GraViL – Thoughts Of A Rising Sun

Having already raised a certain appetite for their immense and imaginative sound through previous EPs and the single Enemy Within, UK metallers GraViL have raised the bar for themselves and arguably extreme/melodic metal with the release of their strikingly impressive debut album Thoughts Of A Rising Sun. The self-released brute of enterprise and invention ignites if not a new realm for intense and evocative metal it certainly pushes and sculpts new corners and roads within the existing boundaries.

Having already found awareness through the pages of Kerrang, Terrorizer and Rock Sound, and potent radio play, the London quintet have risen to yet another plateau with Thoughts Of A Rising Sun. Recorded in the closing weeks of last year with acclaimed producer Dan Abela (Gallows, Bleed From Within, Voices, Silent Descent), the album infuses the widest range of metal flavours and essences to their melodic deathcore spine, emerging as unpredictable and as diverse a ravishing of the senses as you could wish for.

The first couple of tracks alone leave no doubt that the album is an immense and startling proposition, as well as suggesting that there is still plenty of depths for the band to explore ahead, a frightening and threatening thought to get excited about. Structurally Unsound steps forward on a lone melodic breeze, the bright inviting beckoning a devious lure as it leads the ear into the immediately exploding maelstrom of sound and intensity. The track roars with venom and cavernous strength before gnawing and chewing viciously upon the senses with rabid riffs, crisp rhythms and scowling vocal squalls from Grant Stacey. As the knees buckle under the extreme assault, the band breaks into a breath-taking melodic aside with clean vocal harmonies to lap up with greed. The progressive toned tease is a mere breath in the control regaining fury but then reappears again with the guitars of Tony Dando and Andy Slade parading a skilled and expressive fire of sonic and melodic enslavement for the passions. Throughout the drums of Conor Harkness cage and punish the senses without diminishing the potency of the seduction also at play whilst the bass of Nathan Lamb prowls within its own shadows to add further depth, even if its presence is a little lost in the production and needing concentrated focus to fully feel its compelling breath.

The following Enemy Within, the first single form the album, opens with a rain of electro rock and industrial enticement as its stretches its sinews to their fullest limits, their final positioning the canvas for a technical ear plundering carved from heavy sabre like persistent strokes and a brewing carnivorous intensity. As its exposes more of its inciting landscape there is a merger of sounds which plays like a storm of The Browning, In Flames, and Meshuggah yet stands alone from all three and any other reference you care to throw at it.

The stunning start to the album is easily continued through the offensive savagery of Beyond Reprieve, a track which even with its bestial hunger is not short of irresistible grooves, addictive riffs, and blistering caustic vocals to capture the imagination. Again the sonic intrigue and invention of the guitars is magnetic and the bass finding better clarity in the mix a rapacious intimidation alongside the outstanding stick abuse of Harkness.

The next up treat, The Wanderer unveils an exhausting soundscape of rabid energy and malevolence all matched and tempered by the thrilling vocal harmonies backing up the richly pleasing harsh lead vocals. As upon every song the fusion and thought of the contrasting aspects is inspired and outstandingly realised, their mutual qualities and temptations given full rein to flow and make the most dramatic persuasions whilst working perfectly alongside every other stirring intense facet.

From Something Worth Chasing with its great key led intro, through the violently emotive title track and the barbarous song The Struggle, to the enthralling Bottle Of Shadows with is constantly shifting battle lines, Thoughts Of A Rising Sun charges up the passions and pulse rate with intensive creativity and explosive imagination. Though arguably the first part of the album outshines the latter, the last of the songs just mentioned easily makes a scintillating and demanding claim for best song.

With the epic and excellent riff driving March Of The Titans closing up the album, it is impossible not to drool over GraViL and their future. On the evidence of Thoughts Of A Rising Sun expect a real classic from the band in the future whilst right now they have given up a possible contender for best of 2013.

http://www.gravilmetal.com.

9/10

RingMaster 02/05/2013

Copyright RingMaster: MyFreeCopyright

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Raven Lord: Descent To The Underworld

    Looking at the line-up of Raven Lord it is impossible not to imagine and expect their debut album to be a rather accomplished and imaginative slab of creativity, and Descent To The Underworld certainly does not disappoint. It is a thunderous expanse of riffs fired by a furnace of melodic might and invention, an explosion of classic metal all fans of the genre will expel a full passion for.

The sextet consists of the fiery vocals of Csaba Zvekan (Killing Machine, Sardonyx, Emergency), guitarist George Karafotis (Vermillion Days, Operation X), bassist Jamie Mallender (Tony Martin Band, ex-Black Sabbath), keyboardist Alessandro Duo (Voodoo Highway), drummer Lawrence Paterson (Blaze Baley, Iron Knights), and newest member lead guitarist Joe Stump (HolyHell, Reign of Terror). Together they have ignited a sound which combines power metal and neo classical influences to their core heavy metal heart for a towering encounter which commands the ear. Released via Mausoleum Records, the Zvekan produced and Fredrik Nordström (At The Gates, Arch Enemy, Nightrage, In Flames, Dream Evil and Opeth) mixed Descent To The Underworld is a continually enthralling album which offers plenty to reward anyone with a taste for melodic metal if not the genre it is settled in. It is a muscular confrontation at times which sparks as much enthusiasm as the sonic and melodic flames which sear and engross the senses throughout.

The album opens with the compelling charge of pulsating bassline, tightly grasping riffs, and warm mesmeric caresses from the keys of The Rebel. The track is soon blazing with the expansive vocals of Zvekan who rings the emotion and sound from every note with skill and passion to match the guitar play of Stump. It is an impressive start to the release which immediately confirms expectations and more which were in place over the formidable line-up.

Through the likes of Attila the Hun with its Middle Eastern kiss from the keys and surging sonic enterprise, the mesmeric Seal Of The Cross with its symphonic gait, and the rampant hunger and energy of Promised Land, the album persistently offers variety and smouldering imagination to keep a strong intrigue and unpredictability within the umbrella of classic metal electricity. The latter of the trio is an outstanding brawl of seductive mysterious keys, ravenous riffs, and evocative solo mastery from Stump which leaves one breathless.

Further greater highlights come with the majestic yet corrosive Black Friar and the riveting Metal Knights, another song where the keys wash the senses with a golden glow of Eastern promise from within an exhausting drive of devouring riffs and caging rhythms. Both tracks show the band at its best creatively and musically with the vocals of Zvekan certainly in the latter of the two, scorching the small hairs from the surface of the ear with his sonic squalls which run the fine line between pain and bliss for great results.

Descent To The Underworld is an album fans of the likes of Dio, Yngwie Malmsteen, Judas Priest and Black Sabbath will find a rich home within but it also has plenty to keep those of us who do not necessarily find the deepest of riches in classic metal more than satisfied. Raven Lord is a band destined to lead their chosen genre in the near future.

www.raven-lord.com

www.facebook.com/ravenlordmusic

7/10

RingMaster 20/02/2013

Copyright RingMaster: MyFreeCopyright

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Toxic Grind Machine: Embryonic Emission

Though it came out a four months ago, Embryonic Emission from Dutch industrial metallers Toxic Grind Machine is one big thrill which has to be shared. Firstly we have to give thanks to Ray Westland from Ghost Cult webzine for pointing us in the direction of what is a stirring and impressively dynamic album, a release which ignites a full ardour for its imaginative and compelling sounds.

Even with determined research little can be found out about Toxic Grind Machine except that it consists of Robert Slump (songwriter, guitars, keyboard, and programming) and Trevor Marks (vocals, synths, lyrics), merges the essential essences of electro, industrial, and metal in to a blaze of infectious invention, and takes inspiration from the likes of Sybreed, Fear Factory, Strapping Young Lad, In Flames and many more. Not that you need to know any background to enjoy the results of the inventive creativity spawning the album, the eight songs within do all the telling and persuasion needed to be enthralled with the band and release.

The album opens with emerging mechanical whispers and cyber teases as Burn Bright, Wry Jackal comes into view. From the shadows it soon bursts into a glorious confrontation of vocal squalls, thunderous rhythms and rabid riffs. Then it throws the first surprise by slipping into a melodic wash of clean vocals and emotive synth caresses. The subsequent combination of the two is a striking and accomplished union which favours neither but excels in allowing both extremes their full and compelling voice. The track is a vibrant mix of Silent Descent, Fear Factory, and Left Spine Down with elements of Pitchshifter to its sinewy depths, and a stunning start to an album which only gets better and better.

Next Amphetamines in Ghost City rampages from a kiss of electro effected vocal harmonies into a torrent of ravenous riffs and spiteful rhythms driven by an intensity which smothers the senses with near malice. Again the unpredictable might of the band takes us into a melodic room as the bruising energy outside brews up its storm to unleash soon after and entwining itself with the warm electro wash. Sybreed and Scar Symmetry comes to mind whilst the song reveals more imagination, though this or any song on the album is uniquely Toxic Grind Machine. There is also an antagonism to the lyrics and some of their delivery which like the sounds is an exciting contrast to the smooth soothing tones elsewhere.

The whispering ambience which introduces AphidHaze is another emotive example of the thought and ingenuity within the album and though the track cannot resist unleashing a full and rampant force the song offers a less intensive storm to fall before, instead inviting a willing immersion into its still immense and formidable breath. This slight mercy is soon dismissed by Cell 600, a track which rips the senses asunder with a gleeful brutality before stomping them into dust with a rhythmic violation and riff driven annihilation that would make the likes of Meshuggah and The Browning sweat. Again from the impressive vocals, violent and caressing, and mesmeric synth expression to the voracious riffs and barbaric rhythms, the song is outstanding, just like Embryonic Emission itself.

As the even tempered Hymnlock, though it too cannot restrain its sonic rages at times, and the fascinating Judah, Let’s End lay their intriguing cards on the table the album becomes even more engrossing and intoxicating. The latter of the pair especially has a constant shadow over its expanse to hide where it is going and offer mystery to its intent. It only draws thoughts and emotions in deeper despite its wonderful ‘deceit’ as each and every unexpected twist opens up new avenues to explore.

The album departs upon firstly the brawling excellence of Morphia, a riotous grapple which leaves one pumped up in a frenzy of energy and passion, and the instrumental Enther. The final track is a piece of music which would have made the perfect beginning to the album, its brewing epic feel and dawning dramatic expanse an electrifying experience suited as a delicious introduction and personally feeling wasted as the admittedly rousing climax. The bottom line is Toxic Grind Machine in Embryonic Emission has created an album which with each listen reveals something new such its depth of layers and imagination whilst offering nothing less than unbridled pleasure at all times.

http://www.facebook.com/ToxicGrindMachine

http://toxicgrindmachine.bandcamp.com/

RingMaster 29/01/2013

Copyright RingMaster: MyFreeCopyright

Immension: Self Titled EP

For some reason there seems to be a bit of negativity going round towards the debut self-titled EP from UK melodic metal band Immension, not that it has been a slating upon the release but an apparent to our minds anyway misguided lack of appreciation of what is on offer from the Sheffield quartet. Now certainly the release does not forge new avenues for metal or unleash a storm of originality but at the same time it makes for a satisfying and reasonably thrilling encounter for the ear. For their introduction it has to be said the EP is an impressive enough slab of creativity offering plenty of promise for the band in the future and enjoyment right now.

The main accusation towards Immension is their closeness in sound to Bullet For My Valentine on the release, something you cannot dispute but is hardly a bad thing when mixed with a brewing independence of sound from the band though that is arguably not as realised on the record as you would wish. Nevertheless accomplished in musicianship, thoughtful in structure, and stirring in intensity there are more things right than ‘wrong’ with their introduction to the world.

Formed by vocalist/guitarist Jake Kearsley and lead guitarist Tim Dolan from jamming together five years ago, the band reached a stable line-up with the addition of bassist Hasan Ahmed and drummer Jonni Sowter. From there the band played a torrent of shows stretching from London to Leeds building a fine reputation and loyal fan base along the way. The EP is the first twist of the key to wider recognition and something which certainly amongst metal listeners if not the media seemingly, will stir up plenty more interest their way.

The release opens with the emerging power of Shadow Of Yourself, a track which initially stands tall with flaring riffs and rhythms speared by sonic dazzling wrapping around its bulk. Soon it erupts into a charging fury of pummelling beats and scything barbed hooks and hungry riffs. It is not exactly formula stuff but using tested structures skilfully and to great effect. It is with the clean vocals of Kearsley that one is initially a little taken aback. Expecting the scowling squalls of malice and menace most bands employ the clean delivery is a refreshing variation with growling spite the additive rather than the other way round. Thoughts of In Flames and Avenged Sevenfold emerge from the muscular presence of the track as well as the previously mentioned band of course to make the song a familiar friend for the ear and an enterprising experience for thoughts and senses.

Like the opener the following Lost & Forgotten offers plenty of asides and unexpected ideas amongst the overall bluster of riffs and intense rhythmic assaults, the second song elevating things to a stronger aggressive level. The track is a raging tempest of spite and passion with again the dual vocal attack, and especially the sung vocals, quite compelling. Overall the song is treading the harsher territory of a Killswitch Engage or As I Lay Dying musically and is the best track and the biggest instigator of real promise from the band on the release.

The slowly brooding In Vain closes things off with a more adventurous gait than before on the EP. The initial mellow tones of atmosphere and vocals is a warm caress against the heated sonic play of the guitars, the infectious chorus merging it all into a brief fire with commanding drums to frame their flames. Soon it is another charged frenzy of energy and aggression which switches between full flame to simmer with seamless craft and ease. It is a song which takes time to make its persuasion but emerges as a dramatic and intelligent song, and again another showing the scope and promise of the band in songwriting and its realisation in the future.

Immension has arrived with an EP which deserves attention: it is not going to ignite the biggest ardour within most but certainly will be a pleasing and gratifying companion during its presence.

www.facebook.com/immension

RingMaster 03/01/2013

Copyright RingMaster: MyFreeCopyright

In-Sight : From The Depths

    From The Depths is the thumping latest album from Italian metallers In-Sight, a release which just grabs the imagination and takes it on an inventive dance of melodic death metal with the emphasis on the former. It is a thrilling release which as our first introduction to the band is one of the biggest rewards of the year for the passions.

The band began with a Swedish death metal sound in 1996 on the impetus of drummer Gianluca ‘Mek’ Melchiori. In-Sight had decent success with their three self released EPs and good acclaim for their live performances which took them around Italy and Switzerland. It was in 2009 though after a lull for the band that Mek reorganised the line-up and brought in vocalists Andrea Pecora and Emanuela Antonelli, guitarist Mattia Stilo, and bassist Cesare  Montagner. This brought on a new spirit and energy which impacted on the more melody driven sounds being created. 2011 saw the band record From The Depths and this year the signing with logic(il)logic Records for its release and also the further addition of second guitarist Riccardo Picchi to the ranks. The album now unleashed on the world sees a band which with still some uniqueness to find to its voice stands apart from most similarly driven artists. This was as mentioned the first time the band has graced our ears and the most pleasurable surprise and experience it has been.

So many things stand out on the album from the superbly crafted and structured songs, the mouth-watering musicianship, and the colossal mix of beauty, intensity, and wilting power. The other tremendous asset the band and release has is the dual female and male attack of the vocalists, both riveting and the perfect union in their individual extremes. Antonelli has a glorious voice, full of grace and power whilst Pecore growls and bruises the senses with a vicious squall of a tone which ignites the primal instincts inside, though he can vary the assault to offer a good texture to his delivery. It is an excellent mix which with its successful formula sets the band apart in that aspect.

Starting with a brief piano led atmospheric instrumental intro the album opens up its full multi-faceted stance with Mind The Light. It takes no time in offloading hungry riffs and pummelling rhythms for the ear to willingly consume before the golden tones of Antonelli lights the skies. As the aural coarseness of Pecore joins the affair and the guitars conjure grooves to spark emotions into life, the song settles into a classic breath with sinewy provocations. It is nothing particularly ground breaking but wholly compulsive and inspiringly invigorating.

The following tracks just elevate things further; Winding Coil is a sensational rub of sonics and staggering harmonies with especially vocally, the almost duelling presence of the two singers a captivating ingenuity and maybe their finest moment on the album, though they push that thought throughout. The track is an intense and vibrant fire of sound and energy which leaves one drooling in musical lust which is soon satisfied further by Frost Hate and Insight. The first of the two brawls with the ear vocally and sonically whilst Antonelli veins it all with delicious elegance through her caressing tones. The second of the pair is a less forceful encounter though it does not shirk on bone snapping riffs and jolting rhythms to intimidate behind the white hot melodic weaves of imagination and sound. It is just another in a blistering confrontation of high quality senses enthralling songs within From The Depths.

As impressive as Parasite and Rary are they drift away from the levels of the previous songs a little, though it is down to the greatness already unleashed rather than their limitations and the band are soon forging another pinnacle with the insatiable hunger of For the Sake of the Show. The song claws at and gnaws on the ear from start to finish with even the ever fine wonder of the female harmonies and vocals unable to soothe the corrosive impact of the song. It is a triumph which leaves thoughts and senses wasted, a tempest of true pleasure.

Closing on Informulation (2011), a track which demands little but gives plenty, From The Depths is a real gem of the year. In-Sight is a band all fans of the likes of In Flames, Soilwork, Dark Tranquillity, and Scar Symmetry, need to track down. This band deserves wide recognition, no question.

http://www.insightband.net

RingMaster 19/12/2012

Copyright RingMaster: MyFreeCopyright

STEEL CITY METALLERS IMMENSION RELEASE THEIR DEBUT EP THIS JANUARY!

IMMENSION’S SELF-TITLED EP TO BE NATIONALLY RELEASED ON MONDAY 7th JANUARY 2013

Flaunting speed slabs of melodic metal and riffs as dense as the basaltic layer, Immension have an incessant intensity and are geared to parade their message to everyone within ear shot.

Born out of Sheffield in South Yorkshire, the very original seeds of Immension were sown over five years ago when founding members, vocalist/guitarist Jake Kearsley and lead axeman Tim Dolan, started to trade riffs with one another. For the next few years Immension struggled, largely due to a series of unreliable members serving as their rhythm section. However, all of this changed last year when tub-thumper, Jonni Sowter, and bassist, Hasan Ahmed, entered the fray and everything finally fell into place for the emerging metal crew.

With a solid line-up in place, the band soon began to play a barrage of shows throughout the country, ripping up stages from London to Leeds, and everywhere in between. Now having honed their live sound, Immension hit the studio to lay down tracks for their self-titled debut EP, and it’s a hidden gem.

The EP takes shape with the pounding riffage of ‘Shadow Of Yourself’; a potent opener for the Yorkshire metallers, the track suitably displays the four piece’s impressive dual prong guitar attack and dynamism. Next, the high velocity fret-flurries and Slayer-esque beatings of ‘Lost & Forgotten’ go straight for the throat, while the slow-burning ‘In Vain’ further highlights the quartet’s guile. Armed with a strong and stout EP, it’s evident that the Sheffield metallers are poised for a heady climb next year.

 https://www.facebook.com/immension

TRACKLISTING: 1. Shadow Of Yourself; 2. Lost & Forgotten; 3. In Vain.

BAND MEMBERS: Jake Kearsley – Vocals / Guitar; Tim Dolan – Lead Guitar; Jonni Sowter – Drums; Hasan Ahmed – Bass Guitar.

FOR FANS OF: In Flames, Metallica, Arch Enemy.

Skarthia: Retaliate

For a band labelled on their own profile as melodic death metal/groove metal, London band Skarthia rather underplay the depth and diversity to their sound. They are a band which pulls the ripest flavours across metal before teasing and twisting them into their own impressive and striking sound. For a band still in its formative years you could ask if the eclectic elements were down to one still undecided on their direction. Listening to Retaliate though, the debut album from the band, the quality and skill is so controlled and imaginative that you know this quartet (currently a trio as they search for a drummer), is creating exactly the sounds they strived for.

Formed in early 2009, the band took influences from the likes of Lamb Of God, Machine Head and In Flames, searing them into their own flaming musical vision. Throughout the eight tracks which makes up Retaliate, those inspirations are noticeable and potent spicery to the originality of the band but it is fair to say they never over power to send thoughts away from the band in the direction of the influences, a testament to the fine songwriting of Skarthia. Consisting of guitarist and vocalist Avichai Myers, bassist Adam Gigi, and guitarist Sapir Rajuan, the band began writing for this their debut album alongside drummer Orrie Catriel. 2010 saw the release of demo track No Last Words to a good response before the departure of Catriel the following year.  Working alongside engineer/co-producer Tyrian Purple, the band then recorded Retaliate in 2011 and what has emerged is nothing but blackened destructive gold.

The album begins with its finest moment though there are plenty of close runs throughout the explosive release. Drill is a staggering introduction to the album and band, immediately revealing the band as one not bound to follow expectations. Its initial breath is a blistered whisper of brewing sound which evolves into an electrified cloud of energy, restrained guitars and a wonderful prowling bassline. In the time it takes to gather a deep breath the track then explodes into a fury of bone breaking rhythms, air igniting riffs, and a varied display of vocals from Myers which is unexpected and very welcome. Primarily he growls with venom ripping off each syllable but he is also unafraid to explore and expand his delivery, something many more should take note of. The charge of sound is a vibrant mix of Lamb Of God, In Flames, and certainly vocally offers a slight Korn lilt, but it is the sensational female vocals of presumably Rajuan which offer the biggest surprise and delight. Her presence brings a startling contrast to the intense menace storming within the track and if there is any complaint about the album as a whole it is that she only appears vocally on Drill.

The following No Last Words and Demolition both trample and crush the pieces left by the opener with equal power and invention. The first is a torrent of crippling rhythms and spiteful riffs with melodic guitar play to light up the darkest heart. It is a glorious mix and a distinct change in the attack of the band from its predecessor, just the first of many wonderful and diverse shifts in imagination and invention. The second of the pair finds an even more venomous intensity within to corrupt the ear, its power leaving the senses sweltering before its malicious intent. There is a firm Devildriver moment within the song to add even stronger flavour to the impressive corruption.

It has to be said every song opens up the right sores and abuses them for the greatest satisfaction, the gloriously wanton Liefest with its sirenesque melodic beckoning and predatory bass stalking, the sensational Parasite with its ravenous melodic prowess, and the rabid My Retaliation, a further three examples of the triumphant success of album and band. The first of this trio is a rival to Drill for best song, both lingering pleasures long after their departure from the ear.

War Graves and In Vain complete the corruption in equally powerful and contagious style leaving one to ponder how long it will take for Skarthia to become a major force in UK metal. On the evidence of Retaliate it will be sooner rather than later. This is simply an outstanding album from an even more impressive band, time to discover for yourselves.

https://www.facebook.com/Skarthia

RingMaster 14/08/2012

Copyright RingMaster: MyFreeCopyright

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Frater – Into The Light

Argentinean band Frater has everything in place to be huge. Outstanding songwriting, superb musicianship, an imaginative invention, and a destructive power  to leave one  roasting in their own juices are all coursing through their music. All they are missing is worldly recognition something with luck and continued determination must be on the cards going by their debut album Into The Light. The release is immense, a certain album of the year candidate and the cause of the unshakable belief that the band will soon explode into that full blown acclaim and giant status.

The introductory email from the band just said Hi and a few words ending in “We hope you enjoy the music”. There was no shouting about or hinting of what was to explode out of the speakers, so expectations were good but not imagining the pure excellence to come. Into The Light consists of twelve tracks which without fail all leave one gasping for breath, their bodies perpetually evolving and as diverse as the sun is hot and all staggeringly colossal. Frater reaps the deepest essential essences from multiple genres to create monumental slabs of brutality which expertly fire up the senses. They combine equal densities of extreme and melodic metal whilst twisting in irresistible metallic veins of groove, technical, progressive, and  metalcore. It is astounding and easily one of the freshest and most vibrant albums to hit in a long while.

The Buenos Aires band formed in early 2008 with in the words of their bio ‘the aim to fuse different musical styles with powerful riffs without neglecting melody, introspective lyrics and progressive rhythm constructions,’ Into The Light shows they have achieved that and more. The year after formation the quartet of vocalist Pablo Urcullú, guitarist and vocalist Andrés Bori, bassist Andres Zadunaisky, and drummer Federico Mele released the five track Shapeless EP to strong responses in their homeland. The release and their renowned live performances ignited a powerful following and strong acclaim within Argentina. Now it is the turn of the world as their album begins its assault and it is hard to see them failing.

The pulsating start of opener Eleven captures the imagination instantly and when the rampaging intense riffs and electrifying swarm of melodic sound erupts, nothing stands in the way of immediate jaw dropping attention. The track is a blistering contagion, an incessant onslaught which leaves knees buckled and ears sore through its overwhelming intensity and might. The song then sweeps into unpredictable avenues with some of the most infectious melodic and imaginative interplay heard in a long time. The vocals of Urcullú alone turn from the most spiteful and bile spewing caustic growls to some of the finest clean and controlled singing found in metal today. He is impressive in the extreme and a brilliant foil and companion to the crushing and caressing sounds the band conjure together. The track is five minutes plus of brilliance and the band already declaring themselves as something special.

The fluid exchange between the opener and Heir Of Thorns is astounding  and a feature of the album as a whole, the release a consuming brute made up of a brotherhood of songs. The second track corrupts with sawing riffs which gnaw at the senses with rabid hunger whilst the guitar of Bori stretches and manipulates the song and its recipient with unbridled flair and imagination. The track again finds the perfect mix of violence from the aggressive riffs, bass stalking and crippling rhythms with the peaceful enterprise of guitar ingenuity and emotive vocal, delivering it all with an even more skilled invention.

The likes of Venomous, a song as nasty and infectious as its title suggests, the ravenous and compulsive Eternal Return, and Beneath My Eyes which turns inside out with precise skill to bludgeon and light up the heart with aural beauty in its extremes, continue to leave one in rapture. The third of the three is an insatiable onslaught offering outstanding melodic elegance within flesh striping intensity and further proof that Frater leaves nothing in the locker in skill, intensity, and imagination.

From beginning to end Into The Light is nonstop musical supremacy at its most powerful, songs like Truth In Lie, Statement, and the closing title track though you can mention any song on the album, showing a band able to bring quality and wide diversity without losing their way and at a height many never reach. If the likes of Sepultura, Lamb Of God, All That Remains, Opeth, Periphery, In Flames…well you get the idea, light your fires Frater will stoke them up even higher. They and their sound is eclectic, perfectly controlled, and simply stunning, enough said!

https://www.facebook.com/FRATERMETAL

RingMaster 08/08/2012

Copyright RingMaster: MyFreeCopyright

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Black Polaris: Envisage EP

Hold onto all loosely attached articles or hairpieces ladies and gentlemen because if you thought the album Empires from Black Polaris of last year was a staggering storm upon your senses the return of the band with their Envisage EP is going to leave you deliriously wasted. The UK melodic death metal quintet have without doubt moved on from being something already special to set themselves at the dawn of becoming a major force in certainly extreme if not metal as a whole within these shores. Their new release shows a band just as devastating and aggressive as ever if not more so but with a certain evolution in the imagination and craft of their already impressive melodic invention.

Since 2009 the band has only accumulated more and more acclaim and an eager ever growing following though their releases  like debut album This City Falls and Empires plus explosive live performances which has seen them setting nothing but impressive statements alongside the likes of Martyr Defiled, This Is Colour, Eradication, Devil Sold His Soul, and Seven Year Kismet. A band with a work ethic as strong as their sounds they have been through the likes of line-up changes and financial difficulties which are never far away from independent and unsigned bands, using these setbacks to fire up their energies and defiance. The new EP has been no different with the departure of their drummer just before its release and a string of shows. Thankfully the band find the resolve to continue each time and as Envisage easily proves just get better and better.

From the early weaves of the opening title track there is undeniable evidence that Black Polaris has found even more depth to their sound and creativity. The track instantly grabs synapses and senses pulling them taught with spiralling corruptive riffs alongside air twisting sonic manipulation. The guitars of Paul Futter and Gaz Groombridge litter and splatter the ear with enterprise and aural spite for a mesh of Meshuggah and In Flames whilst creating a sound unique to Black Polaris, the band without doubt now having found their distinct identity. The rhythms of bassist Luke Jackson prowl with a further air of menace to that generated by the intensity whilst the drums batter with skill and controlled violence. Vocalist Sam Burgess simply boils the atmosphere with his caustic and bullying tones, his delivery not the most varied if one is honest but easily one of the most welcome and riveting of the emerging British metal front men in recent years and a perfect aggressor to enforce the powerful songwriting.

The mesmeric melodic breath of the following Power, Corruption is a startling intro to the track and immediately brings a deeper focus to what is going on especially with this continuing harmonic beauty underlining the blistering assault raging within the ear from then on in. The track is a fiery weave of twisting imagination and scorched exploratory sounds. Even after numerous plays one never gets a full handle on where the song is going so each venture across its oppressive expanse is fully rewarding and surprising.

Oblivion and Mountains originally had a place on Empires but both make an easy and impressive entry in their new guises on Envisage. The first is a rampant beast of a track, its flank rippling with heavyweight sinews of expressive energy and treacherous riffs. Like an aural sand storm with heated atmospheres of melodic venom the song is immense but then one has to say that about each and every song on the EP. The second of the pair is a less direct aggressor though no less oppressive whilst its incendiary breath ignites the air with a malevolent dynamism and spite.

Valleys has the honour of closing the stunning release and does so with no drop in intensity and quality. As ever the band is merciless seizing the senses to sand blast them with stone borne riffs and a scything melodic courting which scars as deeply as it hypnotises. Ferocious and unwilling to compromise the song is brilliance in its cruellest form and ends what is a stunning magnificent onslaught.

Envisage EP is one of the best releases to appear so far this year but more so is the mightiest declaration that in Black Polaris extreme metal has an emerging force to take the genre to future untold heights. This is a band and release which should not be neglected by any metal fan so to buy or stream for free check it out at http://blackpolaris.bandcamp.com/right now.

RingMaster 24/07/2012

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Corroosion: Dirt Awareness

Like the effect of sand in a wind tunnel notched up to the maximum, the new album from Italian deathcore band Corroosion is as abrasive and lethal as their name gives hint to. It is a nasty and destructive piece of work, a sonic blistering without mercy or respect. It is also corruptively magnificent. Dirt Awareness is not the easiest of listens or probably not the most appealing for some at times but stare it right in the eyes and it is becomes one of the more rewarding albums to assault the senses this year and has the makings of an insatiable addiction.

From Turin, Corroosion emerged from the ashes of Hekatomb in 2005. Consisting of vocalist AnD, guitarists Sentenza and Lino, bassist Marco, and Dave on drums, the band made their first mark with their 2008 demo Maze Of Human Deprivation. Relentless gigging followed as well as the six track EP Two Steps Before The Vein, the band all the time creating attention grabbing strokes with their storm of extreme metal leading them to sharing stages with bands such as The Acacia Strain, Deicide, Neaera, Annotations of an Autopsy, Knights of the Abyss, and Slowmotion Apocalypse. Mid 2009 and the band signed with Rising Records and set to work on their debut album Punish The Mind with producer Alan Douches (Killswitch Engage, Emmure, Carnifex, The Acacia Strain, Cannibal Corpse),which was released the following year. 2011 saw the band destroy stages alongside the likes of The Ghost Inside, Bleed From Within, Suffokate, Trigger The Bloodshed, For The Fallen Dreams, before working on their second album. Produced by Fredrik Nordstrom (At The Gates, Job For a Cowboy, Bring Me The Horizon, Dimmu Borgir, In Flames) and released again on Rising on July 23^rd, the album is a titanic treat of invention, imagination and outright violence.

The album creeps up on the ear with the opening to Awareness as echoes of war emerge from the sinister whispers to be replaced by the intrusive windings of guitar grooves and flesh grating vocals. At full stretch the track badgers the senses with crisp punchy rhythms and bruising riffs through an attack which seems tempered, as if the band is simply teasing and taunting its victims. The intensity though is oppressive throughout and heightened in the climaxing storm of scowled group vocals, rigid beats, and manipulative guitars, and the song itself the intimidating beginning and appetizer for the annihilation ahead.

The crushing and quite brilliant track The Loser Slave flies for the jugular within seconds of its appearance, air flaying riffs and grinding grooves to open up the deepest sores laying siege upon the senses. The song evolves into a raging stomp of sounds and bestial borne vocals with a ravenous hunger not to be denied. It is pure malevolence brought with the surest ferocity but dive beyond the surface and there is a continual evolution of invention and sound going on which makes every rampage a new offering. It is this which has the band standing out over other similar bands and makes Dirt Awareness far more than a great album.

More impressive brutality comes in the form of the greedily consuming and relentlessly raging Crimes Of Fathers Times with its dehabilitating diversity of riffs and rhythms skewered with a cruelly niggling groove and the stunning Polarity, both further scarring on the ear and scrambling of synapses with sharp twisting manipulations. The second of the two is a maelstrom of hellacious energy and sounds which use their notes like kinder to spark an inferno of fury and creative excellence to bring one to their knees.

The release is simply one continual high quality and imaginative brute with just the intensity and the caustic covering uniformal. The songs twist and turn within their skins, tempo disruptions, unexpected breakdowns, and perfect unpredictability raging in the eye of every storm such as in further triumphs like Collective Humiliation, Falena, and Repulsion, though every track deserves a mention such the depth of excellence.

The suspicion is Corroosion is still an unknown most have yet to discover but with Dirt Awareness the days of that secret is numbered with the band surely on the verge of deserved major attention.

https://www.facebook.com/corroosion

RingMaster 11/07/2012

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