MACHINE ROX,THE FORMIDABLE INDUSTRIAL METALISTS UNLEASH NEW VIDEO!

Machine Rox

Bred through the carnivorous creative hunger of founder Richard K, British industrial metallers Machine Rox provide an irrepressible resistance-proof contagion striving to persistently ignite the senses. Since their formation in 2007, the band has sculpted a merger of metal and electro rock which rampages whilst pushing the boundaries of band and genre. Machine Rox now tear open the envelope even further with their stunning new video single.

Check it out at

‘Lost My Mind’ – http://www.youtube.com/watch?v=zZOjy7Lo4tM .

Machine Rox began as the solo project of musician/songwriter Richard K, ignited by his rich experiences and adventures from being part of industrial metallers Meat Machine and Global Noise Attack, with whom he shared stages with the likes of Rammstein, Napalm Death, and Covenant. The project grew with the addition of band member Aga in 2010, her unique backing vocals and keyboard seduction adding a new potency which took the well-received strengths of the band’s first two EPs to new commanding heights with the “Driven” EP. The recruitment of guitarist Valerian Oproiu and drummer Nuj Farrow in 2012 saw the quartet concentrating on lighting up the live arena, which they did to wide acclaim and with accomplished delivery through festival appearances and national shows. 2013 became Machine Rox’s strongest and most successful year to date as the foursome signed to Static Distortion Records and unleashed the voraciously received EP “Activate Your Anger ” and debut album “Shout”. With the recent “Intox” EP, a new toxicity rose to the surface of the band’s ever evolving and refining sound. Now with the band’s sophomore album “Next Level”, which is unveiled this September, the quartet have crafted a colossal record that is poised to break the mould. From the engaging synth work and anthemic pounding guile of the new video single ‘Lost My Mind, to the texturing and progressive groovage of ‘Illusion’, through to the hard-hitting beatings of ‘You Belong To Me’, this is a record that should not be overlooked.

Now with a hefty fanbase in tow, nearly 10,000 likes on Facebook, a killer new album, a host of festival appearances and a spanking new video single, there’s nothing stopping the band.

MACHINE ROX LIVE:

Saturday 11 October – DARK7 festival at The Electrowerkz, London;

Sunday 2 November – Cesspit Club, Sheffield.

www.machinerox.com     https://www.facebook.com/machinerox

Radium Valley – Tales From The Apocalypse

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Standing impressively tall with an album and sound which plays like a mix of Rammstein, Poets Of the Fall, and Type O Negative yet emerges as something richly flavoursome in its originality; French metallers Radium Valley provide a seriously compelling and fascinating proposition. Debut album Tales From The Apocalypse is a full immersion for ears and imagination into an apocalyptic lyrical and emotional landscape coloured by a tempestuous yet fluid blend of industrial, gothic, and melodic metal. It is a masterful darkwave fuelled incitement which just grows and flourishes the more time and attention it is given.

Formed in 2012, the Limoges hailing band takes inspirations from the likes of Rammstein, Paradise Lost, Ghost Brigade, and Katatonia into their sound, as well as lyrically for certainly their first full-length an eighties background embracing its current events and culture. The combination paints a wasted world stopped by the Chernobyl disaster and littered with radiation embraced survivors. It makes for a vivid and intriguing canvas to which Radium Valley casts similarly dark and turbulent sounds. Produced by Alexandre Granvaud and Romain Janvier, with its mastering done by Logan Mader (Machine Head, Soulfly, Fear Factory, Gojira), the Pavement Entertainment released Tales From The Apocalypse is a riveting and often haunting proposition.

The nine-strong band instantly awakens the imagination with Song of rain, a vintage sample discussing the first nuclear bomb luring in attention against a sonic croon and distortion kissed ambience. It is not long before the musical weight and prowess of the band is seizing ears, melodies from guitars and keys laying down thick enticing smog which is littered with jabbing beats and dark throated bass temptation. A slight relaxation then brings in the impressive vocals and further expressive hues from the keys, their electro seeding a dulled yet mesmeric radiance in the imposing heart of the song. It is a seamless and impressive mix of textures, dark and light extremes as enthralling as the dramatic narrative presented by the increasingly impressing clean vocal delivery.

As the album proves itself to be, the opener seems to get bigger and better with time, something emulated by the following Sweet infection. The second song emerges from a cyber-sculpted darkness with melancholic keys which equally image003have a bold statement to their presence, before flowing into an electronic glaze and synth rock infectiousness. Finding a presence which is somewhere between Depeche Mode, Nine Inch Nails, and Poets Of The Fall, the song soars over the senses with a sultry caress and fiery temperament. It is a bewitching song which seduces more than grips but to the same successful end before the Numan-esque start of For all of us takes over. Raw abrasing riffs stand perfectly against the electronic sizzle of the synths whilst vocals once more gently but powerfully spark thoughts with their theme. There is rich drama to the song which comes in waves without ever departing, the strikes of guitar and inventive bass designs alongside them creating much of that gripping lure.

Both Darkest hours and Behind me create their own slice of intimidating but welcoming persuasion, the first an almost brawling proposition which switches between urgent rampages and slower crawls of predation without losing any of its fluency, despite the turbulence of sound and passions explored. It is an intrusive treat of a track allowing no rest to take in the sights yet leaves no sense of dissatisfaction, just hunger to go back to explore more. Its successor merges electro elegance with a voracious metal appetite to produce a captivating adventure calling on sparks of Rammstein, Fear Factory, and Paradise Lost. There is also a seeming intimacy to the touch and heart of the song which only fires up the vocals and rhythmic punch of its striking exploration.

Next comes Le terrain vague à l’âme, the first of two interludes with the second, Une charogne coming before the final track. With each being predominantly a French spoken vocal piece they do not really add much for us language handicapped souls so it is hard to evaluate their presence, something much easier to do with the excellent instrumental Radium Valley. It is a rigorously descriptive piece of composing which takes the imagination through its provocative soundscape into a rugged and violently hued terrain, the skills of the band providing a threatening and contagious journey.

Through the melodic tempest of Into the undergrounds and the hostile yet theatrical Last resort, the album ventures into new aspects of its starkly bred and adventurously expressive character. Each provides a memorable creative emprise, darkly poetic proposals which leave a lingering and inviting mark on emotions. Their unique offerings lead, after the other interlude, into album closer Wings of disease. It is possibly the least gripping track on the album but still a thoroughly engaging and unpredictable pleasure with the band no less impressive in sculpting its structure and temptation.

It completes an outstanding release in Tales From The Apocalypse, an album needing time to truly show its depths but rewarding with a blistering and exciting encounter. Radium Valley is a band destined to grab your attention at some point and their debut album definitely makes a potent suggestion that the time is now.

Tales From The Apocalypse is available now on CD via Pavement Entertainment and in a slimmer digital version via http://radiumvalley.bandcamp.com/album/tales-from-the-apocalypse

https://www.facebook.com/pages/Radium-Valley/167565643399615

RingMaster 25/09/2014

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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Devil-M – Revenge of the Antichrist

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A tale of torment and corrosive emotional shadows, Revenge of the Antichrist is a compelling concept album which ignites the imagination, pushes thoughts, and inflames ears. As much as those are always wants, at times the body also needs a stimulus to feed from and the new album from German industrial metallers Devil-M is packed to the rafters with rhythmic bait and hypnotic sonic incitement persuasion to pull limbs and torso into its imaginative devilry. At times a release which makes you draw rapid awe bred breath and in other moments a testing yet enthralling challenge which needs some work to embrace, Revenge of the Antichrist is a gripping and rigorously fascinating treat.

Devil-M is the brainchild of Max Meyer, the band emerging in 2006 as a solo project for the Schöningen hailing musician. Merging his interest in movie scores with pungent electronic diversity, the project was soon contributing soundtracks for independent movies like Die at Dawn. 2009 saw Meyer turn the proposition into a band format which was swiftly followed by a relatively well-received release of debut EP Willst Du sterben and a host of live shows with bands like Nachtblut. In 2011 first album Kannst Du sterben was unveiled to strong and positive responses, its success followed a year later by the uniting of the current line-up of guitarist Lars Everwien, bassist Lisa Hass, and Sonja Langenfeld on keys alongside Meyer. Shows with band such as Grausame Töchter, Centhron, Vlad in Tears, Angelspit, and FabrikC pushed the band’s presence and reputation further which Revenge of the Antichrist and its fiery blend of industrial metal and cinematic/theatrical endeavour can only reinforce and open a wider attentive spotlight upon Devil-M.

Drawing on inspirations like Lars von Trier’s movie Antichrist and Pink Floyd’s The Wall, Revenge of the Antichrist tells the dark story of Astharat, a man suffering schizophrenia who kills his wife, and his mental turmoil and descent. The album begins with the two parted Rising, both Unholy and Siddhartha Gautama within the seamless track uniting for a transfixing opening. Keys instantly craft an appealing lure which a potent rhythmic enticement accentuates before an ascent of dark harmonies and energy comes in to help build an imposing and intriguing wall of sound and coaxing. Moving into more antagonistic shadows, the track begins stalking the senses and prowling the imagination with raw riffs and threatening beats, guided by the equally caustic tones of Meyer. It is a trap impossible to resist entering; the melodic call of keys a deceitful welcome into the jaws of an intensive examination and corrosive landscape. Like a mix of Nine Inch Nails and God Destruction, the track is an irresistible doorway into the album’s musical and lyrical narrative.

The following Apokrypha soon rewards entry with an even stride of pulsating beats and crowding riffs within a climactic atmosphere of harsh electro squalls and acidic melodies. The song is a bruising and simultaneously seductive Albumcover - Revenge of the Antichristproposition, the varied guttural roar and clean vocals of Meyer a pleasing texture within the climactic air and inventive stroll of the song. The track is the coming out of the tale’s demonic character with sounds colouring thoughts and ideas as potently as the lyrical premise. Its impressive presence is matched by the clearer but no less menacing scenery of Astharat, the full emergence of the album’s protagonist adorned with celestial harmonies latched to predatory intent and textures. Again as with its predecessor, the often subtle and at times dramatic twists and turns makes for a riveting encounter though they are not as imposing as in the previous song or as addictive as in the next up Scrabbed Angel. Its initial electro teasing is a tempting which soon takes on a leering edge to its addictive beckoning. Once the rhythms are in open swing the virulently contagious instrumental provides an inescapable toxicity of turbulent intimidation and primal seduction.

From one pinnacle of the album another instantly steps forward to steal the soul. Rebirth is a rabid surge of charging rhythms and tenacious hooks, a nimble footed and heavily shadowed dance of evocative lures and destructive ingenuity honed into another powerful charm offensive crafted by the keys and the delicious backing tones of Langenfeld. Openly inspired by Marilyn Manson and blessed with a Hanzel und Gretyl like revelry, the track is a glorious incitement and pleasure, a success which in many ways the album never manages to match again.

From Birth To Death though is certainly a formidable successor and proposition, its initial repetitious nagging of whispered vocals rich bait behind which a raw blaze of guitar busies itself before erupting into a ferocious slice of metal seeded brawling with a thick air of early Pitchshifter and Prong against the swirling electro colouring of keys. The song is an unfussy and thrilling grazing on the senses, a voracious onslaught to bring another varied twist to the album as the lead character relentlessly spells out his presence.

There is a feel of the harsher side of Dope to the following Good Way Of Dying as well as a Numan-esque gothic resonance to the impressive track. It is another where the guitars take a slightly more prominent position and the song definitely blossoms from their caustic lead to offer something different again before the two parts of the title track envelope ears and thoughts. Pt.1 is a maelstrom of malevolent vocals, angelic melodies, and hypnotic persistence around the darkly serpentine psyche of Astharat with its viciously rasping temperament. Pt.2 is a briefer and clearer provocation from the album’s central figure, its uncompromised intent and less muggy atmosphere presenting a clarity which is as imposing and intimidating as the tempestuously spawned onslaughts.

Both the piano led Love Is Not Available with its appealing scuzzy touch and the bewitching Garden Of Eden leave thoughts and ears engrossed, though neither can live up to the earlier songs. Each does provide their own individual and rewarding dramas, the first of the pair an emotive reflection which shines with beauty within a more vociferous hazy breath. Its successor is fuelled by an infectious rhythmic resourcefulness within a meandering and magnetic caress of melodic keys and heaven spawned harmonies. It is an elegant instrumental unafraid to show its sores and blemishes and though as mentioned it cannot live up to earlier successes, it lingers to pleasing effect.

The wonderful I Am God has no such problems, its beauty and majesty creating another major highlight. With again the piano honing the song’s expression behind the enchanting unique tones of Langenfeld, the track is mesmeric and littered with gripping touches like the colder surfaced backing vocals of Meyer and the rustic electronic scattering which brings a real edge to the smouldering grace of the song. Its emotive grandeur is followed by the weighty intensity of the narrative’s closing chapter Harmful Scab. A short and imposingly potent press on the imagination, it makes a satisfying conclusion to the album’s story, though it still has a trio of remixes to offer, from Centhron, Blackest Light, and Grausame Töchter, all offering pleasing interpretations to a thoroughly impressive and enjoyable release which just gets better and more colourful with every listen.

Revenge of the Antichrist is available now @ http://devil-m.bandcamp.com/album/revenge-of-the-antichrist

http://www.devil-m.de/

8.5/10

RingMaster 26/08/2014

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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ANTI CLONE have their ‘Hands Sewn Together’, on 25th August‏

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RSR-Photography 2014

 

APOCALYPTIC UK METAL CREW ANTI CLONE RELEASE DEBUT RECORD!

“Less a sleek sports car and more a Mad Max battle wagon, this is an EP from a band who are signalling the way heavy music is likely to sound in the years to come. I hope to God they’re right.” Get Your Rock Out

Pulling from a plethora of areas from Marilyn Manson and Slipknot, to Mudvayne and Tool, Anti Clone lay down a captivating blend of hard-hitting cutting metal laced with a biting industrial edge. The Brit noise chiefs have their rebooted new EP ‘Hands Sewn Together’, out on Monday 25th August and available through all stores.

Bursting out of Boston, Lincolnshire and originally formed in 2011, Anti Clone had a turbulent start due to personnel changeovers, however they finally solidified their line-up with brothers Peter Moore (Lead vocals) and Drew Moore (Drums & Programming), linking up with fellow brothers Conor Richardson (Guitar) and Liam Richardson (Guitar) as wellas Fraser Burch (Bass) who rounds up the unit. The five-some soon forged a reputation in their local area for their commanding and formidable live performances rammed with blistering energy and ferocious riffs. Soon after the rising metalheads widened their horizons to break out on their first UK tour in 2013 with their friends, ‘Eridium’. The shows were a rampant success and rapidly increased Anti Clone’s national profile. The band have since gone on to play around the UK sharing stages with a host of heavyweights from ‘ESO’, ‘Lavondyss’, ‘RSJ’, ‘Sworn Amongst’ and ‘Bloodshot Dawn’ to ‘Maplerun’, ‘Evil Scarecrow’ and the legendary, ‘American Head Charge’.

The metal newcomers continued their ascent with the release of their debut single ‘1984’, which was produced by the Grammy award winning producer, Matt Hyde (Machine Head, Trivium, Fightstar, As I Lay Dying and Slipknot). The track and accompanying video attracted over 7,000 unique views and led to the band being featured in Terrorizer Magazine, as well as securing widespread support from the underground.

The industrialists have just inked a management deal with ‘Black Radar Management’, who’s stable includes American Head Charge, RSJ and Maplerun. Now with the national release of their killer new EP ‘Hands Sewn Together’, which boasts five killer tracks, from the explosive past single ‘1984’ to the alluring low-slung groove of ‘Take This Pill’ and the hammering Tool-esque dynamics of ‘System’, the stage is set for Anti Clone to truly soar.

youtube.com/AnticloneHQ | www.twitter.com/AnticloneHQ | www.facebook.com/AnticloneHQ |  http://www.anticlonehq.com/ |

 

 

Godflesh – Decline & Fall

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There are some bands you always find a soft spot for in the vast ranks of likes and thrilling encounters which accost the senses and imagination over a lifetime, and Godflesh is one of the most impacting and self-sustaining examples. The prime provocateurs of not only industrial but metal full-stop, the band even in the few years they were ‘AWOL’, continued to incite and inspire personally and emerging propositions, their influence constantly openly audible in new bands and sounds. Now the UK band has unleashed its first new material in 13 years through the carnivorous ear seduction of the Decline & Fall EP. Birmingham duo Justin Broadrick (Jesu, Palesketcher, Final) and GC Green has twisted the richness of their early sounds with the experiment intrusiveness of latter inventions to give birth to an exhaustingly primal and vindictively fresh predator. The four tracks making up the release are ravenous tempests of industrial toxicity, metallic hostility, and punk rabidity, a brew which simply steals the passions just as the band has done so many times before.

Also acting as a potent teaser for the band’s new album A World Lit Only By Fire, due out this Autumn, Decline And Fall as well as rigorously casting out a new net of virulently antagonistic enticement also holds a nostalgic strain of bait most notably in opening track Ringer. As well as unearthing past memories of the band’s earlier forages into the psyche there is a raw but definite early Killing Joke repetitious tone and bait to its carnal charm. A sonic wash disturbs ears first, brewing up a portentous air which heavily cascading rhythms and bestial riffs pounce upon with greedy ferocity. The beats stamp with a military like enmity and precision whilst the bass of Green brings arguably it’s most primal and tenacious malignancy of sound yet. It is a delicious and glorious savaging which prowls imperiously alongside the feverishly caustic scrubs of guitar and the loathing fuelled monotones of Broadrick, the years having seemingly only increased his scornfully raw and imposing tones. The track is pure primal evil, a contagious tension soaked malice to devour greedily.

The following Dogbite immediately infest ears and psyche with sonic squalls which seductively sway with wanton designs whilst the bass brings its own salacious swagger to the emerging animus. The track has its own unrelenting gait to its predecessor but equally suffocates and consumes with a base fury which resourcefully blazes with cold flames. Repetition is one of the most instinctive addictive tools in music, along with discord, and there are few who can swing that bait so potently and seductively as Godflesh. The track crawls over thoughts and emotions with the gnawing patience of a dog, every chewing snarl and intensive lick of sonic persistence an irresistible incitement.

As impressive as the EP is to this point, it touches perfection with Playing With Fire. The track is simply an inescapable epidemic, its harsher industrial climate and alienating sonic web pure destructive and addiction spawning manna. We mentioned new bands being influenced by the duo but here alone you equally know and recognise the well which the likes of bands such as Fear Factory and Prong drank inspirationally. That mentioned discord is a passion igniting flavouring around the vocals whilst again bass and rhythms frame the maelstrom of sonic vendetta and enterprise with sheer grudge clad might.

The title track brings the release to a close, its viscous feud of sound a corrosive abrasing sculpted into another magnetically inspiring and senses grinding, almost cathartic challenge. The least dramatic in its attack and incessant in its confrontation, the track is the most inventively tangled weave of fascination on the EP but also the least gripping, though to be fair it still chains imagination and ardour drenched passions without mercy.

If the Decline & Fall EP is a hint of the album to come we are in for something special once again from Godflesh. We admit we might have a slightly blinkered appetite for the band and their sounds over the years but it cannot disguise the impressive and blistering might of the new release, or the impatient anticipation of the impending full-length.

The Decline & Fall EP is available on Avalanche Recordings now and @ http://godflesh1.bandcamp.com/releases

https://www.facebook.com/pages/Justin-K-Broadrick/118373041529126

9.5/10

RingMaster 11/07/2014

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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Alexanred – Rest After Result

alexanred_rest_after_result

Upon covering Non-Stop Non-Stop, the debut single from industrial metallers Alexanred near the end of last year, we admitted though the song strenuously impressed it was too early to make a judgement of the band as much as the potential seeded real anticipation for future endeavours. The release of new single Rest After Result brings two more songs into the equation and all the promise and thrilling attributes of that first song have now been reinforced and pushed on. The new release is a thumping and rousing anthemic roar of electro and metal invention, again not one diving into brand new undiscovered territories but a proposition to ignite imagination and passions with a predatory virulence.

Alexanred is the solo project of Finnish industrial metallers 2 Wolves’ guitarist/synth player Aleksi Susi. Formed in 2012 and taking influences from the likes of Rammstein, Lacuna Coil, Type O Negative, Cradle Of Filth, Paradise Lost, Septic Flesh, Rob Zombie, Prodigy, Autopsy, Nile and more, many of which loudly call out within both of Susi’s releases, the band makes a rigorously compelling persuasion with its raucous energies and ridiculously addictive qualities. As its predecessor, Rest After Result infiltrates the ears with a voracity and hunger which virtually stalks down thoughts and emotions, demanding attention and ultimately submission to its fiery charms. It is a predator of the senses but one which just as potently takes them on a stomp of electro adrenaline aligned to industrial rapaciousness within a web of metallic antagonism.

The title track launches its predacious crawl from a deep breath, electro teasing uniting with raw thrusts of guitar as beats place their heavy fingers into the mix. It is a menacing start which takes little time to remove the reins on a feisty energetic chorus spurned on by electronic urgency and melodic infectiousness. It is highly anthemic bait which is prepared to slip back into portentous shadows as the track slows back into its initial prowling intent, happy to lie there waiting for its moment to again fill and incite ears and passions. In many ways especially around the chorus there is a strong essence of early Ministry to the song, the time before Al got all macho on us, whilst the darker evocative and intimidating passages holds a Nine Inch Nails breath to their imagination.

It is a thoroughly enjoyable encounter which is straight away exceeded by the accompanying Effective. From its first second soaring melodies soak the flight of the synths whilst guitars and beats paint a sinewy aggressive canvas clad in shadows and challenging textures. Right away thoughts of Rammstein come to the fore through the vocal and muscular drama of the emerging song, but with evocative keys and unsettling twists in the gait of the song there is plenty to temper any over familiarity with the Germans. Feet, body, and neck muscles are soon given an intensive workout as the song pumps through their veins inciting full involvement though respite is given when the track unexpectedly and extremely pleasingly slips into a cavernous epically cast scenery. It has thoughts and imagination racing with pleasure before the previous inescapable toxicity merges with the new landscape for an exhausting climactic finale. It is a glorious track revealing more of the invention within Alexanred than arguably the other two songs from Susi together whilst continuing to seduce and infect a growing appetite for the man’s sound and imagination.

Rest After Result and Alexanred are not offering anything openly new in industrial metal but it sure is a frighteningly exciting proposition and that is good enough for us.

Rest After Result is available via Inverse Records now.

http://www.facebook.com/AlexanredFinland

9/10

RingMaster 22/05/2014

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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Invertia – Another Scheme of the Wicked

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US band Invertia and their imposing sound is tagged as industrial black metal by the accompanying press sheet to their new album Another Scheme of the Wicked. It is a label which fits suitably but only hints at the depth of the sinister textures, rapacious ingenuity, and insidious breath on offer. The band’s second release is a threatening invasive corrosion of senses and emotions, a consumption and incitement of the imagination which leaves you clutching at sanity. The album is virulently compelling, an entrapment rife with powerful hooks and intrusive manipulations which seduces and violates simultaneously whilst inviting thoughts to step through gateways of primal and man induced corruption.

Hailing from Massachusetts, Invertia is the creative union of guitarist/vocalist Dave Coppola and drummer/programmer Tim Winson. The pair first sent attention scurrying for cover with their self-titled debut album last year; the release marking out the band as a potentially incendiary proposition if without finding enough passions to awaken. Another Scheme of the Wicked not only realises that potential but takes it to darker dangerous potent levels and it is easy to assume it will be the spark to catch the radar of a much wider spotlight within extreme metal. Released via Ohm Resistance, the album consists of five new malignant journeys courted by another quintet of destructive remixes, doppelgangers of the originals if you like though which side is the most malevolent is debatable.

Invertia is said to be ‘A mirror displaying some of the darkest paradoxes and truly terrifying segments of American society’, and as soon as invertiacoverofficialopener The Sidewinding immerses the senses and thoughts in its thick body of intent with excellent samples littering the oppressive scenery, you understand its meaning. The track almost ambles in but with an intimidation and haunted feel wrapping the coaxing guitars. It borders on invitational until the first sampled vocal stab opens the lock for a charging enticement of twistingly nagging riffs entwined with a serpentine groove and understated yet punishing rhythms. The heavy rasping tones of Coppola alongside the interjections of hellish samples only accentuate the intensive danger and malice of the proposition, the emerging blackened rabidity abrasing with weight and acidic ferocity. The track is a magnetic suffocation of light and emotional escape, a drop through demonic realms with a diversely flavoured and feverishly impacting soundscape leaving thoughts resonating and senses exhausted.

Whereas the first track thrust the listener into the blackest grip within seconds, the following Cross-Eyed Christ engulfs ears in a Ministry like predation, short grooves and scourging riffs entrancing before the heavy shadows and vocal rancor takes hold. Samples again punctuate lyrical and sonic declarations whilst the guitars scythe the air with irresistible swipes, a combination with the leviathan groove which steals away the distraction of anything outside of the song. Brutal yet impossible infectious the track continues the immense start before making way for the toxic erosion Void of Community. Its climate and touch is poisonous though like its predecessor its initial incitement is pure contagion. This lure never relinquishes its hold across the encounter but is soon tempered by the caustic vocal squalls and barbarous drumming for another blistering tempest of harsh extremes and conflicting yet united textures. The album is one which needs time to blossom in the passions, each venture a greater persuasion and success as evidenced by this track, its first touch agreeable and its sixth and counting viciously bewitching.

Both Hourglass Without Sand and They’re Everywhere continue the slavery of thoughts and passions, the first as the previous song a rampaging incessantly catchy torrent of abrasing riffs, merciless and varied rhythmic confrontation, and devilish hooks. A shift in weight and gait into a lumbering tsunami of intensity and drama provides further proof of the inventive twists and imagination to the album which its successor takes further and into a truly destructive and malignant landscape. Vocal winds smother the senses like a sandstorm whilst the blackened niggle of the guitars simply grazes and scars with every vitriolic note unleashed, matched by the scourge of vocal animosity. It is an evil conclusion to the first part of the album, and an irresistibly enthralling if scary one.

The five tracks are next presented again with remixes from notable artists within the Ohm Resistance camp and more. Remixes never sit easily with us as regular readers will realise and the quintet here provides a confirmation of our doubts and equally at times a reasoning to embrace them. The Justin K. Broadrick (Godflesh, Jesu) take on The Sidewinding, pushing it deeply into the suffocation lying within the original. It thickens and slows the flight of the track unveiling the intensive blackness within. It works well as a companion to and inverted insight of the song but fails to come near to the grip of its founder though it does spark the imagination just as powerfully.

The End.user (The Blood Of Heroes) version of Cross-Eyed Christ tantalises and teases with all of the lures of Invertia’s version, cleaning up the industrial and metallic parts of the song but entwining them with an electro bred matching virulence. It is an invigorating success matched fully by the Submerged (Method Of Definance, The Blood Of Heroes) remix of Hourglass Without Sand which comes after the smothering jaundiced take of Void of Community by TranZi3nt. Both tracks appeal in varying degrees but the unrelenting ebm spawned Hourglass Without Sand is just breath-taking.

The release is completed by the R3TRD look at They’re Everywhere, a track bringing in samples of ‘a Pentecostal preacher vampirishly admonishing children to visit with him as he speaks in tongues’ to create a version which strikes further chills into the already fearsome throat of the song. It is a powerful end to an impressive release which by just talking the first half of its spiteful endeavour is an exhilarating and almost demoralising treat. The remixes depending on your take add more weight to the proposition but it is Invertia’s own tracks which make this an unmissable injection into extreme music.

http://www.inv3rtia.com/

For the first five tracks 9/10

As a whole 8/10

RingMaster 04/2014

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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