We All Die (laughing) – Tentoonstelling

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After their riveting and extraordinary album Thoughtscanning of last year, the appetite for something more from We All Die (laughing) has been the epitome of hunger. It is a want and need now richly satisfied by the band’s new offering, the Tentoonstelling EP, well certainly by half of it. Consisting of two tracks, one from the duo of Déhà (Maladie, COAG) and Arno Strobl (Carnival In Coal, 6:33) and a second piece by Mathieu Drouet, a French photographer for whom We All Die (laughing) composed the lead track, it is a provocative encounter of instrumental temptation which pushes the imagination into dark and sinister landscapes.

When asked by Drouet to contribute a track to a contemporary art project for his Grande Plage exhibition planned for January 2015, We All Die (laughing) crafted the instrumental Variation on the scanning of thoughts, a piece 760137644422_TOX038_We-All-Die-(laughing)_Artwork_600x600inspired by and a companion to the band’s extraordinary one track album. The exhibition itself is based on photography of Drouet which the artist ‘considers worth being used as cover artwork for music releases’. Consisting of twelve pieces, he chose a similar number of bands to contribute a track (also including The Lumberjack Feedback) of which a single copy 12″ EP would be released with one of his pictures as the artwork along with an’ experimental audio rendition of the photography’s digital file’s data’, basically an aural portrait of the picture cloaking the release.

Variation on the scanning of thoughts is a piano sculpted exploration, a shadowed and brooding suggestiveness which wraps seductively around the senses and imagination whilst soaking both with melancholic expression. Noir lit jazz scenery colours the evocative canvas throughout whilst sharing hues with a more choral persuasion, their entwining suggestiveness a haunting embrace within the oppressive atmosphere. The press release with the EP declares the track as more depressive than the band’s adventure upon Thoughtscanning which is easy to agree with, yet as the music permeates ears and emotions there is also an imposing beauty and stark elegance which ignites the warmth of hope in song and reactions. As always with the band, it is a healthily long piece which provides a template for the listener’s imagination to fill and colour whilst emotionally it is a provocation which is as cinematic in drama as it is intimate.

The following Grande Plage, OP. 1, Movement #1: Le Noir from Drouet is the complete opposite and whilst you can understand and respect its breeding, the track is an underwhelming challenge. A sonic expanse of electronic smog, a static wave which ebbs and flows but makes for a constant irritant, the track is a ten minute excuse to return to the majesty of its predecessor. Again it is a piece which will inspire or push away individual thoughts and imaginations, with ours unreceptive, but it is a pale if initially intriguing companion against the magnificence of the lead track and the musical alchemy of We All Die (laughing).

Tentoonstelling is available now Kaotoxin Records @ via http://listen.kaotoxin.com/album/tentoonstelling

https://www.facebook.com/wealldielaughing

Check out the excellent photography of Mathieu Drouet @ http://www.mathieu-drouet.com/

For the track Variation on the scanning of thoughts 10/10

RingMaster 21/08/2014

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Unbeing – Raptus EP

Unbeing - Raptus promo photo

Following on from their seemingly universally acclaimed debut album, Canadian progressive metallers Unbeing have released the exceptional Raptus EP, a rich and compelling journey for the imagination and emotions. As technically captivating and enthralling as it is evocatively absorbing and invigorating, the four track release whisks the listener across an expansive landscape of sound and adventure but one also soaked with an intimacy which provocatively caresses thoughts and feelings. It is a compelling and exhilarating proposition, easily one of the most pungently inspiring instrumental releases in quite a while.

Formed in 2006, Unbeing began as a three piece. Line-up changes ensued whilst two demos in 2008 and the following year respectively, drew strong and enthused reactions. The Montreal band then won Metal Académie 2, a two month competition judged by the likes of Kataklysm. The next step in the evolution of the band, seemingly inspired by the judges’ comments of that competition, saw the band dispense with vocals and concentrate on their already striking instrumental explorations. Over the past eight or so years the band has continued to evolve and impress live, sharing stages with bands such as Neuraxis, The Red Chord, Walls Of Jericho, Martyr, Katatonia, Incision, Anonymus, Beyond Creation, and Scale The Summit along the way. 2011 was the year of their self-titled debut album, with the band at this point grown to a quintet. It received acclaim from fans and media alike, its re-release two years later as a re-mixed and re-mastered vinyl edition equally devoured by the metal community. Now it is the time of the Raptus EP to spark the passions, something its twenty minute flight across a Montreal Metro themed incitement is sure to repeat time and time again as it draws minds and hearts into its imaginative aural poetry.

Unbeing opens up EP and imagination with Rapture which from the first wind of metal on rail coaxes with an evocative melodic enticement which wraps elegantly and creatively around ears and thoughts. Rhythms shuffle erratically Raptus artbut purposefully over the senses as guitars and keys cast a fine web of intrigue and awakening urgency. It is a dawning, an inventively expressive entrance into a busy and continually but gently escalating fever of activity and emotionally rich dramatic hues. The outstanding track flows into the next carriage of the evolving adventure, the following Batterie Faible bringing a more settled and sultry air to the emerging scenery. There is a jazzy breeze and breath to the caress of the song, again the guitar of Sherif El-Maghraby and the seducing keys of Martin Labelle washing over ears with a contagiously picturesque and melodically fuelled sonic design. Entwining peaceful climes and tenacious rapacity, the song intermittently seduces and agitates the emerged vision in thoughts, bursts of aggressive intent swarming across less intensive moments. It is all irresistibly framed and veined by the shadowed emotional hunger of Jean-Philippe Bédard’s drums and the increasingly provocative swing and flirtatious grooves of bass from Alexandre D’Amour, their drama alone potent fuel for the quite exceptional and embracing, physically and mentally, piece of adventure.

Over the two songs thoughts of the likes of Tesseract and Pelican come forward but also in different ways others like The Ocean and indie instrumental band Human Pyramids, particular elements, textures, and melodic paintings pulling loose but definite comparisons. The next up Tetris Rufus sparks similar thoughts but again another fluid shift in the journey sees the listener taken into darker more metallic structuring within a melodically incendiary climate. There is a volatile edge to the piece too, guitars striking at ears with jagged riffs whilst rhythms pounce upon and bustle their way across the senses. That rugged swirl of intent and intensity though is tempered and held in the thick emotive heated hug of resourceful keys, their touch and suasion a constantly changing mesh of warm feelings and anger defusing vivacity.

Final track 2nd Cup flows elegantly out of another underground sourced sample between songs. It swirl and dances with seductive melodies for an immersive mesmeric embrace to which more mercurial flames of heavier incitement and energy smoulder with urgent intensity across the incoming sunset of sound around another ebbing of adventure. El-Maghraby exploits the frenetic climax of the experience deliciously, his fingers manipulating the final throes of the journey and crescendo of emotion before the eventual peace of the destinations end clangs and leaves its disappearing mark. As all tracks it is a sublime piece of composing and realisation to which the band add their individual and united insatiably scintillating descriptions.

Raptus is the perfect instrumental adventure, one which never gets fussy or over-elaborate, but also never misses the opportunity to aurally and emotionally explore every nook and cranny of its ideation and premise as well as the imagination of the listener. The Raptus EP is an essential investigation which if you are quick Unbeing has made available for free download until the end of July at their own website. What still here?

The Raptus EP is available now via BLK COQ Music and at http://www.unbeingmusic.com/

https://www.facebook.com/UnbeingMusic

10/10

RingMaster 18/07/2014

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Tom James Parmiter – Imperfect Symmetry

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Virulently mesmeric and grippingly enthralling, Imperfect Symmetry is simultaneously a flight through expansive poetic scenery, an exploration of intimate emotions, and a fly on the wall reflection of evocative life. Certainly as the new album from Tom James Parmiter seduced senses and thoughts that is the emotive web which compellingly caught our imagination. Consisting of ten instrumental insights crafted by the undeniably impressive piano and keys skills of UK based composer Parmiter, the album is an emotional and cinematic adventure for a similarly exploratory vision of the listener. It is experimental without being inaccessible and soaked in a perpetual ambience which evolves and caresses with a poignant breath to which the colour rich melodies and descriptive hues of Parmiter’s craft, paints compelling narratives.

The follow up to the well-received 2011 album Providence, the Zube Records released Imperfect Symmetry has been two years in the making with everything from writing to performance Parmiter alone. It is an absorbing brew of classical and orchestral elegance entwined in a modern electronic and melodically twisted voice ensuring each track is an individual premise and provocative tale. It is a big step on from the more electronically sculpted Providence, revealing much more of the artist and emotional invention of the man.

The Paul Barton and Shaun Milton produced release opens with Remembrances, its full height of sound emerging from a sonic mist which instantly engulfs thoughts with dark shadows and haunting intrigue. The synths wrap ears like thick emotional smog clad in sonic insecurities, a bewitching blanket which parts and swirls in appealing squalls as tender reflective keys cast the heart of the song and its evocative pallor. From its start the track transfixes ears to emotions but brings an even deeper enticement with its melancholic beauty which seduces for a long term engagement. With guitars adding additional texture and resonance to its climax, the piece departs for the following title track to sweep majestically into view. Like a fleet footed yet confidently graceful dancer, the piano skills of Parmiter glide poetically over the senses and imagination; every key touch and flight of fingers adding layers of melodic colour to the immersive picture of the track. Percussive scatterings ignite the sky of the piece from its mid-point, the music igniting thoughts of a city skyline under explosive artistic skies with a wave of bodies beneath courting ground and emotions with radiant motion. It is a glorious proposition which leaves the listener basking.

Both Shifting Sands and Aftermath explore unique soundscapes next. The first ventures through sultry yet seemingly stark scenery, drifting with sonic abrasing and a caustic caress within the expressive breath of the impacting incitement whilst the second brings a crystalline elegancy with spatial seducing into an emotionally imposing but smiling reflection dealing with what feels like emotional conflict. Though neither track matches the heights and deep enveloping of the first pair, each provides a thought provoking, attention stealing exploration which the following Cerulean with its clear magnetic air and hand takes back to the earlier plateau. A warm seduction of arresting ambience soaks ears which from within a slow spellbinding casting of piano from Parmiter creates a beauty and resonating melodic rapture. It is the most dramatic and beguiling piece of music, sirenesque in its enchanted and emotive richness, and along with the title track, the pinnacle of the album.

Piano Interlude is as it says, a piece of music which allows atmospheres to rest whilst simply conversing one to one with the ears. The track does not light the imagination as others but certainly has thoughts enthused and engrossed before the sophisticated worldly embrace of The Serpent and the epic evocative structures and emotional grandeur of Angkor Wat lie compellingly within ears. Both tracks take the listener into further rich expanses of scenic beauty and provocative creative enlightenment, and both thrill with a simple and honest breath.

The album is completed by the breath-taking Reawaken where from a slow coming to life, a dulled opening of eyes, you can hear and feel awe struck expression in the sound and breath of the song as it expands with orchestral radiance, and finally the arcadian grace of Serenity, a piece wrapped in pastoral hues and idyllic ideation. The pair makes a restful yet also shadowed conclusion to a quite riveting slice of instrumental alchemy.

There is a one really minute issue with the album which is that the tracks do not seem to have a linking essence or theme to them so that they can also combine for one vast landscape as well as alone pieces. Maybe they do and we just miss it but they feel like a collection rather than a collective but as said it is a tiny shade on a vivaciously fascinating encounter which as an emotional travelogue and imaginative composing brought with transfixing realisation is quite sensational.

Imperfect Symmetry is availably digitally and on CD via Zube Records now.

http://tomjamesparmiter.com/

9/10

RingMaster 01/06/2014

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Australasia – Vertebra

Australasia - Vertebra - Cover

Lifting the listener’s thoughts and imagination into an expansive and emotional almost visual flight through an ever evolving soundscape broken up into smaller evocative sceneries, Vertebra the new album from Italian band Australasia is one of those absorbing emprises you just cannot pull away. Ten tracks of predominantly instrumental merging of post rock, shoegaze, classic electronica, and enthralling ambience, the release is a masterful and compelling adventure. There is though much more substance than that description suggests, flavours and styles bred elsewhere seamlessly employed in the melodic web cast, and when vocals are rarely used they are more another texture to the creative narrative than any lyrical storytelling. The album as skilful and magnetic as it is equally suggests this is a project still in evolution with greater glories waiting on its horizon, something which just adds to the pleasure bred by Australasia.

The band is the creation of multi-instrumentalist Gian Spalluto who has linked up with Mina Carlucci and Giuseppe Argentiero of fellow Italian band Vostok. Touched by influences which include the likes of Red Sparowes, At the Gates, Joy Division, This Will Destroy You, Angelo Badalamenti, Mogwai, Pelican, Ennio Morricone, Cult of Luna and more, the band provides emotive landscapes and mesmeric incites which never restrain themselves musically or imaginatively to any singular intent or limiting frame. Australasia’s debut release, the Sin4tr4 EP of 2012, opened up the gateway to the band and its invention which the Immortal Frost Productions released Vertebra continues with striking strides into the awakening imagination and aural world of the band.

The journey opens with Aorta and a guitar cast melody which as the album progresses is a regular protagonist if in varying guises and intent. It is a mellow coaxing of a start to the song which gathers intensity in its breath as it opens up its creatively sinewed arms and melodic armoury. Hitting full stride early there is a tempestuous union of post rock provocation and metallic sculpting which flows and moves towards a stretch of sonic beauty and evocative reserve. Impressive rhythms and drums steer the enterprising exploration superbly and the guitar play is quite riveting across the body of the song. In its final thirty seconds or so the track unveils a union of male and female vocal harmonies which provides a last wash of warmth and elegance to the impressively crafted flight.

The following Vostok immediately offers a vintage electronica sound to thoughts though it is soon smothered by a strong cloud of sonic shadows and blackened emotion. The song undulates thrillingly as it progresses, big mountainous rhythms and textures mingled fluidly with tender elegance and those returning electronic caresses before dissipating for a lone acoustic guitar to wave the dark climes away. It is a track which seems to pass so quickly in time and though almost four minutes in length its successor Zero is soon feeding the senses and providing another heady structure of melodic imagination and rhythmic incitement. Not for the first or last time, the music reminds a little of The Cure around the time of the Seventeen Seconds /Faith albums, a shadowed energy coating the air of the song but speared by a melodic beauty which only raises the spirit and light.

Next up Aura roams through a more electro pop /shoegaze realm with eighties synth pop flavouring, though yet again there are intimidating resonances and dark clad tempting which tempers the radiance enough to add wonderful doubt and menace to the calm. The track also sees the captivating voice of Carlucci swarm siren like over the senses. Lyrically the track is uncluttered with effective repetition whilst gentle soaring harmonies make the prime successful persuasion. Like all the tracks, the song seems simple but holds a real deception as everything is so precisely and imaginatively woven together. The closing vocal scat does not quite work for personal tastes but it does not deflect from the smouldering piece of enjoyment.

Both the melodically flamed but intensively blackened Antenna, one of two tracks on the album taken from the earlier EP, and the excellent towering bulgingly muscular Volume continue the impressive height and stature of the album whilst the title track provides a pleasing short Spring respite with expressive tones and soft weaves, even if it feels a little like an anti-climax from the immense and lofty force and heights carved previously.

The second track from Sin4tr4 steps forward next. Apnea provides a reflective blend of imposing density and melancholic beauty wrapped in another bewitching vocal wash from Carlucci and an electro courting which pokes light through the cloudier ambience. It is a delicious embrace which makes way for the bordering on corrosive presence of Deficit. Scuzzy and thickly bonded to the ears, the track thrillingly riles up the senses but then before they can accept the intimidation the piece twists in on itself to lay a beauteous glaze of melodic endeavour on the incitement. It is a short but scintillating piece of composing and realisation waking up the appetite even further for the closing seven minute plus epic of Cinema. Arguably the track is a shade too long but it is a mere quibble when it makes such a compelling temptation across its emotionally clad presence.

Vertebra is a spellbinding release though to temper that slightly maybe it does not ignite a fire in the belly of the passions as often as it arguably could or should have, though again to put that into context, it is fair and easy to say that Australasia has created an adventure which is impossible to resist or stay away from. The band has the potential to create their own legacy you feel as their album permeates through thoughts and emotions, Vertebra a very striking start.

www.australasiamusic.com

www.facebook.com/australasiamusic

8.5/10

RingMaster 08/01/2014

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Rhoda May – Sessions

Rhoda May Online Promo Shot

    The info sheet accompanying the promo for Sessions, the debut EP from UK progressive rock instrumentalists Rhoda May, waxes lyrical about band and it has to be said that after being washed over by its absorbing potency and imaginative aural narratives the release offers, you can only agree with rather than doubt the claims made. The six track release is a magnetic slice of sonic majesty, a sextet of songs which tease and ignite the imagination without ever over doing anything. The tracks tempt and hint rather than paint exact pictures and with an uncluttered sinewed beauty only seduce the imagination and passions to a full acceptance and hunger for EP and band.

    The Surrey trio of guitarist Will Pain, bassist Andy Page, and drummer Mark Sanger originally conceived the idea of Rhoda May mid-2012 but it was not until last year that the long-time friends officially formed the band after a local venue promoter who happened to overhear the band rehearsing asked them to support UK hip hop/metal pioneers Senser. From that debut show the threesome has gone on to support the likes of Heights, Freeze The Atlantic, and Three Trapped Tigers, all the time increasing their emerging presence. Their first release consists of the 347 and 589 live sessions recorded with producer Jason Wilson (We Are The Ocean, Reuben, Dinosaur Pile Up) and James Kirk respectively. All tracks were recorded as live takes for a series of live videos filmed & directed by Emma Dalesman and now get their appearance together as an EP release, six songs which cast a mouth-watering adventure of modern rock.

     All the tracks upon Sessions are simply numbered which allows the listener to interpret the songs without any prompting or Rhoda May - Cover Artworknudging which even a song title can do; the slices of absorbing creative invention the only persuasion  upon thoughts and emotions. As opener #3 strolls into view with the guitar of Pain jangling seductively around the ear as the gentle rhythmic incitement of Sanger coaxes equal attention, there is an instantaneous connection as a familiarity and mesmeric bait washes the senses. The bass of Page offers a no less potent lure, again with an initial reserve and provocative tone which sparks attention. There is a surf rock essence to the melodic guitar sculpting throughout which is an easy appetiser but it is merely one spice in the melodic rock enticement emerging tantalisingly. Overall the track is a flight through rugged yet radiant climes and textures, never so thick in sounds and structures to threaten or slow its fluidity and riveting adventure but using the simplicity that a mere three instruments can produce to transfix and almost belie the undoubted craft and intensively shaped enterprise.

    It is a masterful start soon equalled by the scorched sonic landscape of #4, a track which smoulders with heavy rock rapaciousness whilst conjuring a melodic luminance which sways and bewitches like a fire bred temptress. As with its predecessor the piece is unafraid to slow its muscular power to offer tender superbly crafted enticements or once comfortable licking and teasing the passions to rile things up and open the gates to another surge of sonically forging metallic endeavour.

     Both #7 and #5 continue the powerfully impressive entrance of release and band, the first an evocative melodically poetic piece of predacious rock which delivers a slight eighties goth rock breath to the guitar whilst the latter is a scuzz kissed fuzz rock persuasion to eagerly indulge in and imaginatively contemplate. As mentioned earlier there is at times a familiarity which coats elements and passages of tracks, this pair being no exception, but it only adds to the strength and colour of the tracks as they spark mind and passions with their delicious bait and rigorous creative charm.

      #8 takes the listener by the hand and leads them into a compelling soar through weather battered rocky terrain lit by melodic beauty and invention which again simply ignites the senses and imagination with sublime ease. Rhoda May perform musical alchemy at times across the EP and especially within this engrossing and mentally invigorating venture. Its triumph is almost shaded by the excellent closing track #9. From its mischievously nagging entrance of jagged riffs and alluring sixties bred guitar enchantment the track expands to build an emotionally textured soundscape, drums and bass crafting heavy dark infused skies beneath which emotive and provocative mastery urges thoughts to build their own adventure. It is a scintillating end to an outstanding debut.

     It is fair to say that Pain primarily grabs attention with his guitar skill and invention but do not assume that Page and Sanger are part players, the trio converging as Rhoda May to create something which needs and exploits every element to create an impressive stunning sound. With thoughts of bands such as Deftones, KingBathmat, Palms, and early Cure amongst others showing their prompts throughout but never to overwhelm something that is original and fascinating, Sessions gives evidence of Rhoda May’s PR claim that they could be “the next band to nationally break.”

www.rhodamay.com

 www.facebook.com/rhodamayband

9/10

RingMaster 06/01/2014

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Sam Thomas – Internal Ether

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From the release of his debut single I’m Gonna Be A Witch earlier this year, UK multi-instrumentalist Sam Thomas continues to impress and mark himself as one of the most potent and exciting new talents to emerge lately. Third single Internal Ether is the next instalment of his impressive arrival on the British rock scene, a track which makes a compelling declaration of craft and enterprise within an absorbing provocative sonic narrative.

Thomas composes with the influence of slow-building classical inspirations which draped his growing up alongside The Beatles and Beach Boys, in a union with the rock sounds he discovered later in life, the likes of Pink Floyd, Led Zeppelin and Guns ‘n’ Roses flavouring his unique invention and exploration. The result is a passion fuelled post-rock sound aligned to soft pastoral calms, a merger which instantly impressed on his first single and continues to on Internal Ether. The successor to Gift and taken from his impressive debut album Blind Theatre, the new single is an absorbing adventure which sparks the imagination and feed the emotions with ease.

Opening within a gentle and seductive guitar sculpted embrace, the track is soon casting its provocatively hued painting over thoughts. With potently enticing strings adding their emotive touch to the emerging canvas alongside a guitar which strokes and inspires the imagination into self-reflection and inventive interpretation, the song swells in stature as it progresses. There is also a brewing passion and intensity which fills every corner and aspect of the song, a force which is always held in check but allowed to express its full voice as the track works towards its closing sonic tempest. The vocal samples within the encounter do not quite work as well or as richly as the music but certainly have no ill effect upon the quality and strength of the piece.

The single is completed by a remix of Internal Ether from Opdot, the duo of Tim Laverack and Gavin Kirtley who are Just Music label mates of Thomas. Their version impressively manages to steer the track into another riveting direction without losing the sentiment and heart of the song. It is a pleasing and resourceful take which stands side by side with its source for equal effect and success.

Sam Thomas continues to prove he is an artist it would be foolish to take eyes and ears off of; to miss every step of his ascent a deprivation for the senses and imagination which would be very regrettable as he surely moves on to even greater things and plateaus ahead.

http://samthomasmusic.com

8/10

RingMaster 04/11/2013

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Abysse – En(D)Grave

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Three years in the making, En(D)Grave the debut album from French instrumental metallers Abysse openly reveals all the passion, fire, and determination which went into its creation. The seven track release is an extensive exploration of bold adventurous lands and emotions; ventures fraught with warriors and bravery, shadows and danger but all brought forth with a potent sinew driven narrative that leaves no emotive intensive stone unturned and inventive imagination untapped.

Formed in 2004, the quartet from Cholet, Maine-et-Loire of bassist Jérémy Cas, drummer Sebastien Pineau, and guitarists Vincent Barbaud and Geoffrey Veron, unveiled their first demo Eight Hours Before Dawn two years later. Followed by the De Profondeur en Immersion EP of 2007 the band was already igniting thoughts and passions towards their experimental progressive metal composing and its accomplished realisation but it was the Le Vide est Forme EP the following year which really put a match under acclaim for their inventive offerings, a fuse which has been replaced by an explosive trigger with En(d)Grave. The previous release was also the key to seeing Abysse touring France and further afield, the band sharing stages with the likes of Kruger, Rosetta, Hacride, Impure Wihelmina, and Klone whilst also lighting up stages at festivals such as Hellfest and Motocultor. The new album has all the strength and invention to send the band into further passions and lands as the band brings world metal a real taste of French ingenuity.

From a sonic brewing ambience Eagle Of Haast makes a gentle Eastern breath toned entrance to start off the album, strong punchy rhythms making a welcoming frame to the already inviting melodic allure. With muscles flexing and the initial sonic mist turning into an evocative storm the track leads the imagination on an adventurous and darkened flight through intimidating shadows with barbarous atmospheres and incendiary colour rich melodic flames. It is a track which offers thoughts of bravery and savagery simultaneously but as a union rather than a battle or of destructive intent. Certainly with the rhythmic craft and intensity there is no doubting the menace and rapaciousness of the narrative yet with superb imagination and sculpted evocation of the guitars it is a journey of rewards and passion rather than unbridled danger.

The following Ten Thousand Changes discovers a voracious passion and energy to its charge through the ear but again it is a landscape of emotive persuasion which ebbs and flows in the energy and force of its attack whilst burning up thoughts and vision with its poetically charged sonic painting. The song suggests intensive climactic occurrences in large crescendos whilst allowing breathers and recovery through mellow yet no less intense melodic coaxing. It is a stirring track which though not as instance for the emotions as the first emerges just as impressive and pleasing for the rampant appetite already inspired by the release.

Mastodon as you would expect from its title is not lacking muscles and weight or an intensity to smother and consume the ear and beyond. It is a ravenous treat, the bass as vociferously throaty and snarling as anywhere on the album whilst riffs drill and grind away at the senses as sonic flames light up the oppressive and addictively contagious body of the track. At times there is a Metallica groove teasing and peering through the heady atmosphere whilst other moments you are reminded of the song’s namesakes but from start to finish the confrontation is an immense and formidably commanding joy.

Through Forest Monument and Sharp & Chrome, Abysse continue to impress and ignite the passions, the first of the pair a classic metal seeded fire with spirals of melodic and sonic craft searing its walls. It takes its time in investigating and painting the surrounding textures and hidden corners of the landscape parading their beauty and perils with again rhythmic incitement and deliciously descriptive guitar ferocity in league with melodic cunning and craft. Its successor is just as strong a persuasive image instigator, the white hot flames of the guitar’s imagination and skill a prickly rapture breeding provocateur skirted by the ever imposing and lead taking rhythmic hunger and predation of bass and drums. A tempestuous piece the track is a furnace of passionate intensity, and just as magnetic, fierce, and beautiful.

The Blue Wave Recordings released album is completed by the air sucking Golden Life, a track which smoulders and seduces, scalds and combusts into irrepressible beauty and broiling expansive heights, and the corrosively candescent Light For Wheke. The closer alone provides an exhausting wholly rewarding traverse of climactic and illustrious climes and within the might that is En(D)Grave, provides the final glorious invigorating flight through a union of darkness and light, a union constantly on the edge. Abysse has provided without doubt one of the most scintillating and emotionally rewarding not just instrumental but metal album of the year.

http://abysse.bandcamp.com/album/en-d-grave

https://www.facebook.com/abyssegroupe

10/10

RingMaster 04/10/2013

 

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Aeris – Temple

Aeris pic

     Temple is an imaginist’s playground, an album which allows the listener’s instinctive mental adventure to cast its own potent narratives within unique expansive journeys. Sculpted and presented by French progressive metallers Aeris, the seven tracks/movements within three chapters is a magnetic and enthralling landscape, each piece of music a guide and suggestive lure through absorbing and melodically hued textures and sonic scenery.

The quartet from Nantes create a presence which has essences which remind of bands such as Pelican, Sunn 0))), and Red Wave whispering strongly at times in their sound but only as flavours to something distinct and vocal to Aeris. Consisting of guitarists Manuel Adnot (Sidony Box , Detruire Tous Les Humains, Thinking Noise, Swim, 1Band4A Crew) and Louis Godart, bassist Emerson Paris, and drummer Boris Louvet, the band creates and explores more in the less than a half hour in length release than a great many bands achieve in epically lengthy propositions. It is the precise and imaginative touch of each note which provides an incisive frame and canvas for the aural tale of sound and the listener’s own invention to unfold and colour the encounters.  Nothing is forced or laboured and at no point is a second or moment left without rich evocative colour and persuasion working their temptation, the result a masterfully crafted experience and a riveting fire of melodic expression.

Released via Ex-Tension Records, Temple opens with the first part of the opening venture Flame. Entitled Fire Theme, the track is an 968792_10151791686264840_1977370947_nimmediate forceful burn on the senses, a rhythmic inducement crisp and almost antagonistic within the sabre swipes of sonic passion and twisting melodic spires. It is almost Meshuggah like in its entrance soon expanding into a web of intense and acidic melodic guitar stalked by the excellent bass which develops a more carnivorous breath deeper into the piece, its menace a disturbing shadow and danger to the cauldron of heat and energy. The midway flight into calmer if no less intimidating skies offers some sense of safety, once more the guitars painting an enchanting yet caustic atmosphere which leaves thoughts entangled in a scorched world of hopeful yet seemingly destructive fantasy. Moving into its second movement Hidden Sun, the track immerses in a haze of sonic lava, melodic fumes shimmering off of the guitars with an acidic rub to their touch. More dangerous than its predecessor the travel through its corrosive terrain is daunting and toxic, the doom clad ambience and guitar descript within a sludgy rhythmic cage of lumbering intensity verging on suffocation, that is until Rising Light evolves from the perilous stance with feisty sinews and a raging melodic blaze which guides the listener to slightly safer if no less hungry climes.

The second section of the album Richard-Horizon-Robot starts with Richard and immediately the adventure is distinctly different and separate from the previous episode. Vibrantly lighter but equally as creative and exploratory, the track finds the guitars reaping jazz seeds for their slightly schizophrenic intent, riffs and bass casting a dark shadow around the incendiary and frenetic sonic maze of sound and ingenuity. All together they forge a union which plays visions like an eccentric dance through an intriguing neurotic tempest. The emerging Horizon tenderly kisses the ear, keys a seduction which calms the senses and lay imagination within a warm celestial embrace. Like a blossoming flower, the song slowly stretches its lures and elegance across its emotive beauty, gently holding the hand of thoughts as it moves into Robot. Initially like an epilogue to both previous parts, the piece is soon creating its own unique waltz, melodies and the increasing sinewy textures of the guitars carving out a starker imposing template for the band to stretch and investigate.

Final track and chapter is Captain Blood, another piece of creative excellence which stands with a character unique to what came before and able to forge a new in this case noir drenched adventure for the listener to immerse within. There is a sixties progressive bait to its opening stormy gambit, moving into another caress of calm and crystalline enchantment before exploding into a tempestuous but mesmeric fire of soaring invention and melodic chaos all honed into sonic majesty.

Temple is an outstanding album with only one issue preventing it being a classic and that is the production on the drums which to us sound flat and unflattering to the obvious talents of Louvet. Despite that with the at times extraordinary skill and invention of the guitarists and the dark transfixing presence of the bass, the album is a delicious exploit. Aeris create realms and premises it is a pleasure to explore and lose oneself within.

http://www.manueladnot.com/

https://www.facebook.com/AERISTEMPLE

8.5/10

RingMaster 24/09/2013

Copyright RingMaster: MyFreeCopyright

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Human Pyramids – Planet Shhh!

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Looking at the background to Human Pyramids and debut album Planet Shhh!, numerous tags from post rock to post punk, folk to electronic are placed before the project but quite simply the only description you could use is narrative rock. Every track on the instrumental album is a vibrant and potently descriptive tale of life, its beauty and colour declared in aural poetry which leaves thoughts and emotions elevated, body and passions exhausted. The twelve track feast of invention and torrential imagination is simply magnificent, a superbly crafted journey through vibrant sceneries and invigorating embraces of the world.

Human Pyramids is the invention of from multi-instrumentalist Paul Russell, a musician and composer raised in an old mining village in Scotland and now based in London. Featuring a group of handpicked musicians from across the UK to help Russell realise his scintillating adventures, Planet Shhh! took three years to create, time that with its release via Oxide Tones will be surely reaping rewards and ardour for years to come. Easily one of the most startling and thrilling debuts this year, and maybe decade, the album is a uniquely sounding and varied dance through thoughts, emotions, and experiences, a waltz/tango of intrigue and fire bred warmth that captivates every essence of the psyche and body from its first entrancing second right through to its very last departing and waving note.

Tall Tales starts off the passionate romp, the track a fanfare for the album and emotions. Awakening the senses with almost celestial heat spots of melodic temptation and harmonious caresses aided by rhythmic teasing, the track instantly draws out a strong appetite which turns to hunger as the track expands its arms into a stroll through melodic trails across rhythmic mountains, taking in the sights with reflective mellower moments.

It is a hypnotic start soon matched by the equally enthralling The Bubble. A guitar welcome makes a pleasing beckoning though it is also deceitful, hiding the impending rhythmic hypnotism lying in wait to enslave further the previously energised satisfaction. With a clockwork polka gently leaping over the senses egged on by measured handclaps and prodding string taunts, the track wraps a virulent lure around the ear before leading it into a swarm of kissing melodies and feisty energy. It is basically the most enjoyable and welcome trap possible, its metronomic siren call the gateway to a glorious blaze of musical radiance.

A gentle canter through the varied hues of life and energies frequents next up Cafe Hawelka, the piece a tantalising look on the passing vitality of life within a hive of exuberant activity, whilst Alphabet City explores the shadows and bright lights of an urban hive, every corner and breath within the landscape explored and brought to thought through a magnetic capture of rhythmic and electronic passion alongside brass and acoustic elegance.

As the zealous evolving festivities of Relapse courts the fermenting rapture inside the emotions with poise and dazzling enterprise and Skimming Stones unleashes a sunrise of melodic stimulation and big hearted rhythms encased in guitar cast seduction, Human Pyramids could just go home after and rest on their laurels such the impact and glory of the album to this point they would draw nothing less than full acclaim. But no chance of that as Singing Sands shows as it leads in the second half of the release to match the already unveiled riveting bewitchment. The track is littered with a crystalline tempting from the glockenspiel encased in a perpetually increasing energy of summer persistence, its heat and demanding textures a cascade of delicious rhythms and an ebbing and following melodic tide. It is a breath-taking piece of beauty which soothes and rampages within evocative thoughts and enlivened emotions.

Both the emotive tender soporific Duvet Day and the similarly, even with its bulging sinews and expansive inventive jaws, somnolent Tinfoil Stars treat the ear to a luxurious relaxation before the brass driven topography of Port Charlotte brings forth a slumberous picturesque portrait to explore. These smouldering joys are subsequently left in the shade by A Town Called Malaise, a powerful rock based journey which opens with a dramatically commanding tempest of guitar and drums kicking up a storm of intensity roamed by the shadow drenched bass. From behind the pungent encounter entwining streams of melodic whispers and sonic flames bring the hope and underlying beauty of the premise before contesting the air with the returning heavy oppressive voice of the scenario. It is an explosive and fascinating, not forgetting stunning, blend of imagination and striking songwriting that alone encapsulates all the impressive elements and strengths of the band.

     Bus Stop Polka completes the release, the track a busy and vibrant place with drums and guitars leaving no room for breath as the rush for the ride dominates the intent. Once aboard the trip is a dazzling venture of melodic lights and cracking rhythmic enticement which again leaves the listener engulfed in a riot of lung sucking incitation.

    Planet Shhh! is simply an aural temptress, a classically shaped and passionately honed fire of brilliance. That is all you need to know about it and Human Pyramids to embrace their glory.

https://www.facebook.com/humanpyramidsband

http://www.humanpyramids.co.uk/

10/10

RingMaster 16/08/2013

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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