Supuration – Cube 3

Despite forming in 1989, French band Supuration has only made its first introduction to the Ringmaster Review with new album Cube 3, the third of a trilogy of albums which began with the first instalment in 1993 and the second coming a decade later. It is an enthralling and magnetic release which even without being able to raise comparisons with its predecessors stands as an intriguing and intensely pleasing encounter.

Hailing from Valenciennes, the trio of Ludovic Loez (keyboards, bass, guitars, vocals), Fabrice Loez (sampler, guitars), and Thierry Berger (drums), has released numerous records alongside the trio of albums, not only as Supuration but also with their more progressive incarnation S.U.P. (Spherical Unit Provided). First album in the trilogy Cube as mentioned made its entrance two decades ago with the second Incubation following in 2003, both to strong acclaim, something the band is prone to receiving across their aural guises. More often than not tagged as progressive death metal, Supuration with the new album alone shows that the label is quite limiting to what is explored and ignited within their diverse and unique imagination. Released via Listenable Records, Cube 3 engages the brutality and black depths of death metal with the soaring expanses of progressive metal undoubtedly, but equally blossoms essences of post punk, groove metal, and avant-garde discord driven invention to their fullest potency within continually twisting and slightly twisted sonic alchemy.

Opening track Syngery Awakes grabs the ear like a bear, its muscular paws a predatory encounter with deep sinewy grooves carving the senses before unleashing scything sonic lashes around the growling vocal malevolence of Loez. The track proceeds to gnaw and brutalise whilst equally seducing with melodic veins of instinctive and tempting elegance musically and equally through clean vocal harmonies alongside malicious squalls for an explosive and enthralling confrontation. The track is like a blend of Sybreed, Livarkahil, and Opeth with whispers of a Karnivool or 6:33 making their quiet yet pungent contribution at times.

The following Introversion takes the mere thumping beats of Berger and taunting guitar provocation to strike a further intensity in focus and brewing passion for what is on offer, the song a stalk of rugged riffs and punchy rhythms speared with infectious guitar flames and persistent grooves which feel familiar yet unrecognisable.  The clean vocals again add an extra scintillating texture to the tempest around them whilst the warmth of the melodic breeze wrapping the sturdier gait of the track, is a wonderful mystery to the rising intensity at the heart of the track.

The Disenthrall and Consumate both intrude upon the senses with startling invention and all-consuming mastery to only increase the now rampant ardour for the release. By the time the pair have ravaged and laid down their irresistible temptation, the album has secured a long-term persuasion no matter what is to come in the latter part of Cube 3. The first of the two is a brief but potent sonic frenzy with raging riffs and equally virulent rhythms which is as much part industrial as it is death or progressive metal, with the air of early Killing Joke and Fear Factory at mischievous play even if not a loud shout sound wise. The second stands over the listener like a hulking leviathan of ravenous riffs and intensity , the drums caging and cutting off any escape so the vocals can scowl and chant over the carcass of the exhausted senses. It is another outstanding violation of thoughts and synapses with the richest of rewards to exhilarate with.

The second half of the album is equally as impacting and aggressively spellbinding with both The Incongruents and The Delegation exploiting the now opened up rapture for the release with riveting imaginative endeavours, the second of the two a carnally invading provocation which is as diverse as it is unreasonably catchy. Though both songs slip slightly below the heights of earlier songs they still excel with tantalising breath before passing over to the excellent Data Dance, the song just one more electrifying pinnacle. Unpredictable and emphatically ingenious with a creative entrapment of epidemic proportions, the song leaves the listener wanting for nothing and bloated on primal intensity and glorious imagination.

With the closing duo of The Flight and The Climax doing no less than bringing a final collective triumph to the album, Code 3 is a stunning slab of progressive death metal or brutally hungry progressive metal, whichever way you look at it, the album is immense and the trigger to go explore the band past and present much deeper.

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9/10

RingMaster 11/04/2013

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Ophidian I: Solvet Saeclum

Technical death metal is having an impressive flourish of releases right now with already the outstanding new album from The Faceless and the excellent more progressively toned release from Over Your Threshold having enthralled the ear these past few weeks. Now there is a third to excite and intrigue the debut album from Icelandic metalers Ophidian I. Though it feels like an apprentice alongside the two mentioned in some ways, Solvet Saeclum is an impressive and powerful release exuding great promise and dealing in nothing but satisfaction. The album takes no prisoners but once within its muscular grip, its nine tracks light up the senses with skill and enterprising invention. Arguably it is not bursting with the most groundbreaking sounds but it is hard to fault its imagination and passion.

Formed in 2010 and featuring members of Severed Crotch, Beneath, and Angist, Ophidian I were soon in the studio recording demo tracks, the band returning to Studio Sýrland in Iceland for the recording of their album the following year alongside Jóhann Ingi (Beneath). The band signed with Russian record label SFC Records the same year as plans were laid for their debut to be unleashed in 2012. Now it is here, it is an album which shows all the rewards of hard work and intricate detail, its sound a compulsive consumption which leaves sonic trails in the air with its melodic technicality and bludgeons flesh through aggressive intensity.

The release opens with the guitar fingering of Mark Of An Obsidian, its introduction a slow tease upon the ear and a breath which is warm and welcoming. As the guitars unveil their sonic heart the track evolves into a surging onslaught of barbaric riffs and combative rhythms. Drummer Tumi is a storm of crippling beats whilst bassist Þórður prowls the track with an evil glint to his play, both combining to bring a menace and depth to the expressive technical skill of guitarists Símon and Unnar. With the vocals of Ingó a guttural fury throughout song and album, it is a mighty confrontation the band offer behind its progressive artistry, though the song does not explore this element as much as later tracks do but still offers a mesmeric heat within the sprawling oppressive energy.

Shedyet followed by the title track, both stretch themselves more than their predecessor as the band get into their creative stride. The first of the pair surges between rampant attacks and dazzling prog lilted asides which make seamless and evocative interludes between the overall enveloping tempests of intensity. It is a beast on the prowl despite its eager attacks whereas the following Solvet Saeclum leaps at the senses with an incessant eagerness and sharp ideation to ensure nothing but focus and interest in its direction.

All the songs are strong and inventive brutes but the trio of Tectonic Collapse, Ellipse, and Ethereal Abyss, stand apart from the others. The first is a serpentine violation which festers within the senses with corrosive inventiveness. It is abrasive and disorientating through its ravenous intense energy and heady melodic conjurations, the guitars twisting the air with ingenious blackened skill and mischief whilst the rhythms chew on the ear with unrelenting aggression. It is the outstanding track on an impressive album though the other pair are not left wanting in their effectiveness. Ellipse is a technical mischief to excite and ignite the heart whilst Ethereal Abyss is a song with a maelstrom of flavours to its glorious body, its death cored heart veined with jazz and progressive essences which entwine around a black metal groove. Arguably it is the most inventive song on Solvet Saeclum and only enhances the deep promised the band and release inspire.

Solvet Saeclum is a great release which fans of the likes of The Faceless, Necrophagist, and Obscura will lap up. Ophidian I may not have reached the top rung with their album but with a release this strong it is certainly on the cards at some point.

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RingMaster 28/08/2012

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Over Your Threshold: Facticity

Facticity, the debut album from German progressive death metalers Over Your Threshold, is one of those intricate little beasts which need multiple ventures in its company to appreciate and discover all of its aural nooks and sonic crannies. It is a striking and adventurous release to occupy the senses with accomplished skill and strong invention. Personally it did not admittedly ignite a frenzy of adoration but without doubt made the hours in its company compulsive, refreshing, and ultimately rewarding.

Over Your Threshold was formed in 2006 by guitarists Lukas Spielberger and Leonhard P. With drummer Julian Matejka joining the following year the band started drawing attention with their live shows which saw them support the likes of Obscura, Deadborn and Hokum locally. Their self released debut EP Progress In Disbelief caught many an imagination in 2008 as the progressive infused death metal the band was exploring found more eager recipients. With bassist Christian Siegmund having joined in 2009, the quartet entered the studio in 2011 to record Facticity. The result a release which is a technical and aggressive storm which finds an equal balance to bruise and light up the ear with ease. With the added guest skills of Steffen Kummerer (Obscura, Thulcandra) and Jonas ‘JoeC’ Fischer (Hokum, Ex-Obscura) bringing their own craft to the album, it is a release of enterprise and passion. Since its recording Leonhard P has left the band to be replaced by guitarist Kilian Lau and new vocalist Ludwig Walter.

Released through Metal Blade Records, the album goes for the throat from the off with opener Cortical Blindness and its synapse juggling manipulations and ear plundering riffs. The track mesmerises and disorientates masterfully and though it emerges as not the heaviest assault to appear on the album, it is a challenging and satisfying introduction. The guitars and rhythms instigate whiplash at times but also ‘croon’ the senses into a gratified state with their blend of pace, energy, and intrigue. Immediately the song also reveals the stunning invention of bassist Seigmund. His fretless bass, additive lines and obvious skill a hypnotic conjuration, the work of a bedlam spawn predator with fine control and even deeper imagination.

The following Contextual Fluctuating and Obscure Mind Stasis bring darker shadows with their presence. The first is a blackened consumption which within its dazzling melodic weaves, has a menacing and corruptive heart. The second song has an even more malevolent breath to unsettle and taunt the ear but again the melodic soundscape of ideas and guitar is a flourishing shaft of warmth permeating the dark corners. The drums alongside the bass are ominous and commanding, framing all the impressive invention within their muscular arms tightly. It is a magnificent track which steals top honours, just.

As tracks like Self Exhibition, Body Part Illusion, and Antic, descend and feast the ear with excellent musicianship and unmistakable invention, Facticity only pleases more and more. There is never a moment one can sit back and just immerse within a song as there is so much going on, though never to excess. This means as mentioned earlier, many returns to the release are needed to fully grasp its wealth, the continued effort though always enjoyable and rewarding. The third of this trio of tracks is another exceptional song which lights up the air with its electric contagion. It offers the most intensity and threat to be found on the release, its heart snarling at the senses with a vicious hunger. As ever though, the melodic and startling progressive play is rife and magnetic within the sprawling oppressive weight.

Over Your Threshold have created an album which is immensely impressive and gratifying, though as mentioned for some reason it did not fire up enough passion to elevate it the highest plateaus of acclaim. But as that well used line goes, Facticity, it is not you it is me.

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RingMaster 28/0/2012

Copyright RingMaster: MyFreeCopyright

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The Faceless: Autotheism

The first thought listening to Autotheism, the new and third album from tech death metalers The Faceless, is that the band must have great memories to play the ever shifting rapid fire torrent and maelstrom of sounds and ideas which comprise the songs on the album. It is a perpetually evolving seemingly restless storm of intensity, energy, and imagination. The Faceless has always been unprepared to stick to expectations and push their boundaries but now they have unleashed a whole horde of inventive demons.  The album is schizophrenic that is fair to say but with all aspects and identities in full control of their ingenuity and direction. The Faceless has returned to shock, surprise, intrigue and most of all impress.

With their 2006 debut Akeldama, the band stood apart from other technical death metal bands whilst its successor Planetary Duality two years later, took the band to higher plateaus and respect as they pushed their boundaries far beyond their introduction. Autotheism takes an even bigger leap forward as The Faceless emerges after four years with new rampant progressive and melodic endeavour to their sound. It is still as brutal and corruptive as ever but now is locked in a maniacal storm of progressive enterprise or insanity. Since the last album the band has under gone changes with departures and subsequent new members in the form of vocalist Geoffrey Ficco, guitarist Wes Hauch, and bassist Evan Brewer joining drummer Lyle Cooper and guitarist/vocalist Michael Keene.

Released through Sumerian Records the album immediately grabs attention with the introduction to first track Create, the cinematic and building climactic atmosphere leading into the heart of the song with power and compulsive intrigue. The track is the first part of an overall piece called Autotheist Movement and as it spreads its arms immediately hits with the first surprise. The clean and it has to be said impressive vocals of Keene which heat the air with expressive tones. He is prowled around by the hungry guttural growls of Ficco for a great contrast and union, the music complimenting with a predatory stalking through riffs and energy within a slow burning melodic flame. The track is unexpected bringing a sound which the likes of Tool or Deftones would not turn their nose up at and with an underlying menacing snarl to keep things on an edge. Long time fans of the band will possibly be split on the new directions within the album but already the opener offers even in its relatively straight forward guise something wholly unexpected yet impressive.

The track has an abrupt end but before you can think about a breath Emancipate explodes its venomous presence forcibly into the ear. Nightmarish and with a breath dripping hellish ambience the track crawls and festers within black corners and malevolent shadows before fusing in intricate progressive surges and melodic distractions. Once more the bile spewing growls of Ficco swap with the vocals of Keene this time backed by female vocals, they have not so much a duelling companionship but an exchange of extreme whispers. The guitar of Keene leave scorch marks across the sky of the song whilst Hauch blisters flesh with riffs as dehabilitating as the intensity spawn all backed by tight muscular rhythms from Brewer and Cooper.

Autotheist Movement is completed by Deconsecrate, a song which finds the equivalent of Mike Patton in an incestuous barbed bed with 6:33, Textures, and Between the Buried and Me. The track surges through death metal and progressive invention to jazz manipulations and metalcore fingering, the senses a playground for the consistently shifting and twisting imagination at large. The track caresses and serenades, but equally cripples and molests with barbaric force, something the whole album can be accused of and acclaimed for.

The likes of the stunning Accelerated Evolution and The Eidolon Reality, a track which sears itself into the ear with a sonic branding which leaves one breathless, throw further towering and aggressive turmoil upon the senses, majestic and vicious in equal measure and for the fullest satisfaction. As each song confronts more and more deviations of sound and ideas are unleashed to make every visit new and incendiary to the emotions. This vast diversity emerges with one negative aspect; the creativity within songs never allows a breath or real digestion of the immense sounds and invention at large so that no song leaves a clear impression of its shape and body. Yes certain elements stick like the metallic incision and orchestral synth weaves of Ten Billion for example or the melodic dark grace of In Solitude, but in hindsight it is hard to recollect complete individual identities. It is strange as the album is outstanding and every element only inspires full pleasure and satisfaction but within the unbridled tempest it is where everything stays.

    Autotheism is an excellent album which the term technical progressive death metal hardly covers. The Los Angeles based quintet has set a new bar for others to contemplate let alone emulate with an album sure to split views, then again The Faceless are probably used to that.

RingMaster 17/08/2012

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Negativa: Self Titled EP

Arguably like a blob fish, an ugly baby, or Shane MacGowan, the beauty within the self titled EP from technical death metalers Negativa, is one which only a mother can see and love. Well her and those of us who find discord and chaotic imagination the only truly fresh thing in music today. The release really is a thing of beauty, a corrupted and disfigured beauty for sure, but still something starkly beautiful and intrusively stirring.

The three track EP first came out in 2006 as a limited release of 1000 copies, making physical copies highly sought after and near impossible to find. Now re-released through PRC Music, the release shows the band not only ahead of their time but probably still streets ahead of what mass consumption is ready for.

The Canadian band was formed by guitarist/ vocalist Steeve Hurdle (Gorguts ,Purulence)and guitarist/ vocalist Luc Lemay(Gorguts). The EP also sees drummer  Etienne Gallo (Augury, Neuraxis, Aborted) and bassist Miguel Valade (Ion Dissonnance) bringing their distinct imagination and skills to the canvas that was Negativa. The music the quartet spawn is staggering and in just a trio of tracks leaves most other bands struggling to match ideas let alone their realisation. The band since the original release of the EP has seen line-up changes with Lemay one to leave, but all things found true perspective with the passing away of Steeve Hurdle in May of this year aged 41. The release is an impactful and impressive aural monument to Hurdle and the band which leaves a saddened pleasure to its colossal magnificence.

Opener Chaos In Motion preys on the senses immediately with crippling scythes of guitar dishing out blistering destructive discordance. With rhythms from Gallo expelling the breath from the body through its vicious and disorientating attack and vocals as abrasive as high grade sand paper upon the ear, the track is an immoral and delicious sonic cluster bomb of intent and originality. Though a completely different genre the track takes one back to bands like The Fire Engines and Diagram Brothers from the eighties, two more who use discord as a full ingredient , exploring its textures and properties. Negativa go much further igniting its life and shadows with a madness of creativity which envelopes and challenges every synapse and a power which is equally demented and far reaching .

The following epic Thedium Vitae is a monster of a track. It crawls and prowls all over the body disrupting all senses, thoughts, and emotions. The track throws a spanner into rational thought and emotional safety to confound and cripple sanity during its venomous mesmeric assault. From its consuming energy the track intensifies into a brawling clash of rhythms, riffs, and indecipherable but wholly contagious scarred notes. The track is ever evolving, a seemingly maniacal improvisation, but all is perfectly and ingeniously structured to singe and scorch deeply with intense thought and imaginative creative malice the conjurors. The sounds and release as a whole, is a nightmare in sonic form giving no escape and perpetually incessant in its intent, and most of all simply blackened annihilatory beauty.

Closing with the slightly jazzy Rebellion, if that term can be applied to sounds which almost defy description, the release is incredible. This song treads and ultimately stomps over the debris already left in the wake of its conspirators to unleash its own dazzling and dehabilitating majesty. The EP is confrontational and inspiring, ruinous and so refreshing, and without doubt one of the most impressive things heard in a long time. Thank goodness there has been another and for some of us a first chance, to enjoy its towering brilliance.

Negativa is tagged as progressive death metal primarily but this goes far beyond that to have its own unique stature and world. As stated earlier the kind of references and comparisons which come to mind are far from being death metal bands, those earlier unique sounds added to by at a push the likes of Kunz, Coilguns and Dope Body, maybe even Morkobot to try and give some idea of the genius at play on the EP, but it is something distinctly different and special. If you want something to bring back the thrill, danger, and menace which has been generally lost in music, then go and let Negativa do their glorious worst.

RingMaster 15/08/2012

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Moonloop: Deeply from the Earth

With a name to offer up many suggestions other than that of a death metal band the first full length from Spanish band Moonloop is ultimately a very rewarding and impressive surprise. To be fair the Barcelona quartet are not your straight forward example of the genre, their creativity emerging in a striking progressive death metal blend with influences in the form of bands like Opeth and Gojira openly on its sleeve. Deeply from the Earth is a bit of a slow burner, the immediate impression is good without being striking but as it progresses the realisation of how deeply it has begun to register becomes apparent. Though probably not destined to dent many top ten lists as the year closes its eyes, the release nevertheless stands tall and is sure to have a lingering place in multiple ears and hearts.

Formed in 2001 the foursome of Eric Baule (vocals, guitar), Juanjo Martin (rhythm guitar, vocals), Raul Payán (drums), and Vic Granell (bass), unveiled their debut demo Things Can Change in 2004 with the same year seeing the band opening for Anathema. With second demo Release from Duality finding critical acclaim the year after and the band playing at the Sant Climent festival in 2006, Moonloop was becoming a noticed force within the metal scene of their homelands. A year on and the band began recording third demo True Nature Revealed as well as lighting stages at Riells Death Metal Fest, Burning Hell Fest and the Move Your Fucking Brain Festival. From that point shows and tours took precedent, the band demoing live many of the tracks that would appear on debut album Deeply from the Earth.

Recorded in 2011 the album is finally released on Listenable Records and with its wealth of quality and thought let alone great promise, Deeply from the Earth is an album that deserves focused attention.  The album like some previous releases is based on Mother Earth as well as life experiences. It has a depth and inventive heart lyrically and most noticeably musically to elevate it above the majority of releases this year and though it and the band struggle to avoid the Opeth comparison especially it is a compliment rather than a flaw ultimately.

As mentioned the album is slow to get going though this is not to say the first couple of tracks lack any quality or endeavour. Awakening Spirals Of Time and Beginning Of The End both seize the ear with accomplished skill and melodic power, the first a brief and exotic instrumental with an atmosphere sun scorched and dazzling whilst the second is a bruising and heated envelopment of the ear. From the coarse blistered vocals of Baule to the colourful and incendiary guitar play the track licks like a flame around the senses though ultimately it does not kind an ignition point. It is hard to pinpoint which element is missing to deny it the chance to let it truly ignite but it is still a satisfying and welcome treat upon the ear.

As third track A Life Divided wraps itself around the senses something clicks and the album and band trigger something deeper. Whether from the firmer muscular intent, the less fussy melodic play or possibly its shorter length the track hits the mark and steps forth as best on the album. It also marks the first appearance of clean vocals and they bring an instant lift to the song though it is the persistent and insistent groove which really hits the spot.

Fading Faces with further excellent clean vocals against battering rhythms and a resonating intensity leading to numbness, is an outstanding continuation of the immense sounds from its predecessor. As the album moves through the impressive likes of the destructive Legacy Of Fear and the wonderful progressive melodic/semi acoustic/intense darkened blend of Wailing Road the intrigue and pleasure continually outweighs any negatives which arguably exist within the release.

To be over critical at times Moonloop over stretch their progressive passages and solos whilst the longer songs lack the concise touch of the less lengthy tracks but to be honest there is not much to criticise really. Once the band finds a unique sound with its own distinct breath there will be no stopping them.

Ringmaster 29/05/2012

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7 Horns 7 Eyes: Throes of Absolution

The release of a three track digital EP in the shape of Convalescence last year from Seattle melodic/progressive death metalers 7 Horns 7 Eyes inspired much anticipation for their debut album Throes of Absolution. The trio of songs on the release showed the band had evolved in sound and might into a formidable and thoughtful band in craft, songwriting, and the bringing of those into an aural reality. The long awaited album more than confirms this and fulfils all the enthused eagerness that the EP spawned. Impressive, powerful, and imaginatively constructed it is a mighty and thrilling release, its open and undeniable glories far outweighing any negatives of which there are very few.

Formed in 2006 the band first drew attention with their self released debut EP from fans, media, and other musicians equally, especially from now ex-Nevermore guitarist Jeff Loomis who makes a guest appearance on Throes of Absolution. The sounds on the album are a long way from the early music from the band, their ability and skills let alone ideas having evolved and matured in the subsequent years. The recording of the album did not run smoothly though with a change in frontman meaning all the album vocals had to be re-recorded by new singer JJ “Shiv” Polachek. Finally though the album is unleashed via Basick Records and it more than builds on and expands the promise and hopes instigated by the earlier release.

     Throes of Absolution is not the easiest of albums to get to grips with, it is a demanding beast with depths that require and deserve full focus and time to explore and be consumed by. There is never a moment where the release goes for the instant and easy connection, the band only intent on making music that has an atmosphere and breath of its own. The album is almost like an immense groan, the release of dark and ominous emotions in the shape of intense and weighty riffs, threatening yet controlled rhythms, and melodies that burn as they light up the senses. The release feels alive in itself not merely from the skilled musicianship of the band and the energy they give to it. It is because of this the album is a challenge that confronts all before it and is all the more impressive for it. Some may have to take it in bits or stages but the rewards for the endeavour are immense.

From the opening beckoning almost peaceful beginning of Divine Amnesty the album wraps itself around the ear before bursting from within with thunderous rhythms, a predatory bass, and guitars that weave sonic colours and passions upon the senses. As the track flexes and reveals its muscular strengths the band brings emotive melodic imagination and manipulations to alternately sooth and further scorch the bruising caused by the intense sounds that surround them. Vocalist Polachek and his delivery are bestial; a black hearted growling creature all on their own that add to the dramatic and deepness of the song.

Each track that follows is wonderfully varied but within the same structure shown on the first, the brutality going hand in hand with the marked and intrusive yet mesmeric melodic invention and presence. Phumis: The Falsehood of Affliction alongside the likes of The Hill Difficulty and Delusions with its perfect mix of warm light and invasive dark, all turn listening into an experience involving passions, thought, and a deliberate submission before the invading extensive sounds. Throughout the band shows their obvious and controlled ability, the guitars of Aaron Smith and Sean Alf making each note and riff an exploration and satisfying experience for the listener whilst the bass of Brandon Smith prowls with a menace and bulky pulse alongside. The drums of Ryan Wood are excellent throughout too, the guy knowing exactly when to pummel and smash through the ear and when to bring vibrant restraint. The production of guitarist Smith has to be commended highly too; he allows each component of the band to have a clarity and depth without interfering with the overall intensity and organic flow of the songs.

Many of the track almost lumber across the senses but as a personal preference it is when the band raise the tempo and energy that they find even greater heights. Cycle of Self first shows this with its eager rampage, feisty riffs and merciless initial march whilst the guitars throw cascades of melodic expression down amongst the debris. The song does slow its stride as it progresses to evolve into a different but still impressive track. Vindicator is the best song on the album and again a raised energy within it takes it above the other fine tracks. The intrusive riffs and sonically sharp guitar creativity its offers is a seamless blend of opposing diversity from the flowing melodic elegance and crushing heavy dark aggression. Mesmeric and at times hypnotic the track is dangerous and irresistible.      

     Throes of Absolution is one of the best albums out so far this year and for those who want more than simply being crushed and barracked without any depth it is a must investigation. It is not perfect with the excellent vocals of Polachek lacking a distinct variation, whether the song is a long crawl or an intense rummage through the senses he stays within his own strong but similar delivery. The only other comment that can be made is that not everyone will or want to take on the challenge of delving deeper to find the rewarding treasures beneath the surface assault but it is doubtful the band really care about that and why should they as7 Horns 7 Eyes has created a great and impressive album for us to revel in it.

Ringmaster 20/04/2012

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Nami – Fragile Alignments

If an album takes three years in the making, and from the creative process and not simply down to obstacles put in the way, the anticipation for something special will be strong and eager. Fragile Alignments from Nami, a quintet from the little country of Andorra located in the eastern Pyrenees, is more than special it is stunning, the length taking to bring forth fully justified in its amazing contents. The release is an immense and glorious kaleidoscope of ingenuity, imagination, and provocative sounds that stirs up the heart and ignites the senses.

The base sound of Nami is progressive death metal but that really is simplifying far too much as the band draw upon and into their sounds flavours and directions from numerous genres to create music that in one moment can be a mesmeric beautiful and the next aggressively intrusive, not forgetting the times when the band just hypnotise with an incessancy that has its recipient drooling and whimpering at the same time. The first listen was hypnotic and instantly impressive, subsequent plays consume and fuel a love affair from the deepest corner of the heart.  No review or description will fully bring over the quality and jaw dropping glory of Fragile Alignments or give the true depth of the emotive grip of the haunting and soulful melodies that permeate every track or the virtual brutality that is unleashed at times, often unexpected but always effectively. To be honest the album is not flawless which in itself engineers the greatest thrill and unbridled lust for what is yet to come from this young band. 

Mixed and mastered by legendary producer Jens Bogren (Opeth, Amon Amarth) the album ripples with elegance and melodic beauty whilst flexing its muscular might and intensity, erupting with varied and gripping textures that  combine the elements that the likes of Meshuggah, Opeth and Between The Buried And Me have made their own, until now. Fragile Alignments consists of nine pulsating and captivating tracks wonderfully written and realised by vocalist Roger Andreu, guitarists Bernat Argemi and Filipe Baldaia, Ricard Tolosa on bass, and drummer Sergi Verdeguer, each member of the band excelling with distinct musical prowess and skill and though their talents are clearly obvious it is all seamlessly brought together to blend into one perfect soundscape.

Fragile Alignments is a conceptual album which as their website bio states “The story arc of “Fragile Alignments” is developed through the choices made by the album’s central character “The Man”: a representation of our modern humanity. Anchored by the themes of optimism and freedom, the album follows The Man on a secular journey towards his own enlightenment as he clashes with the natural world that surrounds him.” The album also has the songs layered in an “achronological storyboard” which means the album can be approached in any track order to make the experience of the one story being told, different, inspiring and provoking; never has shuffle on your iPod been more worthwhile.

Every track is a triumph with pinnacles in a solid wave of exhilarating songs and quality coming in the shape of the opening instrumental ‘Awakening from Lethargy’ where the music slowly comes alive building to crescendos through atmospheric bright musical stretching, the song bursting to life with emotive keys , vibrant guitars and glorious warmth, and ‘Cosmical Beginning (Air)’ with its gruff almost belligerent stance leading seamlessly into the sumptuous and absorbing passion of ‘Conscience of the Void (Water)’. Top honours though belong to ‘Oppression and Understanding’. The song erupts with a venomous death metal intensity and the deepest growls from Andreu over threatening and commanding rhythms from Verdeguer, before adding infectious siren like hooks and riffs that are aural addiction, the guitars of Argemi and Baldaia slicing scorched slithers off the senses from their incisive magnetizing skill. The bass of Tolosa punches and throbs its way into the ear and as throughout the whole album, he brings an irresistible beguiling element to the music.

Fragile Alignments is outstanding and without doubt one of the most impressive and genuinely enjoyable albums in a long time. Nami might be new, they might also be still yet to reach their full potential, which is a scary thought, but they are right now one of the more refreshing and exciting bands to step forth. There is no option you really must go and find out why.

Band Web: http://namiofficial.com/

RingMaster 09/12/2011

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