavy music we had a sever ban on it in our motherland. At the early 2000 extreme metal scene represented an embryo under the influence of impressive bands from foreign countries. All this had a great influence on the lack of colouring and originality of Russian heavy metal. All the same we still loved such groups as Drama and Ragor. Russian heavy metal always makes us glad – Aria, Black Coffee, Master, Legion. We love this music and surely it has influenced on us.

It seems now that music from your homeland and surrounding countries is finding a wider market and attention, is that the case?

Omut: Of course, today there are more interesting Russian bands of different styles within the ranks of metal. Some of them are famous and needed abroad and it makes us glad.

You have had a few line-up changes over the years, how does that affect a band when it happens?

Adar: Line-up changes are always disagreeable. It turned out so that people have never left “Shturm” voluntary. We must dismiss them because of their futile approach to the work or we couldn’t simply find the common language. New people bring changes which are almost always good. I hope “Shturm” will have a stable, solid membership ready to compose for life and to do all for the band development.

You have just released your excellent new album Karmaruna as we mentioned, and your most creative release to date. What are you most proud of about it?

Omut: Maybe it’s a subjective judgment but we are proud of many traits and features of “Karmaruna”. The material was composed in unrepresentative atmosphere – we were discussing the finished riffs, ideas and drafts together and we were making the arrangements. That has had an influence on that the album turned out varied concerning style ranks. We are satisfied with both music and texts which gained our own specificity.

Tell us about the album title.

Omut: This is a symbiosis of two words that we wanted to call our next two albums after “Kalagia” – “Karma” and “Runa”. With the lapse of time we decided not to be in a hurry to release the double album and we created the material for “Karmaruna”. Karma is the law of cause and effect in which Buddhists trust. Runa in our interpretation is a sign, display. So, “Karmaruna” is this is how the fate or the karma of a being shows up in the world. In the form of rune signs can be recognized in trees, rain, love, war. According to the law of Karma the seeds of our past actions germinate in our current life and form it. So, as we understand it “Karmaruna” is the life, all around.

What does it offer that those still unaware of your music will find hard to resist?

Omut: I think people with different musical tastes in metal will be able to find something interesting for them in our album. So, the fans of heavy metal can enjoy melodics, the connoisseurs of black and death will like energy and speed. The sappiness of solos and the richness of drum parts make our music resemble to progressive metal. So, “Karmaruna” can be a very interesting for metalheads with different preferences. I’m too modest, aren’t I? ;)

How long has Karmaruna been in the making?

Adar: It took about half a year to compose the material for “Karmaruna”. It took much time to try different arrangements, riffs and words but it’s worth the effort.

 Did the album come out exactly how you imagined it before going into the studio or did it change during the recording process to surprise you?

Adar: Coming at the studio we had a strict plan of actions, almost all the arrangements were recorded on demo that’s why we needed only to record it with better sound quality. So, there were few changes during the recording and all passed as we had planned it. But experimented recording the vocal and it turned out quite different from our plans.

How does the songwriting happen within the band?

Omut: The songs for “Kalagin” were composed discretely by Adar and me. After that they were united in album playlist with few changes. It was a different thing with “Karmaruna” the material was composed by Adar and me but it weren’t finished songs. Raw material was sifted through and saturated with unexpected arrangements by me, Petreno and Adar. Drums and arrangements (and some riffs) of Petreno who took a very active part in composition enriched a lot the sounding of the album.

Your songs and lyrics are often related to and refer too, quoting from your bio, “…the atmosphere of ethnic music, the heritage of Maya and the nations of Oceania, bearing the wisdom and grandeur of the old ones…” Can you elaborate on this?

Omut: This characteristic can be applied partially only to the material of “Kalagia”. The texts for this album represents our interpretations of legends, traditions and mystic cults of “Buddhist” Tibet. On the text side “Karmaruna” became more wide – most of songs speak not about something far and mystic (as before) but about something vital and close to each person. The base is our modest reasoning on the basis of the Buddhist philosophy. Besides the album reveals the themes of patriotism, our private feelings about everyday life.

 What is it about the subject and themes that connect with you the most?

Omut: All about what we sing excite us to a considerable degree. The past of our nation, our private feelings, reasoning about happiness and suffering based on the covenant of Buddhist teachers. All this is important and impressive for us.

You have a reputation for powerful and memorable live shows I am told, this is always a special event you like to bring to your fans?

Omut: We try to push ourselves to the limit giving concerts. This is our way to express live our feelings and ideas born during our albums work. We try to make our show energetic and emotional. We had a different image before. Now we are disposed to the individuality and hope to surprise more those who give us much attention at out concerts.

Have you gigs lined-up to promote the album?

Adar: Yes, we plan concerts to promote “Karmaruna”. For the present it will be the concerts in Russia and CIS, but we hope to travel farther.

What is next for Shturm?

Adar: I think the future will be more interesting for us and for those who appreciate our previous work. Until we live “Shturm” lives. There will be new songs, concerts, clips. I hope we’ll visit England with concerts. Of course it’s not easy but it’s worth doing! We plan the release of a new clip for one of the songs of “Karmaruna”, the recording of EP which will contain one new song and some interesting compositions known by metalheads and connoisseurs of early “Shturm”. And of course the new album which creation has already begun.

Thank you for taking time to talk with us, very much appreciated.

Would you like to end with some words for your ever growing army of fans?

Adar & Omut: Thank you for your questions and your interest in “Shturm”! We wish every success and prosperity to your portal! We express our gratitude to those who like our music – thank you for being with us! Those who only begin to familiarize themselves with our music – welcome to our world, symbiosis of black, death, thrash, heavy and something else…I’ll be damned if I know!:)))

Follow “Shturm”, everything is just beginning. The most interesting is ahead!

Stay heavy!

Read the review of Karmaruna @ http://ringmasterreviewintroduces.wordpress.com/2012/04/17/shturm-karmaruna/

The RingMaster Review 02/05/2012

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