Allegaeon – Elements of the Infinite

pic byMatthewZinke

pic byMatthewZinke

You always hope and sort of expect bands to get better and more adventurous with each release, expectations becoming greedier and more demanding for the next offering after each success. Often wants are met and as often disappointed but few seem to make the size of a leap forward with each album as US melodic death metallers Allegaeon has. What is most impressive about the band is not so much the fact that they continue to evolve and push their sound to new plateaus with each release but the size of the steps between what have been quite stunning releases anyway. Releasing third album Elements of the Infinite, the Colorado quintet has again taken the seeds of a thoroughly impressive and highly acclaimed predecessor to another dramatically compelling and boundary stretching level. It is a glorious storm of technical voracity and virulent invention within an extreme metal tenacity which just ignites the imagination whilst feeding an appetite and hunger until now undiscovered. Last album Formshifter was a major incitement declaring Allegaeon as a prime protagonist but hindsight and Elements of the Infinite shows it was just the another step in a brewing game changer which has begun to redesign the landscape and future of melodic death metal.

The gap between the two albums has also seen the departure of band founder guitarist Ryan Glisan, who brought the project to life in Allegaeon - Elements of the Infinite2008, and drummer Jordon Belfast. Whether coincidence or giving a previously unavailable opportunity to the band to explore new depths and adventures within its still distinct to Allegaeon sound, the departures seem to have opened up a startling new soundscape for the band to colour. The skilled presence of newcomers Brandon Park and Michael Stancel on drums and guitar respectively, alongside guitarist Greg Burgess, vocalist Ezra Haynes, and bassist Corey Archuleta has found a new depth to the ideation of the band. 2010 debut album Fragments of Form and Function put Allegaeon on the map and Formshifter brought a potent colour to the emerging scenery but the Dave Otero recorded Elements of the Infinite has not only reinforced the weight of the band’s presence but redefined the borders around its inventive terrain.

What immediately strikes as opener Threshold Of Perception engulfs ears and thoughts is not only the fluid and even stronger technical craft and impacting maturity to the songwriting and sound but the new ferociousness of aggression also challenging and seducing the senses. The track opens with a startling evocative web of expressive guitar within a dramatic and portentous yet welcoming atmosphere. It is a simultaneously intimidating and seducing coaxing which grows with epic breath as orchestrated hues and adventure soak the imagination, godly vocal harmonies and string manipulation a mesmeric charm and lure as the walls and heart of the track establish their demanding presence. The fearsome guttural growls of Haynes impress from the first spiteful syllable whilst Park cages the listener in a cauldron of rhythms and beats which without breaking sweat, break the back of emotional security. It is a tremendous entrance which expands into a masterful narrative of delicious sonic and melodic enterprise within an uncompromising intensity driven by Park and Archuleta. The song is a portent of things to come, swiftly confirmed by its successor.

   Tyrants Of Terrestrial Exodus entangles senses in a predacious stride of punishing rhythms and sonic enticement, crushing and seducing ears and emotions with equal vivacity. The track is hypnotic, bewitching the imagination from every angle. From the aggressive pungency of the drums and bass malice aligned to pleasingly diverse vocal causticity to the sonically bred melodic ingenuity which either sings loudly or with subtle kisses soaks every note, the encounter is a twisting tempting. It is a glorious wind in the new ‘dawning’ of Allegaeon within Elements of the Infinite, one complemented by the just as captivating Dyson Sphere. There is a core swing and groove to the song which infects emotions instantly and to which Burgess and Stancel layer imposing magnetic textures and mesmeric imagination. Spatial in its climate and tenacious in its invention, not forgetting hostile in its primal expulsions, the track ignites another wave of greed in the hunger and satisfaction already bred by the album.

Next The Phylogenesis Stretch takes thoughts into another fascinating realm of technical alchemy and sonic ingenuity within an exhausting and thrilling musical and lyrical narrative. As with all the tracks, the song has layers and corners which cannot be fully explored or often discovered on initial visits, ensuring that from an instantly stunning and mouthwatering premise, there is a constantly rewarding and impressive investigation perpetually unveiled with each taking of its body. This only makes a brilliant album on first embracing a growing leviathan of quality and scintillating inventive alchemy with ever emerging pinnacles like 1.618 which comes next. The track lovingly flirts and viciously riles the imagination from start to finish, a sonic and rhythmic provocateur which allows the listener to make assumptions before whipping away the floor for another inspiring fall into the rich enthralling depths of the encounter.

There is a darker rapacious feel to the album aligned with the aggression and inventive exploration, openly shown by that song and the next up Gravimetric Time Dilation, a carnivorous beauty and elegant vitriol soaking the careering rabidity and sonic endeavour enslaving ears. It beguiles and savages with irresistible resourcefulness and malicious enmity cored by a guitar enticement which binds it all together whilst reassuring the senses that the rancor is for their own good.

The pair of Our Cosmic Casket and Biomech II set new fires within the passions, the first a slowly unveiling intrusion of mystique washed melodics and insatiable predation courted by celestial temptation and virulent loathing whilst the second is sheer vindictive brilliance. An uncompromising, merciless stomp of addictive hostility and psyche twisting grooves with a melodic toxicity which again reassures in the face of the corrosive tempest, the track is a riveting sonically plumaged predator.

Through Ages Of Ice – Otzi’s Curse and Genocide For Praise – Vals For The Vintruvian Man, the album comes to a powerfully absorbing conclusion, each in their distinct ways singular journeys through bracing and frightening lands. The first is an energetic mouthwatering stomp of melodic enchantment and sonic tenaciousness within noxious malevolence and rhythmic testing whilst the final song near on thirteen minutes of just enthralling exploration. Peaceful searches and vigorously aggressive examinations are offered in varying creative degrees and colours across the gripping premise of the breath-taking flight. It is a mighty end to a sensational album, one showing you can take nothing for granted with Allegaeon and that expectations are redundant when it comes to their skills and imagination, though Elements of the Infinite does show that you can expect a proposition which will leave senses and emotions truly alive.

Elements of the Infinite is available via Metal Blade Records now!

http://www.facebook.com/allegaeon

10/10

RingMaster 25/06/2014

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Kaunis Kuolematon – Kylmä Kaunis Maailma

Kaunis_Kuolematon

Wringing every dramatic provocative texture and imposing emotion out of their dark creative depths, melodic death metallers Kaunis Kuolematon have unleashed a thoroughly compelling and intimidating debut album in the tempestuous shape of Kylmä Kaunis Maailma. It is a startling release, one bred in menacing atmospheres and thick emotive climates. It consumes and captivates without mercy though it is not always the easiest of journeys for senses and thoughts to explore, landscapes harsh and drenched in intensive causticity which permeates and scores everything from ears to psyche. It is a persistent danger which once undertaken rewards with continually strengthening potency.

The Hamina hailing Finnish band began in 2012 with vocalist/guitarist Mikko Heikkilä (Black Sun Aeon, Routasielu, Sinamore) forming the band to take his songs to the world. The first year saw the release of a self-titled EP to strong responses but it was the single En Ole Mitään last year which raised a definite appetite and anticipation for the band’s first full-length, a hunger which it impressively feeds. Recorded with Saku Moilanen (Red Moon Architect) and mixed and mastered by Saku Moilanen and by Juho Räihä (Before The Dawn, Gloria Morti) respectively, Kylmä Kaunis Maailma takes the listener into the darkest intrusive levels of life, almost welcoming death as a destined friend. It is frightening, intimidating, and impossibly seductive, a narrative to bravely embrace for the surest of pleasures.

Opening track Pimeyden Valtakunta emerges from a portentous sonic mist, its ominous breath a dark hum which is soon veined by a KK- Front_800riveting melodic design of guitar and a vocal sample seemingly seeded in negative events. By its entrance rhythms are rigorously casting heavy imprints, soon to be towering incitements, on the scenery as rapacious vocal roars spill across the air. It is a dramatically evocative experience, imagination running with the descriptive hues and vocal scowling, interpreting sounds and the Finnish language used for their own haunting and imposing visions. It is an immensely dramatic start to the album, a malevolent rapture which finds greater seduction with the clean vocals and melodic graces which colour the formidable soundscape surrounding them.

     Itsestään Kuollut follows with an electro coaxing at first though it is soon suffocated by the ravenous strides of antagonistic rhythms, savage riffery, and bestial vocals squalls. Predacious grooves only accentuate the weight and glorious toxicity of the track as it twists and tightly seduces the psyche, senses abused and caressed with pulsating keys which still hold that electro suasion, and a rampant urgency to the ravaging. It is a masterful slavery of the passions that increases its virulence with even more intensive repetitious grooving and a web of serpentine and varied vocals, the fade-out the only minor annoyance.

Both Kivisydän and Kuolematon seize their own unique grips on attention and thoughts. The first brings a swamp of emotive shadows over pestilential intensity, though it also washes the senses in a beauteous caress of keys and solemn melodies, whilst the second bursts from within a radio search with bulging rhythmic muscles and sinewed bred riffs, both caging the appetite as expressive keys and drifting angelic harmonies add their glancing touches before carnivorous intent brings its voracity to bear over body and imagination. As with the album, both tracks need plenty of time to truly reveal their full persuasions but start with a thoroughly compelling and lingering base, the second of the two an intriguing presence especially with its outstanding sirenesque female vocal calls.

The earlier mentioned first single from the album, En Ole Mitään steps in next, clean vocals wrapping the senses soothingly before coarse tones enter the scene. The music is equally restrained at first before inviting its malicious side to join the affair, the guitars of Heikkilä and Ville Mussalo entrancing and enticing before becoming sonic predators led by the intensive rhythmic examination provided by bassist Jarno Uski and drummer Miika Hostikka. The track expands across its beautiful but rugged terrain with enthralling skill and invention though arguably is less predacious and certainly more merciful than other tracks, such as the next up Sieluni Sirpaleet, though it too is unafraid to allow a delicious weave of keys and the ever impressive and welcome clean vocals within the band to radiate potently from within the stark and aggressive causticity climbing all over the senses.

The album continues to ignite thoughts and emotions as the likes of the spellbinding Pahan Kasvot, a track which manages to seduce an ardour and tear layers from the senses with its raw voraciousness within the less than four bestial minutes of its body, and the enchanting Aamu seize ears and imagination. The second of the two with melancholic strings and emotionally reflective vocals mesmerises across its extensive flight, the stormy passages and vocal tempests only enhancing its elegance stance and emotive beauty. The song is irresistible, setting the listener up for the final exhausting adventure of Haudasta Hautaan, an encounter as abrasing as it is sonically bracing and as rabidly emotive as it is blisteringly seductive.

Kylmä Kaunis Maailma is a striking debut from Kaunis Kuolematon and though it is a touch frustrating in not being able to fully understand each track’s theme because of language restrictions, that small aspect cannot hide the feelings raging within each encounter or stop the album from impressing intensely.

Kylmä Kaunis Maailma is available through Violent Journey Records now!

http://www.kauniskuolematon.com

http://www.facebook.com/KaunisKuolematon

8.5/10

RingMaster 25/04/2014

Copyright RingMaster: MyFreeCopyright

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Stranger than brutality, bloodier than fiction: an interview with Morgue Orgy

Morgue Orgy Dispose-of-the-evidence

If you have not come across UK metallers Morgue Orgy yet, then you have missed out on one scintillating violation of your psyche and person. But it is never too late to catch up on the brutal beatings especially as the Birmingham sextet has just released their debut album The Last Man On Earth, to savage the senses and all for free. Creating a malevolent pestilence of inventive and melodically blackened death metal, the band is one of the rising forces in British metal, a mischievous scourge to tempt the deepest passions. Offered the chance to delve deeper into the mayhem and creative bloodshed, we greedily gathered up questions to feed Carter, Tris, and Ben from the band, subsequently learning about the beginnings of Morgue Orgy, the new album, live exploits, a passion for a certain American punk rock band and much more…

Welcome Gentlemen and many thanks for taking time away from the mayhem and brutality to talk with us.

Tell us about the history of you guys pre- Morgue Orgy through to the early days of the band.

Carter – Gray, Prok, Ben and I were in a thrash/punk horror band before Morgue Orgy. Gray and Prok asked me to join the band in 2000 and Ben joined in 2005. We got a large following in Birmingham, but we only played a handful of shows outside our hometown. The band was a lot of fun, but when our drummer quit in 2007 we decided to start something new. Gray wrote a couple of songs (that would end up as The Black of Hearts and The Arkham Waltz from The River & I EP) and suggested we name the new band Morgue Orgy. Gray used to sing and play bass in the previous band, but he wanted to concentrate solely on vocals with Morgue Orgy, so he asked Tris to join on bass. It took us a year to find a new drummer and when we auditioned Tom we knew immediately he was the man for the job.

What was the spark or intent in the band at the beginning and has that original ‘purpose’ of the band remained the same or evolved over the past five years?

Carter – The main intention for us is to have fun, and I think we’re enjoying being in the band more than ever! When we started Morgue Orgy, we wanted to write heavier music than we’d done before, and just focus on metal, instead of the endless genres (including ska, drum & bass and funk rock) we’d bounce between with our old band. Our sound has definitely evolved as we didn’t really know what we were doing when we wrote The River & I, we were experimenting and learning.

What are the inspirations you have taken into the band musically and lyrically?

Carter – We all listen to a wide spectrum of genres, none of us are metalheads, as such. We are inspired by a lot of different artists, for example Gray takes a lot of influence from rap artists, as he tends to write quickly-bellowed lines with a shit-load of syllables to fit in. Of course we take a lot of inspiration from bands such as At The Gates, Anaal Nathrakh and Dissection, but we also influenced by the likes of Queen, Rancid and Bartok.

Am I right in thinking some of or the band as a whole has a bit of a passion for Bad Religion?

Carter – HAHA yeah they’re fucking awesome! We give free merch to anyone that comes to our gig in a Bad Religion shirt.

Musically you are tagged as melodic death metal but as the new album shows there is much more in your maelstrom of invention Morgue Orgy 1and sound. How would you describe it to newcomers to give the closest representation?

Tris – I don’t think we can tag ourselves specifically as melodic death metal, we end up with all sorts of sub-genres in there but maybe because of ignorance of these ridiculously specific sub-genres on my part I have no idea how to even class it. People seem to think we genre hop a lot and don’t seem to be able to comprehend what they’re listening to sometimes but we’re not exactly Mr Bungle! There’s shouting, d-beats, blast beats, minor bar chords, shredding, keyboard melodies, the odd proggy(ish) bit and if you listen closely enough – I got my bass to sound satisfyingly like the bass tone on the recent Sick of it all re-recordings album! The album is free on our website anyway – download it and make up a genre for it!

Your first pair of EPs The River & I and Murders Most Foul made a potent statement musically for the band and were seemingly greedily received; with your debut album freshly unleashed this month how do look back at them in comparison to The Last Man On Earth?

Carter – We think the River and I is a bit shit now, to be honest. Maybe it’s because they are our oldest songs and we’re bored of them. As I’ve mentioned, the first couple of years for the band was a learning period and there’s a massive difference in quality between The River and I and The Last Man On Earth. I still enjoy Murders Most Foul and I especially love playing 70 Dead and Scared To Death Of My Own Face, I think they’re great songs. Our new album though is much better in my opinion. Each member has improved vastly over the last couple of years and our progress is evident when you listen through our discography.

So how has your sound and presence changed then in the period between your first release and the new album in your eyes/ears?

Tris - We’re still kind of the same band but we’ve improved so much at playing our instruments that we’ve basically ended up a lot faster and heavier. A constant evolution in music taste also plays an effect without you even necessarily realising. We’re all getting back into punk now which I know I haven’t really listened to in a good few years. Just wait for the next album we’re going to end up sounding like the Descendents.

The Last Man On Earth as we mentioned has just been released, an album we said was ‘a toxic torrent of maliciousness fuelled by a rabid expanse of intensively magnetic flavours and styles from within a brutally predatory imagination’. You must be proud of its invention and impact as well as what seems to be a full on soak of acclaim from fans and media alike?

Carter – We are immensely proud of this record. We worked long and hard to create this beast but we never imagined it would be so well received. It has filled us with confidence and justified our direction.

Please give us some insight into the evolution of the album from its first seeds to the final impressive scourge?

Carter – We definitely took our time with putting the album together; the first song that was written for the album was 4 Days, which Tris wrote shortly after recording Murders Most Foul. We used Guitar Pro to demo the riff ideas and would upload them to SoundCloud for the rest of the band to listen and give feedback. Once a song had a rough structure, we’d take that track into the practice room and go from there. We recorded with Ow Davies of Loud Noises Production, who recorded our previous EPs too. We love working with Ow because he gets the most out of us in the studio and he enjoys a good laugh too! He’s got better and better over time and you can hear that on this record, the production quality is outstanding and that is all down to Ow.

1535704_454685597971479_1209997831_nDid the album emerge from the studio exactly how you envisaged going into its recording?

Ben – YES! We had nailed each song from start to finish in the recording studio and as a rhythm section knew exactly how the songs were to sound. The synth/keys were put down later on and tied it together in the way that Carter wanted them to, and it works!

So you are a band which has songs as good as finished before their recording or still prefer to let them develop in the studio?

Carter – The bulk of the songs were fully written before going into the studio, but some vocal deliveries from Gray were altered at times, and he’d improvise recording random noises to add atmosphere/comedy. The sound effects were all put down in the studio once the instruments were tracked. Our guest sax-player, Colin Mills, came in and improvised on Barnum & 399 and the title track, which was fucking awesome. Dunc from Fukpig co-wrote the lyrics for Castle Freak, but we hadn’t heard his vocals for the song until he recorded them.

The Last Man On Earth can be described as psychotic, schizophrenic, and masterfully vicious; three traits you were aiming for or simply the natural emergence of the band’s characters? ;)

Ben – We were all really really angry. Not really! We don’t actually know why our music comes out so brutal. We are all stupid idiots who go out dancing to 90s pop and listen to Bad Religion so why we are even a metal band is beyond any of us. It seems to work though!

You released the album initially as a free download before Christmas, what was the thinking behind the decision and giving what is sure to be a top contender for best of year lists in twelve months so generously away?

Ben – When an audience of people don’t even want to part with £2 for your 5 track EP’s you know you are in a fickle scene. So when that happened several times it was time to think outside the box.

 Carter – Free music is so easily accessible now it seems naive to fight against it. If you can’t beat them, join them. Our main focus during this release is to gain awareness of the band, and charging for the album would have been a limitation.

We also mentioned in our review a mischievous or maybe that should be rascality to the band and the album in our review, this is a major part of your intentions as a band to have fun and grin in the sonic bloodshed?

Tris – Absolutely! Basically we’re a bunch of idiot mates who decided to form a ridiculous metal band with a bit of inspiration from the horror films that we (well actually just Gray) watch. Somehow I think we’ve managed to put that across in our music. People seem to think us pricking about is a gimmick but it’s just what we’re like. We recently released a dildo because we thought it would be funny – If anyone gets irritated and thinks we’re not metal enough for doing so…that is also funny. If you come and see us play a gig we definitely don’t take ourselves too seriously. You’re more likely to see me do squats at 220BPM with a smile plastered on my face than headbang, act like a serious rock star and pretend I’m not enjoying myself.

Tell us about your live shows then and why people need to join the orgy.Morgue Orgy We-play-in-a-band

Carter – Our live shows are all about letting loose and having a good time. We act like idiots on stage and encourage the crowd to do the same. If everyone is smiling by the end of the show, we’re happy.

What has been your stage highlights so far as a band and personally?

Carter – It would have to be playing Bloodstock Festival in 2010, we worked really hard to win the ‘Metal To The Masses’ competition in order to play the festival and the turnout for our set was amazing. I really enjoy playing hometown shows, in front of friends and fans that have watched us for years. We’ve played a couple of really fun gigs in Rugby, Leeds, and Torquay, but I don’t think there are many stand-out shows for me… as long as the audience are enjoying themselves and the sound guy isn’t a prick, I have a great time!

Your bio describes the band as ‘the UK metal scene’s last hope for melodic death metal.’ Do you feel that it is as that suggests on its last legs or maybe it just has not really erupted from a relatively sleepy state?

Ben – We do tend to be one of few bands in this scene who actually think of melody as being important. Perhaps the trend to revolve a song around a beat down has killed off peoples’ brains. We come from the Pantera/Bad Religion/Take That end of the musical scale, where melody is as important as crush!

2014 looks like being a busy and major year for the band, what is next for Morgue Orgy?

Ben – We hope to push our album out to labels and to find a good booking agent to push us further than we could possibly do ourselves.

Once again big thanks for putting aside the bodies for us, any thoughts you would like to leave the listeners contemplating?

Carter – A female bed bug doesn’t have a sexual orifice, so the male has to traumatically inseminate the female by piercing her abdomen with his penis. So if you ever feel depressed remember it could be worse, you could be a female bed bug being fucked in the belly.

Ben – Bad Religion

Morgue Orgy Little-shit-dogAnd finally give us your top five ways in the disposal of bodies.

Now we’re guessing in this scenario you’re assuming we’ve done the killing? Because if you just happen to stumble across a dead body you should probably alert the authorities who can launch a full investigation into what has transpired. Also, we are not actually morticians and couldn’t give you advice on disposal if you are looking to start your own morgue. Again you should alert the professionals who will be able to give you proper advice. But if you’re asking for actual murder tips I suppose we can take a guess but don’t take this as an excuse to start doing it…

Carter – 1. Grind them up and mix them in with the kebab meat 2. Use their bones to make a go-kart and their skin to make a nice coat, throw the rest in the bin 3. Leave them outside a hospital with a note saying ‘for science’. They’ll be grateful for it, honestly 4. Drill them into the sea 5. Package them and label it with any address, Royal Mail will just lose it in the post!

 Ben – 1. Feed them to the ducks 2. Kill them twice 3. Horses 4. Find a keen worm 5. Sit on them until they hatch

 Tris – 1. Drill it over the fence 2. Drill it into the sea 3. Leave it out with the dirty dishes in the kitchen and eventually someone will get annoyed enough to clean it up for you 4. Seal it within a mattress and leave it on the drive for your local council to fail to collect 5. Get Prok to discuss his guitar solos with it and it should get up and leave of its own accord.

Get Morgue Orgy’s debut album The Last Man On Earth @ www.morgueorgy.com and read the review @ http://ringmasterreviewintroduces.wordpress.com/2014/01/13/morgue-orgy-the-last-man-on-earth/

Pete Ringmaster

The RingMaster Review 11/02/2014

Copyright RingMaster: MyFreeCopyright

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We All Die (Laughing) – Thoughtscanning

 

760137614821_TOX030_We-All-Die-(laughing)_Photo

     A long epic track going well into double figures time wise is never the most immediate persuasion here to be honest so it is fair to say that the debut album from We All Die (Laughing) with its single thirty three minute track was not the most instant appetiser and top of the list to cover. The fact that Thoughtscanning was released by Kaotoxin Records, a label which had a glorious year in releasing impressive inventive propositions in 2013, did encourage a dive into the proposition offered, plus the fact that the band consists of multi-talented musician and composer Déhà (C.O.A.G., Maladi) and vocalist Arno Strobl of Carnival In Coal and site favourites 6:33. It will prove to be one of the wisest decisions made this year at The RR and by anyone who immerse within what is an extraordinary experience and towering creative tempest. The album is a masterful enticement and admittedly challenging encounter but one all should bravely embrace.

    Creating a continually expanding landscape of emotionally drenched progressive dark metal, but with so much more to its 760137614821_TOX030_We-All-Die-(laughing)_Artwork_1400x1400-300imaginative adventure, Thoughtscanning is a piece of work which leaves the richest satisfaction and experience in its wake. We All Die (Laughing) first emerged as guest musicians on Eye Of Solitude’s EP The Deceit, their offering now reissued as a bonus track on the band’s recently released excellent album Canto III. Now the French-Bulgarian link-up fully unveils itself as a creative force to be reckoned with and incited by with their debut.

      A long guitar casts the first coaxing, its melodramatic voice and resonance a lone figure in a barren atmosphere but as potently evocative and imagination sparking as you could wish for. It has an essence of early-The Cure to its call which is enhanced with a wash of minimalistic melodic enticement and great earthy throaty tones from the bass. It is a deliciously magnetic entrance which is so powerful that when flames of skilfully sculpted guitar light the air a tinge of disappointment washes over emotions just for a second or two.

     From here on in the song slowly but clearly expands with its every second, the ever appealing vocals of Strobl adding another provocative aspect to the already compelling persuasion. Stretching further into its dark shadow drenched heart, the clean melodically built vocals merge with sanity bruising squalls whilst an intensity coats and increases the urgency of the sounds even when they find new avenues to slowly and elegantly investigate within the at times bordering on psychotic expulsion of emotional toxicity. It is impossible to clearly represent all that is going on and unleashed within Thoughtscanning but sure to say musically the track evolves through webs and mixtures of progressive and black metal, avant-garde and melodic death metal, doom and jazz metal with more besides, every minute a new recipe and provocation impossible to tear away from.

    As suggested earlier vocally the track also is a vibrantly shifting temptation, smooth melodic tones moving into guttural torrents with ease and in other moments creating a dark shadow through intensive deliveries which simply shape the syllables into an impacting and thought provoking narrative. Not for the first time in his career Strobl brings moments which are pure Mike Patton like to the persistently evocative adventure and in union with Déhà creates a maelstrom of seduction and venom which is as thrilling and compelling as the music surrounding their bait.

     The down side to the album?…well it is so long that it will definitely not suit all but it would be amiss not to say that there is never a moment where it is predictable and does not have senses and attention on alert for more breath-taking insurgences by the album into emotions and to be honest the track simply flies by, never feeling as long as it obviously is. Thoughtscanning is a thoroughly enthralling and impressive release which is a must investigation for all fans of anyone from Faith No More to Opeth, Periphery to Dark Tranquility, Tool to of course 6:33, in fact every metal fan as We All Die (Laughing) has something for all within their opus. With a limited-edition first pressing also containing a cover of Amy Winehouse track Back to Black, this is a must.

www.facebook.com/wealldielaughing

9.5/10

RingMaster 14/01/2014

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Morgue Orgy – The Last Man On Earth

    We play in a bandThe Last Man On Earth is one of those malevolent pestilences which rather than run and hide from its toxic virulence you just have to dive head first into the exhaustingly inventive depths of melodic blackened death metal. The debut album from UK metallers Morgue Orgy, it is a toxic torrent of maliciousness fuelled by a rabid expanse of intensively magnetic flavours and styles from within a brutally predatory imagination. It is mischievously psychotic, rampantly schizophrenic, and masterfully vicious and one of the most tempting rages of extreme sonic violations to come from the British Isles in quite a long while.

     Exploding from the darkness in 2008, the sextet from Birmingham has emerged as a tour-de-force at combining a diversity of sound and ingenuity into a melodic death metal proposition as shown by the album which bewitches and savages with equal intensity. Drawing comparisons to the likes of Carcass, The Black Dahlia Murder, Abigail Williams, and Cradle Of Filth whilst sculpting their own unique acclaimed presence, the band has earned a fine and imposing reputation on stage. That encounter has taken Morgue Orgy to a slot at Bloodstock Open Air in 2010 as well as stages appearances alongside the likes of Anaal Nathrakh, Evile, The Rotted and many more. Debut EP, The River & I only enhanced their emergence as did its successor the Murders Most Foul EP which featured guest vocals from Dave Hunt of Anaal Nathrakh. A release just as ripe with riveting and grand neoclassical keyboard seduction and crippling technically sculpted grinds as it is with blackened venom and melodic death corrosion, The Last Man On Earth is the declaration of a band at its imaginative height and fullest merciless malevolence, and you still feel that there is so much more to come from the band ahead.

     Across the album not a moment is wasted, ideas and twists spearing every minute if not second of every song with an adventure TheLastManOnEarthCoveryou can suggest is barely alive in melodic death metal elsewhere. As soon as the opener They Came From Outer Space hits the ear senses and imagination are swiped into action by band and sound. Lively classically bred keys embrace the ears at first whilst a warning buzzer makes a call of impending menace. It is an instant coaxing which suggests numerous possible paths ahead which the album may take without revealing which initially. The gothic breath of the entrance is the predominate lure but one which offers an Adams Family meets Cradle Of Filth like tease before the track  reveals itself fully. That is does with thunder rich rhythms and rampaging riffs stalked by a female spoken narrative. Again it is mere hinting until the song settles into a delicious stomp of tantalising sonic revelry and urgent intensity which in turn soon evolves into a melodramatic gothic waltz. Barely two minutes in and a canvas of multiple textures and hues have been laid to intrigue and disorientate. This is the way of the song, and album from start to finish, and one reason why both are thoroughly riveting. Halfway in and the vocals of Gray, backed by those of keyboardist Carter, savage air and emotions with an expected but again varied and eventful poisonous attack. It is a mighty introduction to the album soon backed up and at times surpassed ahead.

     Both 4 Days and Phantasms of March rampage vehemently across the sense’s landscape, the first a fury of guitar enterprise from Prok and Pence which sears and soars with artistic rabidity and primal savagery whilst the keys pulsate and swoop around the aggressive tempest with melodic rapture and temptation. Like the first and album as a whole, the track is a voracious flow of imagination and hostility which you cannot take all in on one or two listens but rewards intensively for all the extensive time spent in its caustic wrap. The second of the two is a slower bestial incitement at first but cannot not hold back the rapacious energy boiling up within and soon unleashes a rabid assault with guitars creating grooves which finger the passions and a rhythmic barracking from the lethally crisp beats of drummer Tom and the predatory throaty tones of Uncle Holloway’s bass which is instinctively addictive.

     The Last of the Summer’s Wine steps forward next soon diminishing thoughts of old men in childlike escapades with a horde of ferocious riffs and rhythmic bitch slaps which are subsequently aligned with melodic suggestiveness from the keys alongside crazed grooves and a guitar solo which only ignites greater submission for the impressive storm. To be honest it is impossible to describe every dramatic turn and rich bait provided by each song as with this one such the constant imagination and ingenuity of the release but we can reassure that it is something at times bewildering and always scintillating.

     The likes of Barnum & 399 and Castle Freak continue the strong encounter with the same flocking of ideas and intensive rhythmic barbarism, if without quite matching those early pinnacles, whilst splitting their storms is the excellent ruinous swagger of the pestilential 70 Dead pt 2: The Scarecrow of Medan. The track caustically engages and impresses whilst the piano and keys designed instrumental Waiting for the End is a glorious grandiose neoclassical aural painting to take a breath over and allow imagination and thoughts to reflect before the album’s finest moment viciously thrusts its jaws around the jugular.

    The Last Man On Earth (Diary of George) simultaneously is cultured and barbaric, vocals and rhythms merciless predators upon the senses whilst the guitars and keys cast a mesmeric if vitriolic haze over the damage. With a brilliant discord kissed sax wailing over and taunting the carcass of your sanity, the song is a blackened fury with a melodic harpy on its shoulder but one constantly twisting and evolving as it moves towards an expulsion of a riled almost hardcore brawl of vocal scowls and shouts over a punk spurred ferociousness. It is a stunning track and almost leaves the remaining songs an impossible task to follow but IT LURKS BENEATH!!! and Paradise irrepressibly and cantankerously in the case of the first make light work of the challenge.

   Closing on the enjoyable and impressively presented but less commanding In the Smoke of the Green Ghost, though that is again down to the quality elsewhere, The Last Man On Earth is an exceptional album.  There is little to raise up against it, though you suspect some will find it just too intensive and unrelenting in its inventive maelstrom. Released as a free digital free on Christmas Day and getting its official retail release on 13th January, Morgue Orgy may just have delivered the best melodic death metal release of the coming year. It is a tall order to follow for sure for them and the genre.

http://www.morgueorgy.co.uk/

10/10

RingMaster 13/01/2014

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Rainwill – Zer0ed By Pr0gress

Rainwill

Bringing an absorbing and accomplished tapestry of melodic death metal to bear on the imagination, Zer0ed By Pr0gress the new album from Russian band Rainwill provides a wealth of satisfaction which matches an eager creative adventure. Though not ground-breaking as such the eleven track release is ripe with an invention and exploration which sets it apart from similarly sculpted releases. Evocative and unafraid to push ideas, the band and album make for a deeply appetising triumph to treat the ears and more.

Rainwill began in the October of 2000, formed by vocalist Sergey “Sclep” Grebenkov, guitarist Alexander Krylov, and Alexey Gunenko to explore their desire to create melodic-death metal. The first few years saw the band build a sturdy presence through their live performances and appearances at festivals, the band sharing stages with the likes of Rossomahaar, Kruger, Necropsy, Little Dead Bertha, Skyfall, and Non Immemor Mei. 2003 saw their debut demo Will Of Rain appear to be followed five years later by a three track promo. Debut album Canvas escaped Rainwill’s imagination in 2009 to eager responses as was a tour across the Ukraine with Ambivalence. From 2011 the band worked on creating Zer0ed By Pr0gress over the next couple of years, and with a line-up of guitarist Kirill “Dr. Horror” Mashkov, bassist Dmitry Ponomarenko, and drummer Dmitry “Kain” Grinenkov alongside Grebenkov and Krylov, the Fono Ltd released album is poised to wake up a wider enthusiastic attention for the band.

The Voronezh based quintet immediately stretch and ignite the senses with the album’s title track, guitars expelling spirals of 1420514_729467937081305_618408450_nsonic heat and acidic persuasion whilst rhythms rampage with the hunger of the devil through the ear, their touch punchy and commanding. Intimidating vocal growls frequent the battlements of the song built by menacing riffery and rhythmic predation but aligned to this tempest  is a melodic endeavour which coaxes out greater adventure as it reveals its persuasive hand through impressive harmonies and keys to continually tempt with the twisting sonic sculpting by the guitars. It is a very strong starter, not strikingly setting new borders for the genre but a full captivation which is immediately surpassed by its successor.

Pleasure from Amusement instantly launches its carnivorous jaw lined with senses tearing riffs and a rhythmic breath of rapacious intent. Bestial with a great djent seeded stutter to its riffery, the track soon expands its melodic arms with excellent clean vocals persistently switching with impressive heavy growling; musically melodies and enticing grooves similarly sharing temptation with the track’s predatory instinct. A scintillating testing seduction of the senses making the first pinnacle of the release it is soon matched by the alluring Value of Life, the song taking the mixture of its predecessor to richer appealing heights, and the electro induced Slipstream. The second of the two has an industrial essence to its presence, a feel of Fear Factory pervading the savage intensity and creative dark rabidity which marks the band’s sound and invention.  It sculpts another peak on the album and confirms the strong appetite already in place for the album.

From the delicious evocative melodic instrumental Starving the album seems to stretch its creative legs even further, the likes of Hatred Rises with a vibrant progressive appetite fused into another raptorial heart and the powerful One Word with its soaring vocals and destructive intent, firing up greater bouts of pleasure and enterprise. As mentioned there is plenty which is familiar or certainly has been trodden by the genre over the years but it is fair to say that Rainwill takes it into a new and exhaustingly enthralling domain.

Every track on the album uncages a voracious provocation and a craving for creative adventure, Self-Deception Progress a prime example of the addictive proposition with its scorching melodic embrace within a ravenous bordering brutal storm. Completed by the spellbinding key spawned, melody soaked emotive caress of Model2 and the final intensive examination of the psyche Last Man Who Saw The Day, the album is a magnificent release which earns greater reactions and acclaim over each traverse of its magnetic glory.

Rainwill must surely become a more recognisable name and presence in the wake of Zeroed by Progress, the album an unreserved recommendation for genre fans and especially fans of bands like Soilwork, At the Gates, and Sonic Syndicate.

https://www.facebook.com/pages/Rainwill/258431803801

8.5/10

RingMaster 20/12/2013

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Chronolyth – Sovereign

Chronolyth Photo_Zoom

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

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

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

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

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

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

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

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

https://www.facebook.com/chronolythband

8.5/10

RingMaster 05/12/2013

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Bitter Reflection (Music Video)

Sapiency – Tomorrow

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Having already been released on CD this past march, Tomorrow the latest album from German metallers Sapiency gets a deserved digital release and distribution through Eclipse Records this month, and thankful we should all be as it is a rather flavoursome and contagious little gem which may have escaped attention otherwise. Not exactly stretching boundaries but having that little indefinable something which sets it apart from the crowd, the eleven track storm of accomplished and passion soaked invention leaves hunger for more and fat satisfaction mutually potent responses to its voracious enterprise and energy.

Hailing from Frankfurt and formed in 2008, Sapiency was soon drawing attention locally and further afield. Their acclaimed debut album Fate’s End in 2010 was just the start of a growing stature and reputation, their own tours as well as support slots to the likes of Sonic Syndicate, W.A.S.P., Dead By April, Tito & Tarantula, Deathstars, Vader, Engel, Onkel Tom (Angelripper), Power Quest, Pathfinder, and many more earning the band greater recognition as has successful performances at festivals such as 70.000 Tons Of Metal 2012 and Metalfest Open Air 2012. It is hard not to develop an eager appetite for the sextet’s sound as shown by second album Tomorrow, and with a wider network for it to spring from you suspect that Sapiency is on a rapid ascendency.

The band is tagged as melodic death metal yet that is only a fraction of the picture, or sound with the band employing a wealth of sapiency_tomorrow_cover_72dpi_rgb_900pixinspirations across the metal spectrum so that within the new album they can bring essences of In Flames or Lamb Of God to bear and at other times Bloodsimple or Livarkahil. It makes for a strikingly resourceful and thrilling encounter which from the opener Prayer For The Pain captures the imagination. From its first breath the track careers through the ear with riffs and grooves carving out their insistent presence whilst the bone splintering rhythms of drummer Kai Voss-Fels cage the tempest raging within their framework. It is a mouth-watering confrontation which never relinquishes its grip on the awoken passions right through to its final strike. The outstanding dual vocal attack of the cleaner grouchy delivery of Lars Bittner and the bestial scowls of Krsto Balic is a forceful magnetism across the whole album and strapped to the carnivorous craft of guitarists René Ritzmann and Holger Wenck, as well as the predacious bass prowl of Sebastian Fix, makes for an exhausting, riveting introduction.

Hungry Again keeps the rapacious intent and rabidity at full throttle whilst interspersing it with a seductive coaxing from the keys and a classic metal orientated temptation from the melodic casting of the guitars. The merger of bordering vindictive riffs and virulent groove metal lures to the expansive melodic adventure is impressively crafted and wholly infectious, leaving ears and emotions basking in demanding and rewarding metal at its best. Arguably there is little strikingly new on show but equally Sapiency present it in a unique and compelling way that it is as fresh and invigorating as you could wish and sets the band apart from most.

Through the likes of Free Within with its electronic tantalising seemingly fuelling an even greater aggressive fervour from band and sound as Avenged Sevenfold like sonic sculpting spears the air, and the enslaving mix of melodic enticing and strenuously robust intensity of the title track, Tomorrow continues to seize the imagination and feisty passions whilst tracks such as the crushing Weight Of The World and the slower smouldering Fight On explore deeper appealing avenues and creative corners within the songwriting and its invention.

To be honest there is not a weak moment upon the album, each track a formidable and impacting persuasion and though occasionally a surface similarity rears its attractive head it is a fleeting wrap soon punctuated and lost with keener focus. Further peaks on Tomorrow are provided by firstly the industrialised irresistible might of Turn The Tide, guitars and vocals once again weaving a rapaciously stalking narrative which is pure addiction, and by the towering presence of Torn Apart. The track is another ferocious antagonist but one just as content to let a melodic acidity and harmonic temper vein its furore.

Completed by the absorbing Dying Illusions, a final raging skilled and esurient assault, Tomorrow is a richly satisfying and exciting confrontation which does not carve out new ventures to contemplate but employs existing invention in its own unique and wholly exhilarating way. Sapiency is a band we are destined to hear much more of ahead and undoubtedly enjoy at even greater heights as the promise also burning brightly across the album suggests.

www.facebook.com/sapiency

8/10

RingMaster 26/11/2013

Copyright RingMaster: MyFreeCopyright

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Deals Death – Point Zero Solution

Deals Death 2LR

Immediately attention gripping and venomously intrusive, Point Zero Solution the new album from Swedish melodic death metallers Deals Death shows it is also an insidiously creative beast when it comes to persuasion. Whilst gnawing upon and chewing up the senses, the album works deceptively away beneath the tumultuous surface tempting and seducing thoughts and emotions into a full and lingering submission. It is a riveting confrontation from a band set to explode to even greater recognition within extreme metal.

Formed in a music college by guitarist Erik Jacobson with a couple of fellow students, the band moved through line-up changes before releasing their self-financed debut Internal Demons which was met with strongly positive reviews and responses. The band moved to Gothenburg as new members joined the band before recording second album, Elite in 2010. Linking up with Spinefarm Records the album was released in March 2012 again to great reactions, the video of the track Fortified released the previous year sparking eager anticipation for the album’s release. Live the band has also earned a big reputation with shows alongside the likes of Scar Symmetry, Hypocrisy, and Dark Tranquility, tours across Sweden, Finland, Japan and the UK, as well as numerous festival appearances such as at House Of Metal, Rockstad Falun, and Sweden Rock only increasing their presence and stock.

Point Zero Solution takes the band to another level, its potent and dramatic textures an intriguing and captivating distraction for the Deals_Death-Point_Zero_Solutioncarnivorous intensity which drives forward the striking invention and malevolence. Themed by the destructive nature and progression which brings down the systems of nature and society, the album opens with its title track. Opening with a brooding and brewing soundscape rife with intimidation and drama, the song makes an impactful entrance, an apocalyptic introduction which only accelerates into a more formidable and menacing presence as rhythms and riffs start to rip down the remains of the once safe landscape. Caged and thrust forth by the excellent predacious rhythmic enticement of drummer Janne Jaloma and bassist Fredrik Ljung, the track explores its darkest streets and open thoughts of the listener, imagination sparked by the dark venomous temptation merged with smouldering and glowing guitar enterprise from Jacobson and Sebastian Myrén. Vocalist Olle Ekman is a grizzled toned lyrical conductor to it all, his malicious growls and squalls the perfect vehicle for spite and lost hope to drive.

The excellent start is followed by the impressive Facing The Echoes, a sultry dance of keys beckoning in the muscular intent and heart of the track whilst ensuring yet again appetite for the song is keenly awake. Creatively expressive within the tall walls of intensity and wrapped in melodramatic breath, the track like most on the album twists and turns within its imagination and invention, creating an unpredictable and captivating venture. The keys on the album are outstanding throughout and at times exceptional as here where it provides a contagious flame alongside the equally potent guitar narrative rich in sonic colour.

Escalation has a rapacious hunger to its attack and charge, riffs fired in a thrash kiln whilst the atmospheric sky of the song is symphonic/power metal in its suggestive descript. It is a seamless and fluid blend which has senses and limbs intensively involved whilst thoughts and emotions have an equally tempting canvas to explore their corners and limits too. Continuing the excellent start the track steps aside for two more pinnacles in firstly Flatline and the even greater Passion For Infinity. The first song is an epically honed expanse of rousing melodic craft whilst its successor again with a delicious key lead in takes the mind through a scenery of impending peril and chilling elegance, the keyboard invention stunningly effective and poignant building a union of destruction and radiance.

The likes of the caustically elegant classic metal teasing The Separation and especially the scintillating predation Paramount Authority grip tightly to the plateaus set and passion ignited whilst Dark Dream Dawn with its climactic intensity and fervency within an irresistible and brilliantly crafted blaze of melodic ingenuity climbs another to another level of excellence.

Every track on Point Zero Solution provides an enthralling and generally breath-taking furnace of blood soaked, sweat dripping quality and toil, the closing Author Of Arts providing a last ravenous fury to devour greedily. Pushing boundaries whilst still openly within existing limits, Deals Death has created an invigorating annihilatory triumph which declares the band as a real force of the future.

www.facebook.com/dealsdeath

9/10

RingMaster 12/09/2013

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Cathexis – Shades of Apocalypse

cathexis promo

Hailing from Austin, Texas, death metallers Cathexis with their rapaciously scintillating debut album Shades of Apocalypse seem to be settling themselves for an all-out assault on the world of metal. From friends who spent numerous years listening to and absorbing a wide expanse of metal, they have developed and honed their creative natures and skills into one of the more exciting and riveting death metal introductions to come our way this year.

Now consisting of vocalist Ian Bishop, guitarists Chris Hillam and Sam Kang, and bassist Mason Weber, the band officially was launched last year and went straight to work on their debut album, the mighty Shades of Apocalypse. Self-produced and driven by technical craft and consumptive weight and intimidation, the album is a startling heralding of a band you can only assume you will hear a lot more of as they only get better, the small pockets of strong acclaim and eager responses it has already garnered showing we are not alone in that thought. The full September release of the album will only be fuel to that waiting fire one suspects if not right now certainly ahead.

The release opens with a dawning of epically suggestive rhythms and a threateningly brewing ambience, its touch and suasion the 16367_474457545936193_1122350030_nportent of something greater and soon realised when Inheritor of the Weak erupts to its full height. With riffs and rhythms dangerously provoking the ear and sonic grooves lashing themselves to the onslaught, the vocals of Bishop though as expected in many ways, reign with guttural and uncompromising supremacy whilst equally utilising a temptation which gives clarity to their venomous words and abrasive delivery. The song itself is a torrent of firm rugged beats and scarring riffs with flare for invention, and though it does not ignite any major fires as such, it is an impressive and intensive lead into the album.

From the ‘scene setter’ everything raises up a level or two with the introduction of Oscillation of Destruction. Bitch slapping the ear from the start with drums and vocals, there is also an immediate twist of tempting toxic grooves and open adventure that winds itself around the imagination, leading it through an ever shifting corridor of intensity and carnivorous antagonism lined with melodic flames and sonic paintings.  Bruising and seductive the track manhandles the passions straight into the title track which too goes for the jugular from the start, though with a more premeditated pace as it locks its muscular jaws tightly around the senses with crippling rhythms and lethally caustic riffs. Its early presence is pure predatory ferociousness drafted into a narrow vicious lure and has little problem in securing submission from ear and emotions. This is elevated by the quarrelsome bassline which is given its lead to entice the passions further before the song once again launches explosively at the listener.

Imagining that things could not get any better Prostration soon shoves that thought aside as it drags the heart to greater ardour with a web of grooves within a cage of rhythms which are lorded over by the ever impressive attack of Bishop. Almost teasing and taunting the senses with expertly sculpted sonic technicality and rhythmic enslaving before ravishing its victim with a torrent of insatiable and unrelenting riffs, the song impresses further with each twist, its merger of riveting guitar enterprise and rhythm cast invention sealing the deal with rapture the price.

Both Dethroned by the Pernicious and Immobilized by Consumption unleash their individual and exhausting intensive and ingenious wars upon the ear, the first carving its name in flesh with rigorous animosity and deceitful charm meshed into another carnally bred cyclonic fury whilst its successor rakes over the wounds with just as a violent and imaginative intent coated in barbarous invention. The textures and depths conjured and explored by the band is breath-taking but it is all done within the infernal unrelenting savagery which leaves, as with this song and album, the senses basking in blood soaked bliss.

You will not be surprised to read that the closer Celestial Pathogen continues the exceptional provocation, the track a final clawing and ravaging of the senses and passions, though strangely like the first track one which seems less prone to adventure than others. It still provides a blistering finale to a mouthwatering encounter from a band that is destined to greatness.  Cathexis and Shades of Apocalypse, two names you need to register and investigate as soon as physically possible.

https://www.facebook.com/CathexisDM

10/10

RingMaster 04/09/2013

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