A Vision Grotesque – Ethereal Benefactor

After a rather impressive album in the storming expanse of aggression invention that was Metaphysical Hypnosis, North Carolina extreme metallers A Vision Grotesque have returned even stronger with the stunning EP Ethereal Benefactor. Everything about the release is a step on from their strong debut, from the songwriting to its accomplished and inventive realisation the record screams startling progression. It is a senses thrilling imaginatively exhausting beast of an exhilaration, melodic extreme metal at its finest and most riveting offering a brutality and ferocity to sear paint from walls and flesh from bone which was equally a strength of the previous album, but the band has honed it with greater craft, maturity, and melodic enterprise into a sizzling fire a confrontation.

Formed in 2004, initially as Art of Dying until having to change to A Vision Grotesque after legal action brought by a Canadian band of the same name, the band has left immense and acclaimed marks on the local metal scene with their first demo and the following Homicide Utopia. Wider recognition came with subsequent releases King of the Massacre and Waking Up To Hell, both released in 2007, and Metaphysical Hypnosis of 2011. The last album as well as the second of the two released four years earlier was produced by Jamie King (Between the Buried and Me,, Scale the Summit,  Human Abstract) who returns for the new EP. Their live performances over the years have equally garnered rich acclaim as the band continually earned a strong reputation for their immense sound but Ethereal Benefactor leaves all before longing in its wake. It maybe only four songs but the release opens up a new and one suspects what will be a strikingly successful new chapter in their rise, such the impressiveness of the release.

The EP also features the first appearance of new guitarist Ron Dalton who joined in 2012, and alongside fellow guitarist Jeremy Bennett, bassist Daniel Quinn, drummer Steve Beaver, and vocalist Joseph Dobbins, has found a new intensity and ingenuity to the songs of the band which is loudly noticeable. As the opening scintillating title track shows alone, the growth in band and members from the last album is startling and that was a great release in its own right. As the first song and whole release douses the senses in merciless intensity and creative enthrallment thoughts still bring the likes of In Flames, Between the Buried and Me, Black Dahlia Murder, and At The Gates to the fore but now A Vision Grotesque stand apart with more distinctiveness and uniqueness of their own. The opener takes mere seconds to gnaw on the senses with tights caustic riffs and thumping enslaving rhythms whilst the vocals of Dobbins growl and scowl with a malevolence brewed from the heart to tonally and vindictively ride the equally vendetta fuelled sounds. The sonic mastery from the guitars sears and thrills whilst the clean vocals and harmonies making their declaration just lift the outstanding song further. Unpredictable and continually evolving within its thrusting intensity, the song is a hypnotic joy, its melodic flames a co-conspirator with the surrounding primal furnace raging in the successful seizure of the passions.

For Those with Eyes to See erupts with insidious efficiency and as with its predecessor explores and ignites the senses with strikingly accomplished sounds and invention. The guttural and serpentine mix of vocals is an exhausting scourge whilst the rhythmic bombardment is as vigorously contagious as it is destructively unrelenting. Once more the guitars bewitch and intimidate with carnal riffs and acidic sonic imagination to captivate fully, whilst the cleaner light and blackened shadowed depths of the song blend in a fluid and scintillating union. As with all songs there is much more going on than is noticed or taken in across one or two intrusive rides but every following encounter simply unveils and exposes new nuances and at times different facets to the character and hearts of the songs. The following We Bleed for Tyrants is no different, its nasty ambience of an opening releasing the cage for a savage consumption of the listener with those barbaric rhythms and carnivorous riffs grinning in blissful violence as they ravage the ear and beyond. The reins of melodic fascination and skilful sonic alchemy prevent total devastation with an almost sadistic smile of their own, and unite with the maliciousness elsewhere for another sensational maelstrom of brutal beauty.

Completed by Discontinuation, the song one more excellent extreme subjugation of the passions, Ethereal Benefactor is outstanding. The final track does not quite live up to the others but still is a thrilling call to the new level that A Vision Grotesque has reached up to and made their own. The EP is surely the final turn of the lock to the widest recognition for the band so bring on the next album is all we can say as anticipation is in overdrive now.

http://www.avisiongrotesque.com

https://www.facebook.com/pages/A-Vision-Grotesque/6242394678

9/10

RingMaster 21/04/2013

Copyright RingMaster: MyFreeCopyright

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Carved: Dies Irae

   

     Having made a strong impact with their 2010 EP, Italian death metallers Carved have returned with their debut album Dies Irae to confirm all the promising and eager thoughts earned previously for their carnivorous and dramatic sound. The nine track release is a gripping and imaginative slice of melodic brutality which arguably does not venture into any new pastures for the genre but nevertheless seizes and rewards the senses with impressive and provocative aggressive invention.

Formed in 2007, the sextet from La Spezia as mentioned brought plenty of acclaim and positive responses their way from numerous international extreme metal zines with their first EP, a release which also brought the band to the attention of black/thrashers Necrodeath who took them on their 25th Anniversary European tour. Shows with many notable bands including Schizo, Vexed, Bejelit, Mastercastle, Death Mechanism, Destrage, and Doomraiser followed before the band began recording their first album. Completed at the beginning of this year, the Bakerteam Records released Dies Irae is a formidable and impacting release which is sure to ignite the interest and passions of extreme metal even further.

The opening Dies Irae (Praeludium) is a delicious instrumental, a dawning world and emotional expanse with a brewing grandeur and imposing atmosphere. At its final caress the following Echo Of My Cinderella (The Final Symphony) surges through the ear with a composed force and melodic enchantment especially elevated by the washing keys of Mattia Nuti and female vocal soothing. Immediately and consistently the song captivates with its scorching warmth and impending intensity soon translated into an uncompromising onslaught ignited by the gnawing guitar snarls of Alessio Rossano and Damiano Terzoni. The predatory growl and sharp twang of the bass from Lorenzo Nicoli is the final spark to the tempest driven by the vicious overbearing growl of vocalist Cristian Guzzon. His delivery ravages the senses with unbridled contempt but is tempered by the excellent melodic invention and unassuming touches which persistently break out on the excellent full starter.

The previous track shows there is plenty going on beyond just melodic death metal and as the likes of Enter The Silence and Scripta Manent (Bullshit) continue the outstanding encounter, the often unexpected and unpredictable invention is open and thrilling. The first of the pair is veined by what is to be an impressive feature of the album, the raptorial rhythms of drummer Giulio Assente as well as a tight ear gripping groove. Bringing some additional and inspiring clean vocals into its intense heart and incendiary guitar sonics and solo, the track captures the imagination with irresistible power especially when an electro whisper spreads to a louder voice. The second of the pair is a savage yet majesty brawl upon the senses, its presence antagonistic yet endearing with a fluid engagement between both extremes. One of the bigger highlights on the album the track is an exceptional conspirator to the passions.

Both At The Gates Of Ice and Black Lily Of Chaos offer scintillating pinnacles to the album as well, the first featuring outstanding vocals is a thunderous and glorious proposition. Such the strength of the extra vocals and their effect on an already impressive song there is the hope that the band explores this union more ahead in their creative intentions. The second track steals top honours upon the album, its unforgiving energy and malevolent predatory urgency irresistible whilst the grievous delivery of Guzzon and the breath of the song leave fires burning inside. The track does offer a full respite from its brutal furnace midway, a step in calmer melodic persuasion unpredicted but pleasingly crafted for a folk/progressive lilt. The eventual return after a smooth transition of merging extremes, to the intensity and venomous delivery though is even more welcomed and completes a tremendous and inciting slab of imagination.

     Dies Irae is a great debut and to be fair though it does not exactly break down boundaries the more of its company you immerse within the more elements and small things begin to revise that initial view. Carved on the evidence of their album is set to have a strong voice within extreme metal if not now certainly in the near future.

http://www.staycarved.com/

http://www.facebook.com/StayCarved

8/10

RingMaster 26/03/2013

Copyright RingMaster: MyFreeCopyright

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Brutal melodies: an interview with Efthimis Karadimas from Nightfall

     

It is hard to fully measure the impact Greek dark metal weavers Nightfall have had on melodic death metal and its related extreme metal neighbours not only in their homeland but across the genre itself, but with each album they have explored and stretched its limits with imagination and aggressive hunger. Their latest album Cassiopeia is no exception, the Metal Blade Records released triumph an equally mesmeric and intimidation beast of inspiring imagination and dark melodic grandeur. To find out more about not only the album but the band, Greek metal, and its history we had the pleasure of talking with vocalist and band founder Efthimis Karadimas.

Hi Efthimis and many thanks for taking time to speak with us.

Thanks for your time mate!

For over twenty years Nightfall has been not only one of the major underground metal musical voices but also a leader of Greek metal. As your great new album Cassiopeia spreads its senses wakening qualities around the world do you feel extra responsibility over the impressive depth of Greek metal which only now the world seems to be awakening to?

We act responsibly since day one and this is one of the main reasons why Nightfall is still around doing well. Being true to yourself is a big deal in all aspects of life; Nightfall has always acted in prudent ways to deliver pieces of art sincerely and free of expectations other than that of artistic expression.  Making people around the world paying attention to the Greek scene is a compliment. I am honored and proud at the same time Pete.

How do you keep the fire inside burning so intensely after two decades of offering hard work, acclaimed releases, and impressive creative imagination to the world, how have you kept complacency and obstacles all bands find at bay?

It is the spirit of the Underground that’s marking our ways. We have never treated art as a means to make a living or commercial success or to simply have some fun. Through music we try to cure our broken souls; we literally drag the demons lurking within us all the way out to the light where we burn them out. That effort people seem to appreciate in a high degree. I see no other reason really.

How would you say Nightfall has changed or evolved the most over the years?

That’s kinda difficult question to respond to as I am part of this band since the very begging and can’t really see things from outside. Actually I feel like we do the very same thing described previously; killing demons to relief our souls. Techniques and skills surely change but the essence remains the same.

Like most bands line-up changes are a part of things, has the ones you have experienced also gone towards the freshness you have held onto with your nine albums in some way, the new ideas being brought in by new members over the years sparking new ideas organically?

Playing with new musicians each time is so refreshing it makes me wonder how some bands keep the same line up for years without getting bored or drown into a loop of repetition, which ultimately kills any seed of art and creativity. Each time a new guy comes in we all get excited and longing for the amalgam of new and old tastes that soon will be produced as a result of that addition. Nothing remains stable for long; nothing remains unquestionable. That motion is energy. And energy is life!

Before we move onto your new album tell us how you see things have changed, if at all, for new bands breaking through from when Nightfall did and those trying to do so now, especially in Greek metal.

Back in the old days the whole process of producing, releasing, and communicating your music was too difficult. However, it was these very difficulties that made most of us, the old guard, to build a character through which our sound and style matured. This sort of maturity is something I feel like missing from the new bands. Easy access to high tech gear is not necessarily leading to any better results when talking about art. It is the struggle and the pain that spawn the lyrical drama. I am sure current economic depression will be the ground for some momentous works in the near future. And please dudes, stop playing the rock stars, the party is over and the chicks have already been pregnant by someone else. No hard feelings

Your previous album Astron Black & the Thirty Tyrants looked at man and his place throughout time as a theme and Cassiopeia feels the same at investigating with stronger focus man and his attitude and arrogance within the world even with its more mythical title and initial ‘voice’. Can you delve deeper into the premise for Cassiopeia and its inspiration?

I adore history and mythology. It is the manual of human race. Every single shit you face in everyday life is there to read and see how it first appeared, in which ways it was developed and how our ancestors managed to deal with it successfully or not. Furthermore, for huge issues like those of believing in something divine or of trying to make a better living individually or collectively historical data-cum-guidance is imperative since they are eternal and vast issues to cope with within one’s finite life. That very continuity of these problems proves the smallness of our species. Struggling to give sufficient answers to such questions is a two edge sword; it fuels our lust for knowledge but also fuels our egos when we feel like becoming closer to such an “answer”. Arrogance works as an internal mechanism of self destruction that’s detonated once a person feels superior thanks to a sort of power he happened to enjoy at a certain period of his life. Like a mechanism whose scope is to remind humans about our limited range of action. Cassiopeia’s story is a parable. What happens in the western world the last few years fits well in that story. Politicians and economists as Cassiopeia and Andromeda believed their capacity was great to an extent they could solve fundamental problems like those of harmonious coexistence of millions through artificial wealth and unity. So they came forward providing answers as to prosperity and easy life via cheap credit and unification that apparently eliminated hardships like poverty and wars. Soon masses switched from actors in life to viewers of life losing touch with reality.  Depression, anger, confusion now whip the backs of people and nations as hard as the tamer does to the lions and the tigers in his effort to push them back into their tinny cages. I don’t say it was a good or bad decision. We don’t make a political statement here. We only make a reference to the incapability of human race to overcome our smallness and the punishment follows any effort to step into gods fields and play their role.

Do you find humanity and its mistreatment of the world and themselves a continually inciting source for you creativity and lyrical ideas?

Totally. But it is not about mistreatment exactly. We, humans, are only broken. And as broken creatures we cannot achieve perfectiveness. We always struggle to proceed, and that effort takes its toll from time to time.

Do you see your lyrical ideas in albums as a narrative reporting problems and thoughts or as a more forceful provocation where you hope people will feel a reaction and think for themselves?

I express my worries and share my fears with people who feel more or less alike. It is a matter of mental communication I think. It is like telling a friend of yours, hey I have that fear lately about that thing, and he replying to you, yes, I feel the same too. It is kinda relieving, isn’t it?

The members of Nightfall are based across the world I believe, so how long did Cassiopeia take to emerge as the finished album?

We took advantage of technology. Distances have narrowed and ideas reach the receivers in the nick of time. You know, you exchange ideas and then you physically meet to arrange the details. However, that time we took it a step further by doing the recordings in different places, there where each one felt more comfortable to work with the engineer he preferred best.

How was the recording of the album made, together at a certain point in time or in stages without you meeting?

In stages actually. The process was long and enjoyable

How do you make the album sound so organic and united if recording separately and does doing it this way restrict how you evolve songs as a band which maybe you could push further if all together in a studio?

It is because we don’t try to alter the original course of the compositions. It is what we said previously about how important is to be true to yourself. As soon as a new composition emerges we follow it suit; we add anything it wants and not stuff that may sound “better” or more complicated or unique or they fit that or the other audience whatsoever. Ultimately the track becomes solid like any living organism after having absorbed all the vital elements its body requires to become strong. This is a marvellous process full of excitement and surprises as to how the ideas finally evolve to real tracks. The final stage takes place at our drummer’s studios in Germany (Soundlodge studios).

Are you a band which works on a few songs at the same time or take each individually through to a certain point in their realisation before starting another?

Everything starts from a bunch of ideas. You know riffs and forms that pass through our feeding system so to speak. We never say let’s compose a fast or a slow track or anything else like moving with a plan. Inspiration flows rich and we only channel it through strings and wires

How has Cassiopeia differed, if at all, in its creation to previous releases whether in writing or how you approached it in the recording?

To my ears Cassiopeia is a Brutal Heavy Metal album whose highlight is the right balance between melody and brutality. The fact that we recorded it in different places played a significant role to the final result. Think about it, being at your favorite place delivering without stress. Awesome!

Do you constantly find how you approach new albums changing due to experience and preferences gained over the years?

I can’t say we pay that much of attention to such technicalities. Life is taking good care of it. It loads us full of shit and negativity and then we discharge it through creativity. Criterion track from Astron Black album is exactly about that actually.

Is there any element or part of Cassiopeia which gives you the deepest warmth in hindsight?

I love guitar work in it and I love the ways their melodies mix with my brutal vocals. Yes, that’s so cool.

In Britain we try to ignore a certain Mr Icke as coming from our shores haha but you have been inspired to write The Reptile Gods by him I believe? Do you find an appreciation of the views from people with the same kind of beliefs as he and how do you see ‘aliens’ in the fabric of man’s history and beginnings?

That’s a funny story cause nobody can prove it right and those who can prove it wrong don’t have the ways to do it in a manner acceptable to the former. I am neither a fan of such theories nor their enemy. I only admire the distance such minds walk into their imagination’s jungle and how much they believe what they “see” there. This is amazing, but hey, don’t try it at home.

Cassiopeia is your second album since returning from a ‘hiatus’ for the band from 2005 to 2010, and the second with Metal Blade Records, this is a union which seems to be rewarding for both sides maybe more so than previously found in the earlier years for you?

I agree. Both these two albums and the line-up show some strong signs of serious workmanship. I am not sure about the exact recipe but I am sure the pauses played a good role. The industry is pushing many bands to unstoppable releases, promos, and stuff, ok; everyone understands it is not good but hey when you make a living out of it you need to follow otherwise you are dead. Our decision not to play that game but simply be the old school kind of artists who are making their shit around no matter what has helped us to develop a stress free attitude that I think it really works. Think about it. It is so pity so many bands started from the underground with the aim to play music and finally turned into fully pro acts in the vein of mainstream pop music investments, doing every single shit to expand their fan base. How pitiful and distressed is that really?

You are not a band which has an over active intent towards performing live, is there any reason for this or just down to the positioning of members around the globe alone?

Frankly speaking, the best part of being in a band is the composing and recording process. After that everything relates to marketing and promotion. It is ok, no problem about it, but allow me to believe that the artistic value of a piece of aural art is not becoming greater if you performing it live. And since I have a plethora of other interesting things to do in my life, touring is not among my priorities. However, should a good offer comes in, we always take it under consideration. Maybe for Cassiopeia we will go on and do at least one tour. Let’s see  :)

What is next on the horizon of Nightfall?

We are preparing a video clip, like the old good days, and then we may travel a bit around to give some shows.

Again Efthimis thank you for chatting with us.

My pleasure Pete.

For the last words of the interview would you like to state the case as to why people need to check out not just Nightfall but Greek metal in general?

Hey, good things come in small packages

http://www.facebook.com/nightfallgr

Read the review of Cassiopeia @ http://ringmasterreviewintroduces.wordpress.com/2013/01/25/nightfall-cassiopeia/

The RingMaster Review 18/03/2013

Copyright RingMaster: MyFreeCopyright

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

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Expanding the Extreme: an interview with Giannis K of Dark Vision

For over fifteen years Greek extreme metallers Dark Vision has earned themselves a strong reputation in the metal underground for their expansive death metal sounds. The recent release of their Ingrowth EP shows the band is stronger and more inventive than ever, their melodic death metal sound soaked in blackened overtones and stirring essences of classic metal and rock n roll a compelling encounter which stands out for band and extreme metal. Seizing the offer to find out more about band, its history, and the new release we set about drummer Giannis K with plenty of questions…

Hello Giannis and welcome to the site.

Firstly for those yet to discover your sounds please introduce the band and the entity that is Dark Vision.

Hello! First of all we would like to thank you for the opportunity to speak through your magazine. Dark Vision exists since 1996, we started playing atmospheric/heavy/black metal continuing these days into a straight forward death/black metal. Our influences lately covering many genres such as death/black metal, rock, classic heavy and all these under a rock’n’roll attitude…  If someone really needs to put a table about our genre, we can say that band’s like Satyricon, Behemoth, Black Sabbath, Voivod, etc. defined our nowadays style.

The band began in 1996, longevity many bands can only dream of. What has kept you inspired and passionate as a band?

The reason that this band started many years ago, was our love in this specific style and also for its subgenre. This made us to continue until now.  The magic moment when you creating a song or you are on stage, keeping you vigilance.  Another very important reason is that as a band we are not playing as professionals but at the same time we are trying to act as much a professional do.  In simple words, when a band is playing for the money there is a certain point that the musician will consider most of the time firstly the profit… In our case as we said because we are not playing for living we have the privilege to play whatever we want in our way.

How has your music and intent as a band evolved over the past 16 or so years?

We have definitely evolved all these years.  Apart of the several line-up changes we grow up as personalities, this made us think with more mature in every way from creating music to acting live. With the current line up the band continues the last years a specific way which evolving us.

Dark Vision is a band which has like so many survived numerous line-up changes, how has that impacted on the band generally and do you think and feel  certainly for Dark Vision, that this inevitable process actually benefits bands creatively for the main?

Following all these years we can say for sure that all these line-up changes firstly made us stronger and secondly helped the band to evolve as it is today. Of course this doesn’t mean that if a band having a standard line-up for years will not evolve, but in our case helped a lot. The only think that we can say was against us in every chance, is the time and the preparation until the band became ready to act again.

You have just released your excellent  Ingrowth EP through Bluntface Records though it had its first release as a vinyl exclusive last year for your fifteen year anniversary. How has it been received so far and has this new unleashing from the independent US label brought a deserved energy and awareness to the EP?

Thanks for your good words! Bluntface Records definitely played a very important role in this release. From the very beginning we realized that with Otto from Bluntface Records we can work very smoothly and creatively together. We choose to release “Ingrowth” in vinyl. A part of the 15 years anniversary, it was a dream since the beginning of the band. We strongly believe that vinyl is more complete and at the same time nostalgic than the nowadays cd. The press worldwide hugged this release since the very beginning and we received very flattering words, we are thanking all of you for your support up to now.

How would you say the new release has evolved from and offers predominantly different to previous album Bestial Remedy?

We worked different this time. From creating the songs to the recording process everything was different. We worked at the recording sessions with more live feeling, which means that we didn’t use this time metronome, but we played all together in order to be closer to this live feeling.

Definitely! “Bestial Remedy” was the begging of a new era for the band and after all these years we can assure you that “Ingrowth” is a big step beyond for us, not only on the composing side but as an experience in the recording sessions.  This time with “Ingrowth” we focused more in the emotional, although our technical skills became better with results on this album.  The songs are approaching better death/black forms and all this under a “rock’n’roll” attitude.

There is a great melodic groove and breath to Ingrowth and its blackened death metal stance. Has this aspect naturally emerged or was something you wanted to intentionally explore?

Most of the things that we are doing are coming out naturally … after “Bestial Remedy” it was natural to continue and evolve this style under our way.

How are songs written within the band and what is more often than not the initial spark to an idea and song?

Composition process usually can be with 2 ways, sometimes our guitar player Mark is writing the song and presenting to the rest of the band in our rehearsals, and another way is to start in the studio working all together on an idea.

What are the strongest influences upon your writing musically and lyrically?

Many influences from daily matters up to religion (from a historical point of view), other times songs can describe personal situations or even our darkest thoughts…

Did you have set ideas and vision for songs before recording the EP in the studio or did they change and grow their own different character whilst bringing Ingrowth to life?

Most of the ideas in “Ingrowth” album were conceived in the preproduction. When the recording process started, we preferred to stay more close to technical matters (microphones set up, Amplifiers, etc), of course, in general if any last minute ideas arise and are worthwhile we are willing to try it.

Ingrowth investigates, as your previous releases, the deepest and richest of shadows, is there an underlying theme to the EP?

We were just felt free to do things without second thought. The result is what you are now hearing and we are proud for that.

Is there a particular moment on Ingrowth which leaves the proudest feeling inside and alternatively is there something on the release which you are now inspired to explore further in future songs?

Yes, definitely the rock n roll element affected us regarding our music and emotionally at the same time.

On a recent episode of The Bone Orchard podcast I featured your track Garden of Nuclear Mushrooms. Can you give some back ground to the track?

Thank you for this! Garden … is a song that refers to the Apocalypse from our point of view …

Across the years you have shared stages with the likes of Mayhem, Satyricon, Sodom, Rotting Christ, and Septic Flesh to name a small few, what have been the biggest moment live and any artists you would sell a kidney to play with?

Hahahaha! … Nice question ….. ! Hmm… probably for a special worldwide tour with Satyricon, Rotting Christ, Dimmu Borgir, Behemoth…!

There have been quite a few very impressive metal and rock bands bursting out of Greece in the past couple of years. Is the scene there as vibrant and impressive as it seems from the outside?

Yes! Over the last years lot of bands are doing a good job holding high the Greek flag of our metal scene…

What is next on the agenda for Dark Vision?

Next thing will be a live concert in Athens at 6th of April with other local bands…. Also writing news song at the same time…

Thanks for taking time to talk with us any final thoughts you wish to share?

Thank you! Check our new album “Ingrowth”

Lastly which are the artists to have made the biggest impact on you as musicians?

Daily we hear a lot of things … we are always trying to expand our music  influences … of course musicians such as Frost from Satyricon, Inferno from Behemoth, Ihsahn from Emperor, Jon Nodtveidt, John Gallagher, we admire them and their influences guiding us , also lately Kvelertak from Norway is one of the bands that made something fresh in the scene …

The RingMaster Review 08/03/2013

Copyright RingMaster: MyFreeCopyright

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

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Anchored By Avarice: Axillion EP

     Encapsulating the listener in a sonic furnace of heat, intensity, and passion, the Axillion EP from UK metallers Anchored By Avarice is a corrosive invigorating fire which extinguishes the air from lungs and replaces it with incendiary promise and awe. To be honest the release is so accomplished and captivating that it is a finished confrontation in its own right but you still feel there is much more to come from the band in imagination and craft, let alone further uniqueness.

The quintet from Wakefield formed in June 2011 and set about creating a tempest of invention and melodic destruction. Primarily you can declare the band a metalcore onslaught but with scorching flames of djent, hardcore, and melodic death metal to their confrontation, it is a sound which has a distinction and imagination which sets the passions ablaze and marks the band as a rising target for attention and acclaim. Already having unleashed live scourges upon stages alongside the likes of Villa Rise, Silent Screams, Our People Versus Yours, The Omega Particle, Carving a Giant and The Colour Line, the band is currently in the midst of a UK tour, dates to be found on their Facebook profile, and on the evidence of Axillion this is one band not to be missed if threatening your town.

Opening track Endless Corruption sidles up to the ear with seductive sonics and mesmeric keys filling a subdued ambience with slight agitation and compelling beckoning. It is a brief invitation before a surge of senses buffeting riffs and crisp unforgiving rhythms stretch and ignite their muscles, the initial elegant caress still in place but with a stronger acidic and cutting breath. The vocal squalls of Tom Bellamy immediately grab attention, their almost accusing forceful brawling tone a step above most and with a clarity which ensures the lyrical passion has full reign to impact on the listener. Into its full stride now the djent manipulating riffs from Danny Widdowson and Andy Parkinson ravage the senses whilst their adjacent sonic guitar whispers are loud and compelling throughout the track to perpetually whisk thoughts away from the unrelenting ferocity into evocative climes. It is a song which has little restraint in any aspect but a craft and composure to its creation which balances everything perfectly for an enthralling and unpredictable experience, something which applies to the whole release.

The following Furies of Charbydis instantly bewitches the senses with sonic mastery and sparks whilst chewing the synapses with ravenous raptorial riffs and punishing rhythms, the bass of Jack Bhogal mauling with a rabid hunger and intent whilst the drum beats of Blue Thorn resonate in ear and bone with a resonance and spite which is immeasurable. The song is a stirring blend of melodic persuasion and sinew stretching intimidation woven together with immense thought and skill so that each facet and extreme seamlessly and instinctively flows alongside and within each other. Admittedly whether, like in all songs, there is enough which lingers in the memory after the song has fled the scene is debatable but this is a band still evolving and the remembrance of how impressive tracks and the EP were as they burnt savagely upon the person is in no degree debatable.

Substance For Slumber is a stunning beast of fury and passion with a sonic and melodic embrace that explodes and entices like a siren. Arguably the song has less open temptation than the first pair but replaces it with more drama and emotive intensity to provoke and inspire an equal depth of satisfaction and ardour for its expressive and innovative storm. Because of its continually shifting gait amidst the torrent of breakdowns, crippling rhythms, and melodic intrigue, the song is one track which leaves a longer lasting voice behind, the expanse of ideas and emotion an inciting yet spellbinding brutal tide.

The title track is the fullest triumph of the release, its highest pinnacle. From its math/technical metal beginning hex, the track explores with riveting erosive breath and an equally captivating quarrel through consistently testing and teasing switches of position and sound entwined into one galvanic bruising treat. As elsewhere the vocals leave their stinging mark with quality and belligerence whilst the guitars perform a sonic alchemy to compliment the barrage of lethal richly defined rhythms from bass and drums.

The closing Resentment simply confirms the quality and strength of Anchored By Avarice and the release, its tight and explosive stance a final rousing instigator upon the by now lustful passions. The Axillion EP is an exceptional release which makes a towering declaration of how exciting and creatively powerful the band is and excitingly will be.

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9/10

RingMaster 02/03/2013

Copyright RingMaster: MyFreeCopyright

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Nightfall: Cassiopeia

    There can be very few who do not know of the Greek dark metal weavers Nightfall or be aware of their continuing legacy to metal in general let alone their chosen genre of creativity. From deeply impressive and acclaimed albums and putting Greek metal on the wider world map, the Athens band has also nurtured and brought forth many musicians who have moved on to other high profile bands, such as Bob Katsionis and Mark Cross (Firewind), George Kollias (Nile), and George Bokos (Rotting Christ). After a seeming break the band has returned with their new album Cassiopeia via Metal Blade Records, and a senses awakening piece of accomplishment it is.

Formed in 1991 by the now only original member, vocalist Efthimis Karadimas, Nightfall took little time in grabbing attention, their initial four track demo bringing them to the attention of French label Holy Records and leading to the signing with them. The following year saw their debut Parade Into Centuries released to enthused responses whilst the next mass of years saw its success and acclaim repeated and exceeded through albums Macabre Sunsets, Athenian Echoes, Lesbian Show, and Diva Futura. During this time many line-up changes challenged but brought fresh spices to the sound of the band, their original death metal breath honed into an even more atmospheric and melodic wind upon the ear and heart. Via Black Lotus Records, the albums I Am Jesus in 2003 and Lyssa: Rural Gods And Astonishing Punishments a year later were open and impressive realisations of this direction change. In 2005 though as the band ceased performing live and with members leaving, there was a ‘hiatus’ of sorts for Nightfall.

The announcement of a new line-up and the following release of Astron Black & The Thirty Tyrants in 2010 through Metal Blade, showed the band was back stronger than ever, the album the recipient of immense praise from critics and fans whilst their further evolved sound was a passionate and rich soundscape of blackened death metal malevolence weaved into a melodic and dark symphonic grandeur. Cassiopeia is drawn from the same inspiring well of imagination and one which dances with the passions. Whether it exacts the same rapture as its predecessor will be arguable from individual to individual but the release certainly mesmerises and intimidates with equal craft and magnetism.

Alongside Karadimas the band consists of guitarists Evan Hensley and Constantine, bassist Stathis Ridis, drummer Jorg Uken, and Stathis Kassios on keys, and again as is notable across its existence, it is a collection of musicians which perfectly fit and further the heart of the band. The album as its title suggests, takes essences for its theme from the constellation and the mythical character of Andromeda’s mother but more so refers to and investigates the arrogant characteristic of the human race. Opening with Phaethon, the release immediately holds attention in its majestic palms, the beckoning weaving of the guitars lighting the way into the shadows of the song which then swamp the senses with the oppressive growls of Karadimas and seductive caresses from the keys of Kassios. The rhythms are reserved though the bass is a prowling entity with strong sinews within the sonic fires being conjured along the journey of the song. From eagerly appealing to deeply hypnotic and switching often, the song is one which ebbs and flows within its lush presence and enthrals throughout. The great starter is a sign of the album in that it is a constant engagement one can only be enthused by but at times ignites greater passions from particular moments of ideas. This could be said to show inconsistency but in this case it is a nice problem to have if the case.

The following Oberon & Titania is a delicious storm of caging rhythms, spiralling sonic enterprise, and melodic teasing with a sensational lone wanton taunt of piano erupting which sparks sheer adoration for its unexpected and enchanted mischief. The track is a formidable encounter, one which stirs up the primal and emotive dark inside to coax it into a vibrant furnace of invention and destructive beauty. From keys to guitars, bass and drums, to the venom coated vocals, it is bruising yet invigorating treat.

Tracks like the infection invoker The Nightwatch with its familiar but knowing melodies and barbed hooks, the thought and senses wrapping Hubris which again stokes the heart with irresistible keys ‘doodling’, and the riveting Hyperion, leave one breathless and captivated. To be fair every track has that grip for the main of its presence making an album in Cassiopeia, which provokes and incites the dark and light within the listener.

At times the album is scintillating and even in its lesser moments compelling, and though it maybe does not trigger the furnace of passion as their previous album, it is one which lures you willingly back again and again.

http://www.nightfallstar.com

RingMaster 25/01/2013

Copyright RingMaster: MyFreeCopyright

Promethee: Nothing Happens. Nobody Comes, Nobody Goes

    Last year the single Sickness Unto Death from Swiss metallers Promethee whipped up a strong wind of excitement and expectation for their debut album, its intrusive and enveloping storm of imagination and destructive craft a formidable step on from their earlier impressive self-titled EP. The song also made a suggestion of something remarkable in the future mists of time. Now Nothing Happens. Nobody Comes, Nobody Goes has stepped forward to answer those hopeful and eager expectations.

      The album is a staggering brute of a release, an immense tower of venom, intensity, and creative imagination. It satisfies all wishes and expectant thoughts before exceeding their limits with further ingenuity. It is fair to say the album does not rip open new avenues for melodic and progressive metal/metalcore but brings a new and invigorating interpretation of prevalent sounds from within the existing inventive sphere. In fact the album ignites real passion for its ferocious might and inventive annihilation whilst its technical skill and unpredictability has the senses dizzy whilst within a numbed state from all the malevolent abuse.  Since forming in 2008, the band has earned and garnered a deserved wealth of acclaim of which an elevation due to this outstanding album will not be a surprise, in fact is expected.

Released through Bad Moon Records, Nothing Happens. Nobody Comes, Nobody Goes is a ten track leviathan of intrusive and towering sounds coated in an understanding and deeply rewarding craft. As soon as opener The Great Deception sidles up to the ear on an atmospheric raw breeze, the senses are engaged and then thrown into willing turmoil by the brawl of gnawing riffs and corrosive energy permeated by a sonic enterprise which leaves one drooling. Wanton grooves and teasing melodic shards of light shower from within the intense breath of the song to further the already brewing rapture erupting out for only the first track of the release. The guitar craft and imagination of Ludovic Lacroix and Elric Doswald is as mesmeric and captivating as it is intimidating whilst the squalling abrasion of vocalist Joshua Orsi trawls the emotions off of a spine of irresistible rhythms from bassist Mathieu Tappolet and drummer Nils Haldi to incite the primal and emotive heart.

It is a sensational combination and start continued as powerfully by the following Banner Of Lies and Buried. Both tracks rip the synapses asunder through djent spikes and merciless sonic violation, the first a malicious onslaught of devastating inventive chaos leading into the emotive tempest of the second. The latter of the pair smoulders and burns within the ear and though brief in stature lingers long after its departure though the hellacious presence of the excellent Of Loss And Disgust soon after dominates as if the only thing in the world. One of the biggest pinnacles on the album, the track throws the listener into a bedlamic fury of twisted grooves and sonic mania driven by a fierce energy and rhythmic hunger which resonates long after its last violent gasp. A perpetual wash of progressive ingenuity and melodic urgency the song also caresses and kisses the ear as tenderly if forcibly as it erodes and consumes fearsomely elsewhere.

The Geneva quintet continue the blistering confrontation through the equally immense Life/Less, a track with a depth and character dripped in turmoil and vengeance, the brief and masterful Genesis with its hybrid whispers of Korn, and The New Face Of Mankind, another varied assault of innovational expertise. All three send flames of thrilled emotion through the body only to be exceeded by the brilliant Thus Spoke and the previously mentioned single Sickness Unto Death. Thus Spoke is a muscular furnace of hypnotic sonic malice and rib cracking rhythmic tension. As with all the songs and especially the biggest triumphs on the album, the track is a continually evolving exploration of light and dark, passion and shadows which is reported through a magnitude of ingenuity and invention.

     Nothing Happens. Nobody Comes, Nobody Goes is a colossal album which offers a richer and deeper experience as well as a more impressive one the more time spent within its corruptive squall. Fusing essences marked in the likes of The Faceless, Cryptopsy, and Architects, Promethee has made the first towering statement of the year for extreme and metal in general.

www.facebook.com/prometheemusic

RingMaster 22/01/2013

Copyright RingMaster: MyFreeCopyright

Dark Vision: Ingrowth

Greek extreme metallers Dark Vision has built a strong reputation in their homeland without truly finding a wider recognition worldwide since forming in 1996. Their new EP Ingrowth will not immediately put that right but with its impressive sounds could be the spark to start that deserved reward for the band. Released through Bluntface Records, it is a strong and compelling release built on a base of melodic death metal with blackened overtones which draws essences of classic metal and rock n roll into its stirring mix. It is not going to take you into a new unexplored venture musically but does easily satisfy any and every need required from a slab of devastation.

Starting off with a heavy/black metal sound the band released a series of demos in their first three years to strong reception. As their sound evolved their debut album came in 2000, though Full Moon Shines received its official release in 2002 through NMC Records. With line-up changes Dark Vision returned to full might in 2006 with the quartet’s self-financed Bestial Remedy EP unleashed two years later. With their live shows also drawing strong acclaim with the sharing of stages with the likes of Mayhem, Satyricon, Sodom, Rotting Christ, Septic Flesh and more coming across the years, the band has set themselves as a respected presence in the Greek underground metal scene. Ingrowth shows they are ready for wider acclaim and since its vinyl release last year has drawn a good response something the digital release now should one feels accelerate.

The atmospheric instrumental Thy Flesh Thy Bones opens up the encounter, its brief but dramatic presence and startling breath immediately leaving one on tenterhooks for what is to follow. King of Emptiness at first stops thoughts in their tracks as it is not of the same breath of its ‘introduction’, a different type of beast which is slightly unexpected with this release our first encounter with the band. The song soon has control of ear and senses with its stalking riffs, tight melodic weaves, and growling insidious vocals though.  It prowls and stalks with a venomous heart and intense energy throughout whilst sending spikes of sonic craft and acidic melodic spears through the ear with appealing ease. It is a strong and compelling track which satisfies without lighting up the passions fully, something its successor soon remedies.

Pain Redirected fuses classic metal grooves with punk coated aggression whilst again the vocals squall with abrasive intent and pleasing malevolence. The drums cage the senses impressively so the guitars can score them with skilled violence and intrusive rewards whilst the bass though arguably not as openly obvious as one would wish, stomps over the ear with the hunger of a ravenous beast. It is a great and contagious track which confirms already that Dark Vision is a band to be known about.

The EP gets better the further you go into its muscular depths with Garden of Nuclear Mushrooms a pinnacle. The technical prowess of the band is an ever present throughout the release but here squeals and captivates within the brawling intensity magnificently, the discordant scything a delicious piercing within the ravenous consumption of the song. It is intelligently varied in sound and pace along is sinewy length to bring a thoroughly pleasing and compelling engagement.

The EP closes with firstly the thunderous assault of Amongst Dead Butterflies and lastly the title track. The first of the pair has a snarling hunger which transforms its destructive rhythms and merciless riffing into an overwhelming intensity speared by sharp melodic enterprise whilst the closer is a scarring tempest of incessant sonic niggling and corrupting black hearted energies. Both tracks are wholly infectious and an immense end to a great release.

Dark Visions is not a band to bring you something openly new but one which creates invigorating extreme music better than plenty of other artists. Ingrowth is a recommendation you should not ignore.

http://www.darkvision.info

RingMaster 07/01/2013

Copyright RingMaster: MyFreeCopyright

In-Sight : From The Depths

    From The Depths is the thumping latest album from Italian metallers In-Sight, a release which just grabs the imagination and takes it on an inventive dance of melodic death metal with the emphasis on the former. It is a thrilling release which as our first introduction to the band is one of the biggest rewards of the year for the passions.

The band began with a Swedish death metal sound in 1996 on the impetus of drummer Gianluca ‘Mek’ Melchiori. In-Sight had decent success with their three self released EPs and good acclaim for their live performances which took them around Italy and Switzerland. It was in 2009 though after a lull for the band that Mek reorganised the line-up and brought in vocalists Andrea Pecora and Emanuela Antonelli, guitarist Mattia Stilo, and bassist Cesare  Montagner. This brought on a new spirit and energy which impacted on the more melody driven sounds being created. 2011 saw the band record From The Depths and this year the signing with logic(il)logic Records for its release and also the further addition of second guitarist Riccardo Picchi to the ranks. The album now unleashed on the world sees a band which with still some uniqueness to find to its voice stands apart from most similarly driven artists. This was as mentioned the first time the band has graced our ears and the most pleasurable surprise and experience it has been.

So many things stand out on the album from the superbly crafted and structured songs, the mouth-watering musicianship, and the colossal mix of beauty, intensity, and wilting power. The other tremendous asset the band and release has is the dual female and male attack of the vocalists, both riveting and the perfect union in their individual extremes. Antonelli has a glorious voice, full of grace and power whilst Pecore growls and bruises the senses with a vicious squall of a tone which ignites the primal instincts inside, though he can vary the assault to offer a good texture to his delivery. It is an excellent mix which with its successful formula sets the band apart in that aspect.

Starting with a brief piano led atmospheric instrumental intro the album opens up its full multi-faceted stance with Mind The Light. It takes no time in offloading hungry riffs and pummelling rhythms for the ear to willingly consume before the golden tones of Antonelli lights the skies. As the aural coarseness of Pecore joins the affair and the guitars conjure grooves to spark emotions into life, the song settles into a classic breath with sinewy provocations. It is nothing particularly ground breaking but wholly compulsive and inspiringly invigorating.

The following tracks just elevate things further; Winding Coil is a sensational rub of sonics and staggering harmonies with especially vocally, the almost duelling presence of the two singers a captivating ingenuity and maybe their finest moment on the album, though they push that thought throughout. The track is an intense and vibrant fire of sound and energy which leaves one drooling in musical lust which is soon satisfied further by Frost Hate and Insight. The first of the two brawls with the ear vocally and sonically whilst Antonelli veins it all with delicious elegance through her caressing tones. The second of the pair is a less forceful encounter though it does not shirk on bone snapping riffs and jolting rhythms to intimidate behind the white hot melodic weaves of imagination and sound. It is just another in a blistering confrontation of high quality senses enthralling songs within From The Depths.

As impressive as Parasite and Rary are they drift away from the levels of the previous songs a little, though it is down to the greatness already unleashed rather than their limitations and the band are soon forging another pinnacle with the insatiable hunger of For the Sake of the Show. The song claws at and gnaws on the ear from start to finish with even the ever fine wonder of the female harmonies and vocals unable to soothe the corrosive impact of the song. It is a triumph which leaves thoughts and senses wasted, a tempest of true pleasure.

Closing on Informulation (2011), a track which demands little but gives plenty, From The Depths is a real gem of the year. In-Sight is a band all fans of the likes of In Flames, Soilwork, Dark Tranquillity, and Scar Symmetry, need to track down. This band deserves wide recognition, no question.

http://www.insightband.net

RingMaster 19/12/2012

Copyright RingMaster: MyFreeCopyright

Atra Hora – Via Combusta

Draped in heavy shadows and dramatic breath, Via Combusta the new album from Russian death metallers Atra Hora is a powerful and impressive beast of a release which is as mesmeric as it is oppressive and intense. Skilful and accomplished the release is a magnetic corruption with evocative sounds and atmospheres in union with dramatic and darkly consuming intent. A stirring mix of melodic death and black metal with a kiss of pagan metal about its gait as well as wilful Mediterranean whispers, Via Combusta inspires imagery and thoughts alongside a hunger for its imaginative and rich sounds.

Atra Hora (Latin for Black Hour) began in 2006 and soon had the Russian underground metal scene paying attention with their demo They Go a year later. The original sound was a raw black metal which evolved as line-up changes ensued into the atmospheric death metal they ignite the senses with on the new release. 2010 saw their debut album Lost in the Depths released on Darknagar Records to strong and positive responses from fans and media alike. That same year saw another change as the band emerged with its current line-up of Alextos ‘Domination’ Georgiadi (bass/lead vocals), Yanis ‘Shaxu’ Georgiadi (guitars/ vocals), Genrih (drums/percussion), Nicolaos ‘Ijhi’ Stryukov (guitars), and Maria ‘Neit-Shu’ Georgiadi (keyboards). Together they have brought in Via Combusta, a striking release deeply influenced by the Greek culture, with three songs on the album being performed in the Greek language. Traditional flavours from the country run through the songs for a deep and impactful effect, their warmth and melodic grace a perfect companion and contrast to the harsher abrasive vocals and sounds.

The Pyatigorsk based quintet approach the ear with inviting rhythms and an excellent compelling bass riffs in opener Transmigration, the song an instant magnet to the ear. As the vocals scowl and growl with their coarse presence the keys swarm around the stirring core like aural mists bringing a heat to the directness elsewhere.  At times the song is openly infectious and in other parts steps away with a provocative stance to keep one intrigued and absorbed. It is a strong start but soon surpassed by following songs.

Escape and Hronos both raise the senses into further enthusiasm. The first is a charging multi paced bruising of pummelling riffs and sturdy rhythms alongside flames of creative guitars and subsequent melodic imagination which sparks up the emotions with its intense aural proposition. The track is permeated with a sinister air throughout which is speared with flames of precise sonic craft and muscular energies to tease and promote strong thoughts  The second of the pair is equally inciteful with the epic gait to its sound, its part symphonic evocative caresses matched by the coarse narrative and expressive vocals.

As the album progresses it gets better and better with the best song on the release in Στύξ (Styx) offering the deepest mesmeric wash. With Middle Eastern rhythms and glorious weaves of melodic grandeur the brief track is an irresistible engagement with the senses, the heart of the release and its themed sound.

The sparkling yet scarring Neo Aeon takes one on a flight of buffeting sonics and expansive melodic spirals whilst Σταγόνες Του Αίματός Μου and Phobos both bring new and unique journeys to explore and immerse within, the last a foreboding and vast soundscape of cryptic emotions and immense and skilled invention.

Once the final track Εντροπίαhas removed its last delicious shadow from the ear the feeling of something vast and intrusively pleasurable is the lead reaction to Via Combusta. It is not an album which has a fully contagious hold but never leaves anything less than intrigue and strong satisfaction within the listener during its presence. Atra Hora is a band opening up unique worlds with great imagination and skill and as the album indicates on the right path to major recognition.

https://www.facebook.com/atrahora

RingMaster 09/10/2012

Copyright RingMaster: MyFreeCopyright

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