A Breach of Silence – The Darkest Road

ABOS - 2013 promopic 1200x1200

Though the tightness of its grip fluctuates across its fourteen roars, The Darkest Road is a creative fury easy to breed a greedy appetite for. Unleashed by Australian metallers A Breach of Silence, it is a tempestuous slab of varied styles and flavours which has been labelled as “powercore”. Melding the potent flavours of metalcore through to post hardcore, heavy metal on to melodic death metal, and we are missing out many more spices, it is a compelling proposition which never gives ears and imagination time to settle or spawn expectations.

The Darkest Road follows the successful and acclaimed debut album Dead or Alive which was released a year ago. With having Australia’s prestigious Q Music Award in the Best Heavy Song category (2012) under their belt, which helped lead the band to signing with Eclipse Records, their first full-length pushed A Breach Of Silence into a new intensive and global spotlight, backed potently by the band’s live presence which has seen them share stages with the likes of Born of Osiris, Adept, The Amity Affliction, and Upon a Burning Body. Earlier this year the band released their controversial Night Rider ‘first-person shooter’ music video which took inspiration from their obsession with FPS video games and 1960’s classic westerns such as Hang ‘em High and The Good, the Bad, and the Ugly. Now The Darkest Road is upon us to stir up ears and thoughts whilst making another impressive step in the ascent of the Brisbane quintet.

Recorded with producers Fredrik Nordstrom and Henrik Udd (Bring Me the Horizon, Arch Enemy, In Flames), The Darkest Road as suggested ebbs and follows in the strength of its certainly unrelenting captivation, sometimes throwing a spanner in the works of getting a handle on songs and the release, but it only adds to the welcome and inventive unpredictability and constantly intriguing nature of the encounter. The album certainly starts with furious gusto and anthemic irresistibility, opener T.P.N.E shoving group shouts through ears before wiry grooves and heavy rumbling rhythms join the emerging storm. The raw and caustic vocal squalls of Rhys Flannery swiftly more in with antagonistic and skilled intent which in turn seems to light a fire in the creative swings of drummer Andrew Cotterell and the similarly vivacious motion of the grooves conjured up by Mat Cosgrove and Kerrod Dabelstein. It is a gripping and incendiary blend which is capped off by the throaty lure of bassist Blair Layt and more so by his outstanding clean vocal delivery. The song offers richly flavoursome and agitated metal of the highest order and an inescapable lure into the creative lair of A Breach of Silence, an entrance backed powerfully by the following title track.

The second song caresses ears with the impressive tones of Layt right away, evocative keys coaxing the invitation before riffs and acidic grooves erupt to trap and steal the passions all over again. As its predecessor, the track is a formidable Printencounter which is unafraid to bewitch and bewilder, seduce and rile, with a unique character seeded in the likes of All That Remains and In Flames. Its stature and temptation is matched by Vultures which strides confidently in next. Another certain anthem with its group calls and raging rhythmic confrontation, the song blazes sonically and vocally from the start, the extremes of voices a perfect union within the similarly blended canvas of predatory and melodically smouldering sounds.

Through the intensive yet warming examination of Silhouette, as the others songs upon The Darkest Road, a hope rich and potent roar against life’s obstacles, the band reveals more of their technical and imagination driven resourcefulness. A scent of Bullet For My Valentine hints throughout the evolving and inventive offering before Hang ‘em High sets its own individual fire within the release. Riffs and rhythms spew anger with their intensive and physical intent whilst Flannery almost brawls with ears through his uncompromising and pleasing vocal antagonism. It is a potent and engrossing song if without the spark of those before it, a comment which can be placed before In Reality We Trust also, though as always with the album it is mostly down to personal taste. The song storms and bleeds spite over the senses with skill and enterprise but it is mainly the vocals from both men which steal the plaudits.

From here the album does not have an identity crisis but definitely wrong-foots with persistence. Though all the tracks so far employed a diverse and varied spicing, they were bred from a fierce extreme metal canvas. The excellent Lost at Sea brings a new bloom of sound, immediately expelling a ‘folkish’ tinge to its air as well as a glorious melodic croon across its potent harmonies and sonic narrative. It is a loud whisper of something different in some ways but helps seed a new hostile and captivating breath to the album, and makes for an enthrallingly textured and majestic slice of persuasion.

   This is the End comes next and instantly spins an engaging sonic and rhythmic web around ears. It is a contagiously compelling weave, guitars and bass a simultaneously welcoming and menacing enticement over which the vocals merge hostile and catchy elements with a classic metal spiced attack. Every chord and rhythmic swipe brings a surprise and unexpected twist, the song emerging as another pinnacle and treat for the album, something Immortal is not. To be fair again it is just a personal thing but its heavy/power metal balladry complete with the genre’s trademark vocals warbles and squeals, just does not find a welcome in these ears though it is easy to hear its qualities and know it will be a favourite with classic metal fans. The song is another unique identity within the character of the album, though to call The Darkest Road schizophrenic would be going too far.

The excellent Hannibal is more from the template of earlier songs, its metalcore voracity and melodic tenacity an infectious and voracious treat which parts for the even heavier and harsher A Place I Know. The song also expels fiery melodic endeavour, again with a more classic spicing, before exploring slimmer post hardcore scenery punctuated with probably the most intensive beats and riffs on the album. It is a song which sets a fire in the belly at times but also lowers its temperature in others, but for intrigue and bold invention it is another notable moment.

Dead and Destroyed is simply brutal, a wall of angst and viciousness which still makes room for vocal croons whilst Krazy Bitch seems to pull in all the things which excites and personally frustrates in the album for a still rather pleasing encounter. The pair leaves the piano and voice sculpted ballad Time Still Remains to close the album, the song a more than decent piece of melodic metal but easy to skip by to get back to the pungent heights the album started on all over again.

The Darkest Road is a striking release, with to be honest any issues found coming from just the individual likes and dislikes we all have in our metal. It is easy to see A Breach of Silence becoming a big player in world metal if this thrilling tempest is anything to go by.

The Darkest Road is available now on Eclipse Records @ http://www.eclipserecords.biz/a-breach-of-silence-the-darkest-road-cd/

https://www.facebook.com/abreachofsilenceband

RingMaster 10/10/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Nemost – As The Ocean Burns

Nemost

As The Ocean Burns is one of those self-released propositions which could easily be missed in the never ending torrent of offerings but deserves the strongest of attention such its impressive and riveting contents. A rich and intensely striking blend of varied ideas and flavours upon a canvas of progressive death metal, the latest album from French band Nemost is a thought provoking and imagination igniting proposition which shows the Paris quintet to be one of France’s most exciting potential loaded prospects.

Formed in 2005, Nemost are not exactly newcomers but still a relative secret outside their homeland metal scene, though As The Ocean Burns will surely have a say about that. A self-titled demo in 2008 was well-received by fans and critics with debut album The Shadow’s Trail two years later drawing greater attention and reactions for its striking sounds. Four years on with the band’s songwriting and invention evolving as potently as their skills and sound, As the Ocean Burns is a new plateau for the band and a compelling addition to the ranks of melodic and progressive death metal. It is a release which grips from its first breath, leading the listener through cavernous scenery of sonic and rhythmic intrusiveness and intimate climates of melodic and atmospheric radiance.

Pressure Nation is the first encounter and straight away embraces ears in a melodic weave of guitar temptation and heavily jabbing beats from drummer Thybo Saz’Rain. It is a warm coaxing yet holds an intimidation which is soon ing the band) realised in a tempest of sonic causticity and bellowing intensity, the vocals of Arnold Petit roaring from within an imposing cloud of aggressive grooves and riffs from guitarists Johan Nat (since left with Pierre-Jean Catez joinuand Samuel Eymonym. It is a muggy climate which immerses the track but still allows clarity to the gripping drama and individual inventiveness of the band. The rampaging skilled urgency of Saz’Rain is impressive baiting for the senses alongside the magnetic and heavy tones of the bassist of Thomas Krajewski but it is the enthralling guitar craft and invention which steals the biggest chunk of the limelight in the exceptional track.

The stunning start is followed by the similarly hostile and engrossing Beasts and Bullies. Grooves worm into the psyche within seconds as rhythms hurl mighty and unpredictable swipes down on ears for a threatening yet addictive nemost-as-the-ocean-burnsentrance. It would be a debilitating start but for the outstanding mix of guttural scowls and outstanding clean vocals which entwine for a glorious and aggression tempering enterprise alongside the sizzling guitar play which emerges to ignite the imagination. Already two songs in it is hard to remember too many melodic death metal encounters this good and inventive, nor as virulently contagious as the first pair of tracks are.

Diversity is as much a key to the success of As The Ocean Burns and proven by the cinematic start and ambience of Respawned. Haunting crystalline keys tease ears first, followed by an expanding electronic charm and revelry. It is just the doorway into the delicious and relentless nagging of corrosive riffs and predatory rhythms, though it retains the melodic enticement of the song’s start throughout. A new dark throat emerges in the bass whilst the vocal harmonies seem to be fuller and more provocative than ever over the maelstrom of addictive ingenuity and adventure beneath them. There is a total lack of predictability to the album and songs, every time as here, you think you have handle on its intent and direction it twists or evolves its gait, direction or simply sound to bewitch and enthral.

Both the fascinating The Aimless Endeavour with its merger of Breed 77 like Latin melodies with insidiously dark malevolence, and the smouldering antagonism of Fight turn the temperature and persuasion up on the passions, the first a heat wave of sonic enterprise and aurally incendiary ideation. Its successor has a closer intimacy and more restrained purpose to its tempest yet it still immerses the ears in an almost oppressive texture of energy, as well as a cinematic menacing from its hooks which latch onto equally gripping melodies and the smooth vocal temptation of Petit. The track would make the perfect soundtrack to the darkest adult only Bond escapade and is another massive highlight on an album offering nothing but so far.

There is an inhospitable tone to Lifeless Heat, the song feeling like it wants to violate the listener even though it too comes with a sublime sonic inventiveness from the guitars. It does not live up to its predecessors in many ways but keeps the emotions enjoyable warm for the erosive might of Sandstorm. The track is a tempest of a track, a bear like ferocity unleashed by drums and riffs in league with a venomous beauty which soaks the ever impressing vocals and toxic lure of grooves. It’s incessant almost waspish irritancy and charm lights up ears and emotions perfectly before making way for the initial gentle and ultimately scarring brilliance of The Pale Observer. The track is ultimately a blaze of malicious invention and smouldering seduction, a battling tempest in the ears which evolves its fury into another fire of stunning technical and thoughtful enterprise blessed with gripping drama.

A kind of respite for the senses comes with Hourglass, though thoughts and emotions are kept busy by the entrancing sway of elegant melodies and emotive hues within a rugged sonic wind, before the fierce splendour and rabid invention of Year of the Libra and subsequently the bordering on demonic Atomnium treat and excite. The tracks bring yet further unique character to the album, each a dramatic exploration in sound and lyrical intrigue wonderfully impossible to pin down with real comparisons, though we suggest any fans of bands such as In Flames, Opeth, Katatonia, Lamb of God, Beneath The Buried And Me, Anathema, The Contortionist and the likes will especially get a kick out of the glory that is As the Ocean Burns.

The title track brings the release to a close, a song which is probably the lightest in intensity on the album but also one of the most spellbinding with its weaving of light and dark, seductive and violent textures into a fluid and beguiling landscape of originality. As the Ocean Burns is a gem all should take time to search out and investigate, a triumph which should not be allowed to slip through the net.

As the Ocean Burns is available now @ http://store.dooweet.org/en/cd/151_nemost-as-the-ocean-burns.html

http://www.nemost.com

RingMaster 18/09/2014

Copyright RingMaster: MyFreeCopyright

 

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Twilightfall – The Energy Of Soul

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An experience which leaves you in two minds about its impact and triumph yet embeds a compelling enticement in its wake which ensures you want more of its presence and adventure, The Energy Of Soul, the debut album from Ukrainians Twilightfall is a riveting and torrential onslaught of sound and ideation which can best be described as a maelstrom. It is not a release which lit a fire in the passions yet its invention and persistently alluring twists bred a hunger in an appetite for Melodic Death Metal which cannot be ignored.

The band’s sound is bred from the same well of imagination and hostile seduction which the likes of In Flames and Children Of Bodom have spawned their provocations yet there is plenty more to the album. Potent essences of thrash and black metal, as well as progressive tendencies all add to the thick and almost at times bedlamic voracity of the songs within The Energy Of Soul. The album unleashes its intent and relentlessly shifting enterprise with almost disorientating urgency and appetite which brings those somewhat confused reactions to its weight and fiery offering but all the time it is laying imaginative bait which easily draws thoughts and emotions back to its enthralling depths.

Twilightfall is the creation of guitarist Wortherax, a veteran of Ukraine metal scene with his most notable roots going back to death metal band Suppuration who he joined in 1993, a band which went on to evolve into the more renowned Nokturnal Mortums. The lead guitarist on the latter’s band’s seminal albums Lunar Poetry and Twilightfall, as well as performing session work on prominent releases from bands like Munruthel and Khors, Wortherax formed Twilightfall in 20112, adding guitarist Aywar, bassist Freyr, and drummer Odalv to the project.

Recorded last year and now released via Svarga Music, The Energy Of Soul takes little time in unveiling imagination awakening endeavour and intent as the title track sets the album off in rigorous motion. Guitars immediately are FrontCover1400pxbusying ears with aggressive riffs and sonic expression, aided by some equally magnetic strokes of keys. There is a portentous air to the track even with the swirling melodies and their rich poetic narratives which consume the senses just as eagerly as the sinew sculpted rhythms. The raw vocal growl of Wortherax makes a predatory tempering to the fluid revelry of the song yet it too has an enticement which only coaxes ears and appetite into the song’s web. As subsequently with all tracks attention is needed to define some of the evolving twists, hooks and grooves are open but soon lost from aural gaze as the next flood of adventure persistently soaks thoughts. The slow slip into gentle melodic scenery later in the track allows a breather, though it also lacks the spark of the landscape before and after it. It is still an enticing lead into a terrific climax of sonic temptation, a sizzling end to what is a heavily impressing song.

   Spirit Of Ancestors comes next riding a lumbering wave of rhythmic predation and dramatically fuelled keys with guitars matching their picturesque colour. It is not a startling start as with its predecessor but one which still holds attention, especially with the caustic rub of riffs and the now confidently striding drum swipes. We mentioned thrash elements to the band’s sound previously, not the most obvious of flavours across the album to be honest, but certainly here make for a cunning and infectious lure to the initial charge of the song. The move into a reserved flight of melodic and emotive endeavour has the opposite effect in its drive. It is beautifully and impressively crafted turn with the musicianship glorious at times, but loses the essence which initially gave the encounter the potential to be another highly scintillating proposition. Nevertheless the song is a commanding figure within the release and again has plenty to encourage constant investigation just like A Mirror Of Dreams And Reality. The third song is a similar merger of elegant melodies and hostile energies with arguably a more muscular intent and rabidity than on the previous songs. There is a devilish swagger to the track but also a darker attitude which shadows the intimidating hooks and seductive grooves which flirt within the tempestuous body of the song. Again there are moments where things make a less than impacting suasion yet times where the track strikes with pure brilliance to ultimately trigger a greed for more. The song is simply a cyclone of intensity and ingenuity which never gives ears and thoughts time to settle leading to, as the album overall, an undecided conclusion but one you want plenty more of to reach a decision.

From a definite highlight, the album dips into a more gothic breath with Welcome To New Day, its keys a shadowed drenched beauty paced by the guttural rapacity of the vocals, and the more classically cultured Your Chance. Whereas the first of the pair launches into a bordering on maniacal gait and urgency within its evocative emprise, its successor is a solemnly orchestrated incitement with flourishing melodies and provocatively shadowed textures. Both tracks continue the inescapable lure of the album yet again leaves questions and decisions to be e contemplated.

The album closes with the impassioned and dark breathed Go A Long Way To Each, its keys and melodies fuelled by an emotional cloud of again gothic sombre, and lastly the rabid ferocity and incendiary adventure of Storm, a track which lives up to its name in sound and creative turbulence as it brings another major moment for the release. The Energy of Soul is an album which you cannot pass by without finding its seeds and qualities have left a lingering tempting behind. Impressing more and more with each play whilst still not quite overturning any reservations it inspired early on, the album is a thoroughly captivating and enjoyable encounter from Twilightfall, a band impossible not to spawn a potent appetite for.

The Energy of Soul is available via Svarga Music now @ http://www.svarga.eu/en/webshop#!/~/product/category=3027770&id=37705371

http://www.svarga.eu/en/twilightfall

8/10

RingMaster 12/08/2014

Copyright RingMaster: MyFreeCopyright

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A Silent Escape – Black Heart

A Silent Escape Online Promo Shot

     Building on their potent and promise fuelled debut album, Swedish melodic metallers A Silent Escape return with its successor Black Heart to make another pleasing punch on the senses. Merging magnetically persuasive metal with hardcore abrasiveness, the Falkenberg quintet continue to be a band seemingly destined to close and eager attention whilst still on the road to finding their fullest potential. On the surface the new album does not seem a massive leap on from its strong predecessor but time and patience allows the songs making up the emerging impressive release to unveil a much maturer and poised invention alongside a greater hunger to the songwriting and its expressive realisation.

     Formed in 2010 out of the demise of Union Square, which featured three fifths of A Silent Escape in its ranks, the band was soon grabbing attention with their live performances and subsequently first album. Receiving good acclaim and response from the critical media the five-piece of vocalist Patrick Stenborg, vocalist/guitarist Joel Nilsson, guitarist Eddie Hanlsa, bassist Martin Karlsson, and drummer Per Qvarnström are primed to exceed its success with the self-released Black Heart, nine tracks of still not fully distinctive antagonism but certainly an accomplished and dynamic A Silent Escape provocation.

     The album opens with a bang through opener Gone. From its first breath rhythms are jabbing a hole in the senses whilst guitar A Silent Escape Cover Artworkflames singe and light the imagination with enthralling craft and magnetism. The intensive squalling vocal attack of Stenborg brings a caustic rabidity to the protest before making a strong union with the clean voice of guitarist Nilsson, their occasional combination across song and album a continually impressive suasion. There is an unmissable In Flames assault to the song and admittedly the whole of Black Heart which prevents the release from standing fully alone amongst similarly sculpted bands or reaching its fullest promise. It also in some ways undermines the deeper qualities of the songs with the ultimately familiar surface, but still the first thrilling track makes a powerful invitation into the album which cannot be dismissed.

   Both Frozen Blood and the following title track reinforce and continue the strong entrance of the album, even if failing to create the same spark in the passions as their predecessor. The first of the pair builds a melodic web of temptation and emotive intensity to its reserved yet inciting tempestuous sonic heat whilst the second prowls the senses with a challenging and intimidating air through its predacious intent. It tempers this with a seductive melodic coaxing, a singular strand of seduction which has any fault is too far back in the bulging maelstrom of energy and rhythmic probing to realise its full potency. Nevertheless it again shows a pleasing imagination and adventure to the songwriting which arguably was missing in the band’s earlier release.

     When The Last Song canters in with a melodic wind to its initial vivacious sails to make an engaging coaxing, but it is when a tightly acidic groove offers a contagious lure matched by the again thrilling union of clean and grazing vocals that the song ignites into one of the real pinnacles of the release. Aggressive bordering carnivorous and seductive leading into melodic elegance, the song is an ingenious brew of enterprise and rapacious enmity fused into a fiery and enthralling triumph. Without doubt the lead song on the album the band back it up with the verging on vicious storm of The Light, a song where the great rhythms of Qvarnström bruise and make intensive demands on the senses alongside the ferocious hardcore bred punk vocals, alongside the ravenous, emotionally and physically, Gagball. Once more finding a riveting mix of clean and demanding vocals across a melodically infused and threateningly aggressive sound the song, without quite matching the previous peak of the album, boldly twists and turns back on itself with invention and bold explorations.

    The following Speed Of Light and also Seeker bring two more enjoyable if underwhelming encounters, both undeniably skilfully crafted but without the spark of individuality to set them aside from assuming expectations, whilst the closing Still Commanding unleashes a final summit to the album with a mouthwatering play of emotive melodics and angst clad aggression steered into the passions by the excellence mix of vocals. It absorbingly completes a fine album from a band still proving strong evidence that they are a force in the making. Possibly Black Heart disappoints in the fact it is not as big an evolution from A Silent Escape’s debut as hopes and assumptions imagined but it pleases and satisfies from start to finish and that is the first requirement of any strong release.

www.asilentescape.com

8/10

RingMaster 27/01/2014

 Copyright RingMaster: MyFreeCopyright

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A SILENT ESCAPE’S Black Heart out 27th January, 2014‏

 A Silent Escape Online Promo Shot
COMMANDING QUINTET, A SILENT ESCAPE UNLEASH THEIR SOPHOMORE ALBUM THIS JANUARY!
A Silent Escape nationally release their spanking new album ‘Black Heart’ on Monday 27th January through all digital outlets.
Blending the potent prowess and hardcore edge of ‘Comeback Kid’ and ‘In Flames’ with the melodic fluency of ‘Millencolin’, A Silent Escape have formed a devastating sound that is ball-bustlingly heavy, abundantly tuneful and utterly engaging.
Born in 2010 and hailing from Falkenberg, Sweden (which is also home to the likes of Sonic Syndicate, Venerea, and The Unguided, amongst others), A Silent Escape are compromised of vocalist Patrick Stenborg, Martin Karlsson on bass, Joel Nilsson on Vocals/Lead Guitar, Eddie Hanlsa on Guitars and Per Qvarnström on drums(temporarily). Wanting to put the fun back into music after splitting from their previous bands, the rejuvenated combo began to write and soon amassed enough material for a stellar live set and debut album.
The energetic outfit soon toured extensively and released their self-titled album to the UK, garnering high praise from widespread national publications such as Rocksound, Big Cheese and Powerplay Magazine. The melodic hardcore crew will step up again with the national release of their sophomore album ‘Black Heart’. The album immediately grapples with your aural senses as ‘Gone’ ferociously bursts out of your speakers with pulsating beats and cut-throat riffery; and the pace doesn’t let up there. ‘Black Heart’ continues in a hearty vein, hammering your head into oblivion with a perfect assault of high velocity infused metallic punk-rock. The quartet shifts dynamics on ‘When The Last Song’ and unleashes an alluring cut that is blessed with an elephantine refrain. The album then strides forward with the monstrous ‘Gagball’, which again displays the band’s deft ability to merge blistering riffs with killer hooks, before closing with the immensely powerful and captivating ‘Still Commanding’. Look out as the band lay siege on the UK this year and next!
-A SILENT ESCAPE RELEASE ‘BLACK HEART’ ON MONDAY 27th JANUARY THROUGH ALL MAJOR STORES-
A Silent Escape Cover Artwork

A SILENT ESCAPE release ‘Black Heart’ on 27th January 2014

A Silent Escape Online Promo Shot
 
COMMANDING QUINTET  A SILENT ESCAPE UNLEASH THEIR SOPHOMORE ALBUM THIS JANUARY!
A Silent Escape nationally release their spanking new album ‘Black Heart’ on Monday 27th January through all digital outlets.
Blending the potent prowess and hardcore edge of ‘Comeback Kid’ and ‘In Flames’ with the melodic fluency of ‘Millencolin’, A Silent Escape have formed a devastating sound that is ball-bustlingly heavy, abundantly tuneful and utterly engaging.
Born in 2010 and hailing from Falkenberg, Sweden (which is also home to the likes of Sonic Syndicate, Venerea, and The Unguided, amongst others), A Silent Escape are compromised of vocalist Patrick Stenborg, Martin Karlsson on bass, Joel Nilsson on Vocals/Lead Guitar, Eddie Hanlsa on Guitars and Per Qvarnström on drums(temporarily). Wanting to put the fun back into music after splitting from their previous bands, the rejuvenated combo began to write and soon amassed enough material for a stellar live set and debut album.
The energetic outfit soon toured extensively and released their self-titled album to the UK, garnering high praise from widespread national publications such as Rocksound, Big Cheese and Powerplay Magazine. The melodic hardcore crew will step up again with the national release of their sophomore album ‘Black Heart’. The album immediately grapples with your aural senses as ‘Gone’ ferociously bursts out of your speakers with pulsating beats and cut-throat riffery; and the pace doesn’t let up there. ‘Black Heart’ continues in a hearty vein, hammering your head into oblivion with a perfect assault of high velocity infused metallic punk-rock. The quartet shifts dynamics on ‘When The Last Song’ and unleashes an alluring cut that is blessed with an elephantine refrain. The album then strides forward with the monstrous ‘Gagball’, which again displays the band’s deft ability to merge blistering riffs with killer hooks, before closing with the immensely powerful and captivating ‘Still Commanding’. Look out as the band lay siege on the UK this year and next!
-A SILENT ESCAPE RELEASE ‘BLACK HEART’ ON MONDAY 27th JANUARY THROUGH ALL MAJOR STORES-
A Silent Escape Cover Artwork

Chronolyth – Sovereign

Chronolyth Photo_Zoom

An insatiable turbine standing eye to eye with its victims whilst forcing them to undergo an intensive sonic examination, Sovereign the debut album from Australian metallers Chronolyth is a heavy duty adrenaline attack on the senses and passions. Unleashing a tsunami of violent riffery and equally destructive rhythmic antagonism, the eleven track goliath is a bestial storm of melodic death and groove metal which thrusts the passions into an intensive cacophony of skilled and predacious savagery but one brought with thoughtful craft and hungry imagination. Whether the album from the Brisbane quintet is offering anything new can be debated but certainly what they do reward the ears with is captivating and riotous anthemic temptation which is impossible to refuse or leave alone.

Formed in 2011 by guitarist Alex Nisiriou and vocalist Hamish McSorley as Stigmartyr, the band soon changed the name due to copyright issues, whilst its initial sound took on a heavier rapacious entity as the line-up went through major changes, arriving at that of bassist Jimmy Barrett, guitarist Ben Constable, and drummer Michael Gee alongside McSorley and Nisiriou. First single Bitter Reflection was uncaged in the November of 2012, drawing acclaim and strong attention from not only their homeland but within Europe too. An Australian tour earlier this year as well as a successful appearance at the Ye Gods of Metal ‘13 Festival has furthered their stature but the release of Sovereign is the key you suspect to an elevation of awareness  for the powerhouse of a band. Recorded with producer/engineer Nik Carpenter and mastered by the legendary Zeuss, it is dominate evidence of an emerging fury we will be hearing a lot more of and placing greedy attention upon.

The album opens with a smouldering orchestral bred charm as The Heresy (Crucify Your God) drifts into view, its body calm Chronolyth - 'Sovereign' HQand elegant until ready. Once settled it explodes through a gateway of punching rhythms and sonic stroking from the guitars into a furious rampage of serpentine grooves and annihilistic riffery matched by the voracious drumming of Gee.  It is an uncompromising fury but one sculpted with a weave of irresistible sonic hooks and intensive enterprise which instantly ignites a raging hunger for its sound. As is proven across the album there is no breaking into brand new fields going on but simply a virulently contagious tearing up of existing fields and invention into something primal and all Chronolyth.

From the first track alone thoughts of the likes of In Flames, Lamb Of God, and Devildriver flirt with thoughts which remain across the album, only flavouring but a strong spice which does  Sovereign no harm but does add that essence of familiarity which challenges originality. Nevertheless as the next up I Am Wrath and Condemned In The Throes Of Remorse shows it cannot prevent Chronolyth igniting the ears and emotions with its destructive invention. The first of the two grips from its first breath, chewing the senses into submission with a blaze of intensive rabidity from sound and vocals raging over a crippling network of rhythmic venom. Its air is muggy; the squalling delivery of McSorley matched by the viscous energy of the guitars and their caustic sonic wash but with a twisted appetite guiding grooves and melodic fire, the track is an irresistible and riveting spite. Its successor is also fuelled with a voracity which leaves the listener breathless even if certainly on the surface it is a little too close in sound to its predecessor to stand out clearly, and a couple of times listening to the album the pair has merged without notice until the later part of the second. That is a small niggle about the album, a similarity between some tracks without a certain concentration but again nothing to diminish the pleasure of the confrontation.

The first of the major peaks comes next with Whips And The Scorns, the instant the rabid throaty tones of the bass courted by the rampaging drums hit the ears it triggers a surge in the passions, one which is rewarded as the track finds the darkest devilry and addiction forging invention to oppress the eager senses within. Grooves and melodic sculpting are the purest primal seduction as is the barbarous rhythmic exploit which veins it, the song a prize in rancorous metal alchemy.

    Bitter Reflection follows to keep the album at its new plateau, a melodic invitation erupting into another merciless acrimonious foraging of its recipients but one unafraid to let the guitars cast a sonic fire of skill and imagination from Nisiriou and Constable, a heavy metal inspiration colouring their resourceful tempting. Its heights are not quite found with the likes of Age Of Fear and Defiling The Soul though both continue to increase the powerful persuasion of the album as does latest single Behold The Tyrant’s Fall, it an absorbing meeting of aggression and beauty where the band almost reins in their hostility, well in certain moments anyway.

Sovereign’s finest moments bring up the rear to stand toe to toe with Whips And The Scorns for top honours, Fallen Saviour eventually stealing the award with its scintillating ferociousness and inventive hunger. From the shadows it launches an epidemic of exhausting energy and rhythmic pugnaciousness woven together by a delicious pestilence of grooves and sonic seducing. Vocals as always stand astride the diverse causticity, spewing out the narrative with passion and eagerly devoured inhospitable truculence. The song is a brutal incitement which takes the album that extra small step into being one of the year’s best, the icing on the mountainous cake assisted right after by Silent Eyes, the track a relentless provocateur which burns slower than most in the passions but evolves into another of the release’s biggest triumphs.

Completed by the title track, one final bait of perfectly designed irresistible violent frenzy, Sovereign is an outstanding debut from a band we are destined to hear and feel much more from. Chronolyth has yet to find that unique sound and design but when they do it is hard to see what will stop their rise to the frontline of metal dominance.

https://www.facebook.com/chronolythband

8.5/10

RingMaster 05/12/2013

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Bitter Reflection (Music Video)