Godflesh – Decline & Fall

GF_D&F_FRONT

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

http://www.audioburger.com

 

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

http://www.audioburger.com

Invertia – Another Scheme of the Wicked

20140315_181952

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

http://www.audioburger.com

 

Alexanred – Non-Stop Non-Stop

alexanred pic

Just in case in the Christmas rush you missed the release of the debut single from Alexanred, we thought we would give you a nudge to one contagiously addictive track. Non-Stop Non-Stop is pure industrial virulence, a pulsating infection soaked song which pounds the senses with anthemic temptation and captures the imagination with arguably not ground-breaking but fresh and magnetic irreverence. It is not a release which will have your thoughts and emotions stretched and lost in contemplation but unashamedly a song which skilfully and mischievously goes straight for the primal and rhythmic beast inside with a bait of tub thumping rhythms and coarse electronic wantonness.

Formed last year Alexanred is the creation of Aleksi Susi, guitarist/synth player of Finnish industrial metallers 2 Wolves. Listing influences which include the likes of Rammstein, Lacuna Coil, Type O Negative, Cradle Of Filth, Paradise Lost, Septic Flesh, Rob Zombie, Prodigy, Autopsy, Nile and more, some which you could almost guess from the single, Alexanred makes an undeniably impressive entrance with the Inverse Records released Non-Stop Non-Stop. It is never wise to make a full judgement of a band upon one song, every artist more often than not having one acceptable gem inside them whoever they are, but it is hard not to anticipate and suggest richly promising and thrilling things to come from the project ahead.

Still from 'Non-Stop Non-Stop' video

Still from ‘Non-Stop Non-Stop’ video

The opening seconds of the song alone incite full attention; they maybe clad in a simple rhythmic lure and a restrictive pulsing electro rub but there is immediate intrigue and temptation which takes hold. Barely another moment passes before the track is in full muscular stride, synths stomping with devilry dripping from every note as vocals taunt from the surrounding shadows. Once Susi makes his full vocal appearance the sounds show a restraint to allow his almost whispered provocation to wash smoothly yet sinisterly over the senses. Soon though, the song is thrusting out its imposing chest within a riveting rhythmic caging, exploding into an anthem of sound and epidemic vocal incitement to confirm the seduction of thoughts and emotions.  As mentioned the track is not really setting new boundaries but with a raw threat and empowering intent to its vocal and rhythmic barracking, and a virulent toxicity to its electronic suasion the single is pure irresistible temptation.

Like the bastard inventive son of a union between Rammstein and Rob Zombie, Non-Stop Non-Stop is the perfect appetiser to band and their horizons, something it is hard to wait for with patience.

http://www.facebook.com/AlexanredFinland

10/10

RingMaster 08/01/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

Bleeding hopes and stark wastelands: an interview with Morok from Bog[~]Morok

Bog_Morok_pic.2 jpg    

It is fair to say that Russian metal is still pretty much in the shadows for the rest of the world despite the success of bands such as Arkona and…well that is arguably it despite the wealth of impressive and inventive bands creating thrilling sounds and releases within the country’s varied rock and metal realms. It needs an intent and exploration on the part of the listener to generally discover these shadowed treasures one of which is the excellent industrial/nu metal band Bog[~]Morok. The latter part of 2013 saw the band release their new album Industrialypse, an incitement drawing on numerous and unpredictable flavours and invention for a unique industrial metal bred creation. It is an exciting and stirring collection of tracks which deserve the widest attention. To find out more about the band we had the pleasure of asking its founder Morok about the origins of Bog[~]Morok, the impact of its home city, the striking band name and much more…

Hi Morok and welcome to The Ringmaster Review, thank you for sharing time with us.

Firstly can you give us some background to Bog[~]Morok at the very beginning, the spark and intention of the band at its start?

Hello and thank you!

Ok, I started Bog-Morok back in 1997. I just wanted to make fast, loud and aggressive music. Nothing special :). I think many people start to play music thinking that they are able to create something outstanding, something better than what they were listening to. I am not an exception. For a long time it was one-man-band. As a band B-M exists since 2003 when we released our first CD Azoic. Since then we have recorded six albums released on a different Russian labels, played a lots of shows, recorded many remixes for other bands, etc. The band’s style can be described as industrial/nu-metal. The new album Industrialypse released on 21 October on More Hate Productions for Russia and CIS. For the rest of the world it will be sold by Israeli label A&M Releases with support of GlobMetal Promotions.

As you said the band eventually expanded to a full line-up, was this a natural progression or a deliberate direction to expand on what you could do as a solo project?

I always wanted to play live shows. At first this was the reason to find musicians, but then I found that the writing process is much more interesting and effective together with other members. I am an ordinary bassist and very bad drummer, that’s why I cannot make qualitative music alone. So, I think this was a natural progression to expand the possibility to make music. Besides, we are very good friends and it’s a pleasure for me to spent time with these guys :).

Your sound has evolved over the years and your five albums, how do you see its change and evolution over the time? Bog_Morok_pic

You see, I always wanted to find special and unique sound for Bog-Morok. I wanted to make my band sound different from others bands. Not better, not worse, but different. Our first album is not typical for further creativity, but then we started to use low-tuned guitars, distorted bass, synthesizers, electronic sounds, etc. and now we feel that we are very close to what can be named “our own sound” :). Anyway, this process was natural. I never tried to make my band sounding like someone. It’s so boring…

How would you describe your sound right now for newcomers to the band?

Well, it’s some kind of mix of dirty and groovy guitars and bass, mechanistic rhythms and cold electronic sounds and backgrounds. This is just like a sound of machine or tool, but machine with a soul and furious emotions.

What is the story behind the band name?

It was many years ago, when I read the book called Sword and Rainbow or something like that. It’s fantasy, as far as I remember. There was a strange character. A troll or may be orc who lived in the bog. In Russian he was named Morok Bolotny (Morok from bog). Quite stupid character I have to say. But I liked him, besides I wanted to play fast and scary black-metal at that time. I decided that it will be great nickname for me and name for the band. But you see, this book was translated into Russian and I didn’t know how his name sounds in English properly. I used my own translation. Morok means ghost or spectre. Bog is bog (by the way, in Russian “Bog” means “God” that’s why some people thought I’ve got megalomania, haha!). So the band’s name means Ghost from bog. Time passed, we started to play different music, but the name is still the same. Maybe ‘cause it is quite unique and strange. I hope so :).

You recently released the excellent Industrialypse as you said earlier, an album of twelve inventive and explosive slabs of industrial/nu metal with plenty more flavouring to seduce the imagination. It is one of our favourite introductions to a band, it the first time we came across Bog[~]Morok, in a long time; how long has the album been in the making?

Too long! I started to write songs for this album a couple of years ago. Then approximately a year ago we started the record sessions at our studio, but in the middle of recording process I understood that the results did not satisfy me. I don’t how to explain it, but you see, the songs did not sound the way I wanted them to sound. Something was wrong and I didn’t know how to fix it. Then I started absolutely new side-project named Shexna, a strange mix of nu-metal, folk and sludge, together with Bog-Morok’s drummer and guitar-player and singer from well-known Russian band Temnozor. In a week I composed 9 tracks, in the next week we recorded all instruments and two more weeks I spent mixing and mastering these songs. The self-titled album was released by Russian label Sound Age in the beginning of 2013 and received a lot of rave reviews. Only after that we continued to record our distressful Industrialypse and finished it in August 2013.

Frontcover 1Have you like your sound, evolved and changed how you approach recording your music and working in the studio which made a big difference and help in creating Industrialypse.

You know, I am the maximalist and that’s why I never satisfied with the result. But I know how to find a compromise with myself. Otherwise, you can go crazy trying to achieve a perfect result :).

The title is a provocative word sparking the imagination to sculpt thoughts of an apocalyptic expanse bred from an industrial toxicity; what was your thoughts behind the name and does it represent a theme for the album as a whole?

It is a combination of two words: industrial and apocalypse. You see, we live in quite a big industrial city, Rybinsk, where there are a lot of factories and most of the people work there. Every day I see crowds moving to their working place and back. They are just like zombies: no hope, no future and no past. Eat, work, sleep, die… I think that industrial apocalypse is already happened for them. That’s why there weren’t any doubts it will be the title of the album when I wrote this song. But I can’t say that it’s refers to the album as a whole. You see, there are so many things to sing about. I think I’ll never be able to write a conceptual album :).

You just described Rybinsk with its factories and industrial plants etc., has this setting made a specific impact on not only the lyrical content of the album but your music in general?

My parents are teachers, I am a lawyer, but when I was a child I always drew factories and smokestacks and dreamt to work on a plant :). Thank God my dream has not come true, but when I grew older I started visiting different abandoned factories and other industrial objects (there are a lot of them after the notorious Perestroyka). I still love it and when I started to listen to music I was so happy to discover such bands as Die Krupps, FLA, VAC, Fear Factory, Steril etc. Their music was like a soundtrack of my dreams and visions. So there’s no surprising that I started to make industrial metal :).

How does the song writing process work within Bog[~]Morok and has that changed in a large way since those early days of the band?

The main part of music and lyrics is written by me. It has not changed since early days. But you see I play music with very good musicians. When I bring a new song they can change whatever they want. I trust them. In most difficult cases we work all together on a song looking for best option or may be compromise. Really, I am the lucky one these people are play music together with me :).

Do you enter the studio with songs completed or allow them to evolve further as you start to record them?

We’re recording songs in our own studio and there’s no need for the long training before record session and rush while recording music. May be that’s why we work so slow :). Anyway, we may write song, record it completely and then throw away ‘cause it doesn’t suit us. We can afford it.

Is there a particular part or aspect of Industrialypse which gives you the strongest intensity of pleasure?

I love this album entirely, but today my favourite one is Bloodsucker J. This song is outstanding ‘cause it consists of only one note A, it’s true, there are no any other notes except A :). The guitarist and bassist can drink beer while playing this song, ‘cause the left hand is free. I love this song today. May be because I’m in a good mood, you see, I always listen to most heavy songs when I’m in a good mood:).

I am sure like us you feel it is time for the world to wake up to Bog[~]Morok, what have you done his time around and put behind the album to try and make that happen?

We signed a contract with GlobMetal Promotion. They do their job very well spreading our music all over the world. As for us, we are playing live shows, answering the questions, communicating with people and many other things to please our old fans and to find new ones.

Are you planning to promote the album in live shows or tours? Band Photo 2

Yes, we’ll do our best to play as much shows as possible, but don’t forget that we live in Russia, the country where life is like a survival, the country where all your plans can be destroyed in a few seconds…

What comes next for Bog[~]Morok?

I think it will be live shows, some videos and writing of new songs. Yes, we will start to write new songs rather soon. I have some ideas but nothing definite still. All I know the next album will be more insane and outside borders and genres.

 How about the band member’s other projects outside of the band, anything we should be watching out for?

Oh yeah. Our drummer plays in very interesting black/death metal band Iconoclast. Also all members of Bog-Morok involved in our side project Shexna. And of course, I’d like to present our new band Morguenstern. This is the band where I play the guitar and the vocalist is my sister Morgana. We play old school gothic metal, sometimes horror punk. The music is similar to soundtracks from horror movies of the 80’s J. The debut album Sepulchral Burden will be released by Israeli label A&M on 15th January 2014. Check it out!

Thank you again for talking with us, would you like to leave any final words for the readers?

Take care of yourselves and don’t forget to listen to Bog-Morok! Thank you for your interest in our music!

Read the Industrialypse  review @ http://ringmasterreviewintroduces.wordpress.com/2013/11/08/bogmorok-industrialypse/

http://www.reverbnation.com/bogmorok

Pete Ringmaster

The RingMaster Review 01/01/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

Project Silence – One Way To Hell

PS

    Project Silence is a sonic and invasive scourge from Finland which ignited a lasting passion and hunger in us for their presence through the album 424 which unleashed its extreme toxicity last year. The album was brawl of intense promise which shared a brutality and bewitchment that overwhelmed and seduced the passions. The band now return on December Friday 13th with new single One Way To Hell, a two track creative fury which confirms all of the intensive promise and stature of the previous release whilst stretching the band’s imagination and abrasive qualities even further.

Hailing from Kuopio, the band was formed in 2008 as initially a solo project of Delacroix (vocals, programming, keyboards),  who began brewing up a distinct dark aggressive design from ferocious essences bred in the likes of industrial metal, dark electro, trance, aggrotech, and black metal. A demo emerged soon after the project was unveiled followed to relative success by the single Voices the following year. 2012 saw the line-up of Mr. Sanderz (guitar), J (guitar), Silve R (drums), and Sturmpanzerjäger (bass) alongside Delacroix before debut album 424 was uncaged on the world to strong responses from fans backed by equally enthused critical acclaim from within the underground press alongside radio play on shows like The Bone Orchard at Audioburger.com. The experimental muscular confrontation of the new single takes the heights set by the album not maybe to new plateaus but certainly to intriguingly different and just as impressive corrosive adventures.

One Way to Hell emerges from an enveloping sonic mist; one soaked in menace and brewing industrial toxicity speared by one way to hell coverincreasingly intimidating beats and an asylum bred laugh. As soon as it has comfortably coaxed attention and intrigue from its recipient the band expels a squall of heavy duty rhythms and equally muscular riffs stalked magnetically by the shadow dwelling keys and malevolent vocal growls bred in even darker places. The track does not go for the jugular but instead bears its full weight upon the senses to immerse the whole of the listener and thoughts within a bruising and merciless yet seductive pestilence. With a deceptively contagious chorus and a just as virulently tempting swagger to its stride, the song initially does not make the same immediate impression as many tracks on the album did but with startling imagination and twists, like the excellent full stringed almost folky lure crafted by the guitars, the encounter evolves and increases its persuasion through its first and definitely across multiple returns. It is a slow burner in many ways but soon finds the flint to spark an enthusiastically hungry appetite for its bold adventure.

The track is accompanied by Death and Madness, an onslaught which carves a swifter impact on and submission from the passions to reinforce the thrilling potential and striking evolution of sound as presented in One Way To Hell. Production is less precise and clean on the second track which only adds to the throaty lure offered by the bass and mutually predacious guitar riffs punctured by just as threatening rhythms. Coursing with infection dripping grooves and rabid hooks, as well as dangerously alluring melodic seducing from the keys, the track is an epidemic of incendiary pestilence and destructive enterprise woven with threads of wanton beauty and classical elegance. Masterful and creating an even greater creative alchemy than its impressive co-provocateur, the song is a towering predator and excuse for all newcomers to check out the uncompromising might of Project Silence.

https://www.facebook.com/projectsilenceband

8.5/10

RingMaster 11/12/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

Bog[~]Morok – Industrialypse

Band Photo 2

    Industrialypse is a confrontation which grips the passions from its opening moments and proceeds to enslave their greedy hunger through twelve inventive and explosive slabs of industrial/nu metal. The album is more than that though, a wealth of styles and essences laying seeds within its insatiable sound conjured and sculpted with craft and enterprise by Russian band Bog[~]Morok. It is a refreshing and thrilling release, a sort of merger of the essences of Fear Factory, Korn, Sybreed, and Dir En Grey, a blend which ignites the imagination and sets the emotions ablaze.

The band started as a solo project for Rybinsk musician Morok in 1997, his intent to create a death/black metal exploration. Debut album Azoic in 2003 drew good attention as at the same time the project expanded to a full band. A death/doom presence emerged but one honed by the influence of modern and industrial metal, a sound which has continued to evolve across the band’s five albums, Stadiae II of 2005 and Syn.thesis two years later the stand out highlights before Industrialypse, though Decadence of 2010 potently continued the expansion of sound and stature of the quintet. The new album is another plateau cast, a riveting exploit which shows Bog[~]Morok as one of the very best industrial metal cored bands still to be discovered by the masses, something which Industrialypse with luck can amend.

The title track opens the encounter, cyber sounds and industry the entrance for thumping rhythms and voracious riffing to Frontcover 1corrupt ear and air. Soon into full stride the track expels a rigorous rapacious charge ridden by the excellent expressive vocals of Morok. Swinging between aggressive and respectful, carnivorous and seductive, the song is an intensive industrialised slab of extreme metal with electro temptations and melodic persuasion. A mix of demanding rhythms and scything cuts of guitar wrapped in a warm melodic synth lure, the song easily persuades especially with its unpredictable and ever shifting attack as it grows into the first towering hook of the album.

The following Gliese 581d and Не вижу зла (Stadiae III) continue the powerful start, the first a rampant stretch of melodic ambience and senses staggering metallic brute force created with skill and imagination as is the synth spawned warm textures and enticements aligned to the stringent intensity. Its successor opens with compelling almost sinister electro bait, its person cinematic soaked in atmospheric intrigue. That lure leads the imagination into an inciting dramatically melodic narrative with an additional teasing within its sinewy embrace, which plays like a mix of Biting Elbows and Limp Bizkit. It is an absorbing provocation building an industrial soaked landscape that is simply irresistible and transfixing.

After the bruising challenge of the pleasing Neizbezhnost, the album provides another major pinnacle to match the starter in the toxic shape of Hellstarter. An initial reasonably gentle coaxing only hints at the imminent hellacious ravaging of the senses to come, a rabidity increasing the urgency and aggression of the guitars and rhythms whilst there is an insidious temptation to the keys.  As ever with Bog[~]Morok  there is no resting on singular assaults and the song soon twists and launches blackened violations and industrial causticity around a melodic and nu metal taunting. It is an ingenious torrent of inventiveness and addiction causing enterprise, a triumph only matched, after the contagious Fear Factory like Shapeshifter, by the sadistically tantalising Bloodsucker. It is another track to chew and seduce the senses whilst bringing an ethnic curiosity to its sonic acidity and adrenaline fired predation; simply a masterful ferocity of corrosive and magnetic craft.

The mix of English and Russian sung songs adds to the frenetic allure of the album, especially with when the likes of Свет В Конце Тоннеля, another track which brings thoughts of Korn to mind this time in collusion with The Browning, and the melodically enticing Звездопад sound so good and convince a greater appetite to come play with their individual and unique gifts.

IDDQD unleashes another intensive metallic fury of rampaging riffing and equally pungent violent rhythms whilst Undream brings the album a melodic slowly burning treat, its smouldering and emotive beauty a delicious wrap for the imagination and heart. It is part of a great ending to Industrialypse , a finale completed by the blackened ruinous interpretation of the Fantomas’ song, Der Golem. Heavy, dark, and dirty, it is an extreme storm which maybe hints at the earlier days of Bog[~]Morok. Industrialypse is an outstanding release, one bringing metal and certainly industrial metal an invigorating excuse to get excited, and one all should take the time to search out and enjoy.

https://www.facebook.com/pages/Bog-Morok/126796064065588

9/10

RingMaster 08/11/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

Unzucht – Rosenkreuzer

Unzucht_Bandfoto

Unleashing their second album on a generally unsuspecting world, German band Unzucht take little time in showing themselves to be a formidable and robust provocation, and more importantly a thoroughly captivating one. Creating a rapacious brew of industrial and gothic metal which as easily seduces as it can chew upon the senses, the Lower Saxony based quartet with Rosenkreuzer, have primed themselves to be an undiscovered presence for a great many no longer. Consisting of thirteen songs which romance and invigorate the passions, the release is a fiery and magnetic tempest of sonic causticity and metallic antagonism wrapped in a smouldering electro glaze which soaked in enthralling temptation makes band and album one of the must listen escapades of 2013.

Formed by De Clercq (guitar, electronics, vocals) and emerging around 2009 with the line-up of vocalist Der Schulz, bassist Blaschke, and drummer Fuhrmann alongside its founder, Unzucht unleashed debut EP Engel der Vernichtung the same year. Numerous appearances on a wide array of compilations followed before the release of the Deine Zeit läuft ab EP in 2012. Bringing a strong attention and reputation their way simultaneously, the band in September of last year uncaged their debut album, Todsünde 8 , a record which went hand in hand with an intensive length of time touring which saw Unzucht on the road firstly with Mono Inc., followed by Megaherz and then a eager participant at the Dark End Festivals 2012. Their album drew good acclaim, stretching the recognition of the band to greater lengths which Rosenkreuzer will ignite further. With a very successful co-headlining tour alongside Lord Of The Lost under the belt this year, Unzucht stand poised to truly explode a full awareness around them with their album an irresistible weapon.

The NoCut Entertainment released Rosenkreuzer takes mere moments to have attention and anticipation alert with its title track. Unzucht - Rosenkreuzer - ArtworkOpening up the adventure with instantly contagious electro grooves and an enticing atmosphere, the track is soon teasing and dancing around the ears with unchecked energy and a brewing rapacious intensity which ebbs and flows pleasingly around the excellent vocals, theirs a clean delivery with scowling and melodic harmonies alternatingly taunting the imagination further.  It is a compelling introduction to the album, a fiery mix of industrial and gothic endeavour which is soon matched by Kind von Traurigkeit. Less forward at the start but more intimidating in its breath than its predecessor, the track roams senses and thoughts with an accomplished and engaging prowl, the vocals an emotive narrative which as in all songs defies its German language delivery to paint an evocative picture upon the enticingly crafted canvas of the song.

Triebwerk stalks the ear next, its opening predation soon accelerated into a dark hearted crowding of the senses with raw riffs and caging rhythms. With menace and danger continuing to guide the track, and pop kissed flames exploding across its bow to increase the potency of the resourceful evocation throughout, the song keeps the thrilling presence of the album going before passing the baton on to the absorbing Nur die Ewigkeit. There is a seemingly familiar presence to this track from the start, the vocals again inviting full attention to the Numanesque sounds which stroll with respect and inciting success around the imagination. It does not quite live up to the heady levels set but leaves the appetite for the album boiling nicely.

Through the feisty Feuersturm with its incendiary electronic stimulation and metallic aggravation, and the smouldering croon of Zwischen den Welten, the album continues to grip purposely and effectively, the second of the pair a seductive and sinisterly inventive treaty for the passions to submit to. There are at times elements which bring thoughts of Rammstein into play though they are fleeting moments to be fair, except on the outstanding Angst which is very much in their countrymen’s territory, and though there is an easy to access and commit to feel to the songs it is all distinctly Unzucht.

There is not one track where you find yourself looking forward or reluctant to indulge in numerous time but further pinnacles come through the excellent Das dunkle Tier, a track which dares to involve a delicious stoner/hard rock groove into its expressive tantalising, and the wonderfully inventive and powerful Der Untergang where the band again draw out a call which is pure contagion whilst sealing it in an emotionally blazing pool of sublime beauty.

An impressive cover of the Héroes Del Silencio track Entre Dos Tierras also stands out with its inventive and melodic head held high before the album provides a deliciously sculpted ballad in the shape of Nymphonie and finishes with the exhausting electro/metal stomp of Mit Dir oder ohne Dich. Coursing with a rhythmic rabidity which often has to relinquish its grip throughout to the equally fascinating hues of the keys and electronic weaves which eventually take the song into stronger evocative depths, the track is a melancholic sunset to close Rosenkreuzer. The album is a refreshing incitation from a band you can expect to be on a great many more lips and exploring a greater well of eagerly attentive ears here on in.

http://www.unzucht-music.com/

8/10

RingMaster 24/10/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

Type V Blood – Beastkiller

cover

As virulently contagious and destructively merciless as you could wish for, Beastkiller the new album from Russian industrial metallers Type V Blood is a confrontation which ignites and accelerates the heart of the dancefloor before turning it into an apocalyptic wasteland of sonically drenched carnage and delicious rhythmic mayhem. The release is an insatiable thumping on the heart of industrial seeded imagination, its power thrusting a fresh pulse and life into a greedy expectant genre. At times unique and in other moments wearing well used electronic armour, the album is a feast which is impossible to resist, a provocateur that leaves a breathless and rapturous satisfaction in its feisty wake.

Formed in 1999, the Konigsberg duo of Star (vocals) and Smith (guitar, programming, backing vocals) merged a core of industrial metal with black and death essences whilst infusing that with a flush of varied electronic incitement. Their sound took little time in awakening local support and ardour whilst debut album Dead Generation 77 successfully built upon the strong responses from earlier tracks and demos. Second album V.E.G.A. World Top 8 followed in 2004 but soon after the band came to an end, or as it turns out with its return four years later a hiatus of sorts. A trio of albums in Astra (2009), Warld (2011), and Penta (2012) followed as the band came back in strength and began evolving their intent and sound across the releases. The new, like its predecessor, Artificial Sun released Beastkiller sees the band moving away from the electronic core of previous records to explore and bring to the fore their metal flavoured roots. The result is an album which churns up and gnaws on the senses whilst leading the passions and imagination on a strength sapping dance of cantankerous electro animosity and seduction.

The deceptive opening teases of Eber Zzombie starts things off gently, cascades of electronic kisses sprinkling across the ear. It is a deceit as behind them lays in wait the carnivorous jaws of the guitars and a rhythmic lashing, all with a patience and predaciousness which is as intimidating as it is compelling. A mellow shift tempers the attack midway and even in its brief presence it almost throws things off balance but once the predatory instinct and intent is back the track again resumes its impressive introduction. After falling beneath the potent assault of the whole album the song in hindsight is a strong start but soon left in the shade of the rest of the release.

Rock The Dancefloor does exactly what it says on the tin though the title does not reveal the infectious brutality of rhythms used nor the hunger dripping from every enterprising note and thrust of sound. The track merges infectious melodic taunts and electro hooks into its swamp like thick atmosphere and overwhelming intensity which leads to the senses not knowing which way to turn but loving the hunt as explorer and prey. Its glory is soon lost in the haze as Shocksong marches militantly into view, its big heavy rhythmic boots stomping submission from the senses alone whilst the snarling vocal squalls and mutually venomous guitar riffs bring already awakened passions to their feet. Bestial at heart, the track pounds its beat across imagination and thoughts on the way to fully seducing the heart.

Both From The Heart To The Sun and Resistance tear off their chunk of the emotions next, the first with a voracious snarl to guitar and assault which is like being ravaged by 300 Spartans with sonic spears and industrially honed malevolence. Like its predecessor it stomps and prowls rather than going for the jugular but with the sapping aggrotech energy and intensive invention the result is the same, full submission. Its successor arguably has a lighter touch though it feels just as smothering and commanding whilst standing in front of its extremely busy and greedy presence. Like a maniacal puppeteer the track has limbs and passions indefensible before what is electro metal alchemy.

There is no let up from the album as first Awake storms the barricades with a tide of electro temptation split by blackened vitriol provided by shadow clasped sounds and serpentine vocals. Once again Type V Blood fuse extremes, light and dark forged into an epidemic of irresistibility which chews on the ear whilst stroking it into orgasmic bliss. Veined by catchy guitar hooks and melodic bait the song like so many on the release is the master of body and heart. Its triumph is thrust aside instantly by the rapacious Zero Tolerance, another song which twists and deceives throughout, its opening carnally wanting sonic narrative diving into a jazz funk swagger and enterprise with ease and then back again to continue the ravenous feasting upon the senses.

The diversity of the album continues in the brilliant wanton waltz of Sexyberia, a song with sultry flames and lascivious melodies which wrap tantalisingly around the listener as a blackened folk metal tasting romp runs up and down the temptation with eager rabidity and magnetic repetition. Like the album which leaves its strongest suasion to the second half of its bulk, the track is scintillating and breath stealing, open proof of the ever increasing strength of the release soon backed up by the final two songs. Right To Anger is a crunching weighty expanse of metal spawned corrosion whilst the outstanding closer New Nuclear World is electro punk at its most adversarial and inhospitable, a brilliant finale to a glorious tsunami of industrial metal and electro provocation.

Certain to please fans of the likes of Combichrist, KMFDM, Pitchshifter, Fear Factory, and Godflesh whilst simultaneously offering something unlike them all, Type V Blood and Beastkiller give industrial metal and music an addictive shot to the balls.

https://www.facebook.com/TypeVBlood

10/10

RingMaster 03/10/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

 

The Devilzwork – A Dead Horse

the devilzwork pic

Australian industrial metallers The Devilzwork set senses and fears cowering last year with their album Floodlights, a carnivorous sonic pestilence which gnawed and seduced the emotions with lethal  yet compelling severity. Now the band returns with its successor A Dead Horse and another tempest of virulent devastation hell bent on consuming and reshaping the synapses.

Hailing from Australia’s Capital Region, the 2009 formed quartet of guitarist Whiskey (also in Chud), vocalist/bassist Tobias, guitarist Kvlt and drummer Postal, has built an incendiary reputation across the regions of Melbourne and the Australian Capital Territory with their impressive live shows which has seen them stare stages with the likes of Voices of Masada, MzAnnThropik, Tim “The Ripper” Owens, and Mnemic. The self-produced demo Bad Moon Rise equally sparked concentrated attention though it was the eight track release Floodlights which stretched the bands presence much further afield as certainly an online presence and temptation. Now A Dead Horse is primed to accelerate that growing awareness. You suspect such its harsh and caustic devilry that the release will send as many running for the hills as finding those unable to resist its scourge driven charms, but if unbridled spite coursing corrosion is your idea of a treat than The Devilzwork has a nasty rewarding one lying in wait.

Opening track Obey The Worm… immediately scorches the ear with a sonic piercing before riffs and rhythms conjure up a death metal 1016963_626992130646833_1762260211_nseeded malevolence. It instantly has the hairs on flesh wilting before its vicious blaze of noise rock/industrial ferocity with the great duel vocal attack driving the aurally scurrilous fire of sound to greater depths. From the first track alone you can openly see the evolution in the songwriting and intent of the band. Whereas Floodlights was one carnally bred lime pit of intensity and noise soaked irreverence its successor has a more defined purpose and invention to its claws. A strong spicery of metal and rock adds further potency and imagination to the song and as it emerges, A Dead Horse as a whole.

The outstanding Kalifornia comes up next, its confident swagger and teasing wantonness leaving a tasty flavour of horror rock to the Ministry sounding torch of sonic animosity. A twisting feverish taunting on the senses and imagination, the track despite its too soon coming departure is the first of the major highlights on the album and ultimately the best track.

The Godflesh/Marilyn Manson lilted Prick, a track with labour to its attack but captures the passions at a glance without any resistance, and the more electro venomous Big Man follow to continue the strong start of the release if without quite matching their predecessor whilst the insidious corruption that is Hardware suffocates and invigorates simultaneously to ignite the mind and emotions. Bringing an acidic blistering groove which would rest easily in a Kyuss/Queens Of The Stone Age rage, the track pushes the diversity of the album yet again. Admittedly some work is needed to unveil some of the unique rewards to be found within the songs beneath the surface severity and taking that plunge head first only rewards all the more. The previous album was debatably short on individuality between songs in hindsight but there is certainly no issue with A Dead Horse as each track reveals given close attention.

From the pernicious Corrosive, a more than decent track which is as its title suggests, and the dark intensive exploration Vast, the album reaches another pinnacle with Insect. Thumping rhythms open up a cage of virulent toxicity, a wash of sonic itching wrapping the skin whilst vocals and restrained electronics rattle the bars and another epidemically addictive groove frequents senses and passions. The track will have you scratching the brain and emotions for hours after whilst the short burst of instrumental after its departure soothes the sore need.

Enthralling expels a raucous heavy rock fury, vocally and melodically, within another breath and atmosphere of poisonous sonic mercury to again push the envelope of invention whilst Virus Installer is just a rapacious pathogen of angry and malicious noise honed into a riveting protagonist. Both leave the senses exhausted and wondering what hit them yet thoughts alive with interpretation of their magnetic intensity.

Concluded by the tender, well in comparison to what came before, Push Yourself Around and the sinister soundscape Desolate, the album leaves a hunger for much more. The first of the final pair has a scintillating toxic swing to its pestilential might whilst the closer is just an evocative passage of sound and menace which leaves the mind exploring its own black corners. Both add further absorbing ventures to A Dead Horse, an album which shows no mercy but strikes with an intelligently sculpted persuasion offering depths of melodically spawned venom. With only the shortness of some of the most enthralling violations a niggle, the album is an impressive leap forward for The Devilzwork and a must investigation for all fans of the likes of Ministry, Godflesh, Rammstein, Marilyn Mansion and those of industrial and death metal… though are they brave enough though?

https://www.facebook.com/thedevilzwork

8.5/10

RingMaster 10/09/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com