Nemost – As The Ocean Burns

Nemost

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

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

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

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

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

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

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

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

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

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

http://www.nemost.com

RingMaster 18/09/2014

Copyright RingMaster: MyFreeCopyright

 

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Flourishing on other’s scorn: an interview with Greg Burgess of Allegaeon

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   The past two years between previous album Formshifter and its successor Elements of the Infinite has not been an easy time to say the least for US melodic death metallers Allegaeon. The departure of band founder and guitarist Ryan Glisan alone offered a threat to the future of the band and seeds to doubters of their ability to continue to be a potently impacting force within metal. Overcoming those obstacles and determined to prove certain people wrong, Allegaeon has not only shown itself to be as powerful and impressive as before but unleashed one of the albums of the year and their finest incitement yet. Keen to find out more about the time leading up to the new album, the difficulties it faced, and the heart of Allegaeon itself, guitarist Greg Burgess kindly spared a chunk of his time to reveal all…

Hello Greg and thanks for taking time out to talk with us.

It is a few days after the release of your outstanding new album Elements Of The Infinite, a definite album of the year contender in our book. How are the emotions and expectations as it starts seducing the world with its sounds?

Thanks so much man for having me, it’s mixed for me. I’ve been so busy making sure things go right and with all the jobs I have, I haven’t been able to fully enjoy it. That being said I kinda feel a little vindicated from some of the hate mail I received saying we were shit without Ryan.

Does Elements Of The Infinite feel more of a triumph because of that then, because it comes after the departure of as you mentioned band founder guitarist Ryan Glisan and drummer Jordon Belfast as well as other obstacles which came the way of the band in the past couple of years?

Well Jordon hasn’t been with us for like what 4 years now? He hasn’t been in the equation for us as a band for a long time, but the Ryan thing absolutely. Like I said in the previous question there were a lot of people that thought we were gonna crash and burn without him. I’ve always written half of the albums up to this record, why people thought I was incapable of writing more than that pissed me off. I found their lack of faith disturbing, so yeah I feel I triumphed a little bit. This has nothing to do with Ryan by the way, I wanna make that clear, we only wish the best for that dude, and I really hope he’s successful in his pursuits. But sometimes having a point to prove can really lead to good things. Look at Mustaine’s career, a whole career based off of getting even with Metallica; I think he was very successful.

Enlighten the readers of other problems around that time. It was a serious threat to the future of Allegaeon?allegaeon_photo06

Well I mean after our tour with Job For A Cowboy, we came home and basically lost a guitar player, the van’s transmission was shot, and we had no drummer. It was a lot to overcome. I guess it’s all in attitudes. We looked at it as an opportunity to excel instead of walls. I think that is what propelled us further. When we were offered the Wretched tour, Metal Blade basically said to us, “Hey look if you wanna do this, figure it out and do it. If you don’t well then we’re not sure you have a future with us.” It wasn’t harsh; it was just a reality check. We launched an indiegogo campaign, and the fans basically saved our asses. After that I got some fill in’s and we did the tour, and it basically was a new beginning for us.

Tell us about new members Michael Stancel and Brandon Park, how did the link-up with the guys come about?

Both of the guys started off as just tour fill in’s, they did such an amazing job and we had such a good time with them that it became clear very fast that they were our guys. They were fans to begin with and their attitudes were hungry. It felt great having new blood in the band, and honestly we needed a full line-up since we’d been in pieces for the past 3 plus years. I knew Mike from his other band Artemesis. The other guitar player in that band was my student so I knew the guy could play. Brandon just was persistent on Facebook, and really wanted the gig. We’d played with his former band Suffer The Wrath so I knew the dude was good, it was just a chemistry issue.

Taking the evidence of your first two albums alone, Fragments of Form and Function and Formshifter, for a non-musician and knowing the technical level and imagination you guys are at it would be a prospect to intimidate many guitarists and drummers joining the band. Did you find a full or sparsely filled queue applying or were Michael and Brandon your prime suspects anyway?

Well to be honest we were looking elsewhere to fill the spots. Our buddy Peter Joseph who was in the Absence was slated to take Ryan’s spot. I had been talking to him for a while and the talks were really really good. Mike did the tour and was just killing it every night; every band on the tour was like you should just take Mike. My biggest concern was respecting Peter, so we didn’t give Mike the job outright, but when we went through Tampa Peter basically said “dude you should just take Mike he’s rad”. It kinda just was right. As for Brandon, it’s a little more complicated. We actually got JP who played on Formshifter to join the band for like a couple of weeks, but he couldn’t do this tour we had lined up. I just couldn’t take the risk of it being a recurring problem. It sucked cause JP is incredible, and one of our best friends. After JP I asked our last touring guy Shawn McGuffin to step in, he wasn’t interested. So I got into that desperation mode. Our buddy Jeremy Portz who’d performed on all the Vale Of Pnath albums we kept going after, but it just wasn’t coming together. So we were just drummer less once again. I needed a drummer for the tour, and I remembered Brandon. I’d had reservations about Brandon due to association through other people. The first time I ever saw Brandon play this dude came up drunk off his ass, and started bashing our guy, saying we should get Brandon to do it. I was immediately pissed ‘cause our guy was great, and this dude was just disrespecting him to our faces. So that was kinda strike one against Brandon. Next we were playing another tour in St. Louis and another “friend” of Brandon’s came up trying to get us to do coke with him. It was automatically guilt by association. Both these dues claimed to be friends of B Park, one was an ass the other was a coke head. No Thanks!! I don’t want that shit screwing up what we got going on. Then Brandon said something on Facebook about how stupid drugs were or something so, I reached out. It’s so funny now, ‘cause these dudes almost blew this opportunity for Brandon, and getting to know B Park, he’s completely the opposite of everything I thought about him. Crazy! We can laugh about it now, but I was really concerned at first. After the first show with Park, I knew he was our guy. We did a few more shows on that tour then our van broke down. B Park works on a farm so he’s really good with machines. The dude fixed it and got us up and running again…so here we are sitting freezing our asses off in our busted van, and I’m like this dude is so hired.

Allegaeon-ElementsOfTheInfiniteDid you approach Elements Of The Infinite any differently to your previous albums, especially with Ryan no longer part of the process?

Very much so…My work load was double! Not only did I have to write all the material but we had to take over his responsibilities. He usually communicated with the artwork guy and he worked with Metal Blade on the fine details. I had the most free time so I just took it up. Also getting Joe Ferris on board to collaborate with all the orchestra stuff, yeah it was the hardest I’ve ever worked on an album.

How long did the album take to make?

To record, about a month and a half.

There has obviously been plenty of pressure to the making of Elements Of The Infinite so was it as enjoyable as other releases to bring to life?

It’s early days yet, but so far I’d say the opportunities we’ve already gotten from this record have made it the most enjoyable record we’ve done. I am definitely proud of it. I certainly feel all the hard work is paying off for once.

You recorded the album as the others with producer Dave Otero, he seems to add an essence and presence which your sound requires and flourishes even further with?

Well Formshifter wasn’t recorded with Dave it was done with Daniel Castleman. We really liked working with Castleman however after the split with Ryan, and the Pyrithion EP, and everything going on there, and the Lambesis fiasco on top of it, we really wanted to separate ourselves from it. Plus my friendship with Dave had grown a lot over the years, so it felt really good coming back. We really sought out his producer role, since I thought my objectivity was compromised from writing so much material. I needed a fresh perspective, and we really respect Dave to not pull punches. I’d ask him straight up, I have no idea if this part is good or it sucks, what do you think? I even wrote multiple solos for parts going, hey man which do you like better? He was very helpful to us.

How would you on the inside say your sound has changed just between Elements Of The Infinite and Formshifter?

Well Formshifter was interesting ‘cause we went in cold, and there was a lot of trust developed between everyone. We didn’t have a drummer so we kinda didn’t know how the album was going to sound. This one, I was meticulous. We had the track listing, all the preproduction done before we even stepped into the studio. We knew everything about this album before it was even recorded. That helped keep the vision. We even had all of Joe’s stuff ready to go before we got in. It made the process go really smooth.

Has it been an organic evolution or something you have been working towards or had in mind for a while?allegaeon_photo04

I think it’s been organic. The decisions on this album weren’t spur of the moment, they were all thought out, and methodical.

Talking to you and reading other interviews members have made, it feels like the band was as much as anything just trying to produce a strong and potent album to keep the band on track. Has the fact that for us and a great many it sees the band at a whole new plateau and creative ingenuity surprised you, either the reactions of the fact that it is that good?

I think so. I mean I was just hoping that this record wouldn’t lose ground…that we could make a point that we were still relevant. The fact that not only we seemed to achieve that, but also the vast majority of the reviews think we’ve surpassed our previous efforts is very rewarding. The band is more a family now than anything we’ve had before. We look out for one another. Everyone is happy within our organization, and that’s the way we aim to keep it. It makes for a great working environment.

There are strong evocative orchestral elements across the new album; who composed and brought those to provocative life?

Being a studied classical musician, this is something I’ve wanted to do for years. We’ve just never had the technology until now to pull it off. The composition of the orchestral and choir elements was a direct split between Joe Ferris and I. Working with him couldn’t have been more exciting, and he’s definitely part of our writing team now. I’d write these choir and string parts and he’d flesh them out or just revamp them in some cases. In others he would just run with an idea he had, and made it truly awesome.

Give us some insight to the themes and premise behind the album and songs.

OK from the beginning. Threshold Of Perception is a look at death. It’s a look at it from a sociological and chemical standpoint. Tyrants Of The Terrestrial Exodus is about the evacuation of earth and some of the corruption that will inherently be present in the choosing of who gets to go. Dyson Sphere is about building super structures around a star, The Phylogenesis Stretch is about Goldilocks Zones…the distance where life as we know it can exist around a star. 1.618 is about the golden ratio. Gravimetric Time Dilation is about gravity and mass, and how it effects time. Our Cosmic Casket is about black holes. Biomech II is about 3D printing organs. Ages of Ice is about an Ice Age that comes as a result of a meteor hitting earth. And lastly Genocide for Praise is about the 10 plagues of Egypt as it is described in the Bible.

allegaeon_photo03You guys have a passion for science or just lyrically it suits your musical ideation?

It’s really just what we’re interested in. We love it, we love learning about it. It truly is a pleasure to write lyrics about this stuff you learn a lot.

Is there a particular moment or aspect to Elements Of The Infinite which gives you the greatest pleasure or satisfaction considering it’s kind of harder than expected journey into being?

Just that we achieved what we set out to do and it’s broadened our goals to expand onto the global stage.

Now the album is uncaged and out there, what comes next for Allegaeon?

Lots of touring…we wanna crush these couple of US tours we have lined up and then head overseas.

Thanks again for chatting with us, any final thoughts you would like to share?

Thank you to everyone who’s supported us, and to all the new fans, we couldn’t do this without you!

 

Read the review of Elements Of The Infinite @ http://ringmasterreviewintroduces.wordpress.com/2014/06/25/allegaeon-elements-of-the-infinite/

http://www.facebook.com/allegaeon

Pete RingMaster

The RingMaster Review 13/08/2014

Copyright RingMaster: MyFreeCopyright

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Twilightfall – The Energy Of Soul

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

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

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

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

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

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

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

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

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

8/10

RingMaster 12/08/2014

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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

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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

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

http://www.audioburger.com

 

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

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

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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

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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