Alexanred – Rest After Result

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Upon covering Non-Stop Non-Stop, the debut single from industrial metallers Alexanred near the end of last year, we admitted though the song strenuously impressed it was too early to make a judgement of the band as much as the potential seeded real anticipation for future endeavours. The release of new single Rest After Result brings two more songs into the equation and all the promise and thrilling attributes of that first song have now been reinforced and pushed on. The new release is a thumping and rousing anthemic roar of electro and metal invention, again not one diving into brand new undiscovered territories but a proposition to ignite imagination and passions with a predatory virulence.

Alexanred is the solo project of Finnish industrial metallers 2 Wolves’ guitarist/synth player Aleksi Susi. Formed in 2012 and taking influences from the likes of Rammstein, Lacuna Coil, Type O Negative, Cradle Of Filth, Paradise Lost, Septic Flesh, Rob Zombie, Prodigy, Autopsy, Nile and more, many of which loudly call out within both of Susi’s releases, the band makes a rigorously compelling persuasion with its raucous energies and ridiculously addictive qualities. As its predecessor, Rest After Result infiltrates the ears with a voracity and hunger which virtually stalks down thoughts and emotions, demanding attention and ultimately submission to its fiery charms. It is a predator of the senses but one which just as potently takes them on a stomp of electro adrenaline aligned to industrial rapaciousness within a web of metallic antagonism.

The title track launches its predacious crawl from a deep breath, electro teasing uniting with raw thrusts of guitar as beats place their heavy fingers into the mix. It is a menacing start which takes little time to remove the reins on a feisty energetic chorus spurned on by electronic urgency and melodic infectiousness. It is highly anthemic bait which is prepared to slip back into portentous shadows as the track slows back into its initial prowling intent, happy to lie there waiting for its moment to again fill and incite ears and passions. In many ways especially around the chorus there is a strong essence of early Ministry to the song, the time before Al got all macho on us, whilst the darker evocative and intimidating passages holds a Nine Inch Nails breath to their imagination.

It is a thoroughly enjoyable encounter which is straight away exceeded by the accompanying Effective. From its first second soaring melodies soak the flight of the synths whilst guitars and beats paint a sinewy aggressive canvas clad in shadows and challenging textures. Right away thoughts of Rammstein come to the fore through the vocal and muscular drama of the emerging song, but with evocative keys and unsettling twists in the gait of the song there is plenty to temper any over familiarity with the Germans. Feet, body, and neck muscles are soon given an intensive workout as the song pumps through their veins inciting full involvement though respite is given when the track unexpectedly and extremely pleasingly slips into a cavernous epically cast scenery. It has thoughts and imagination racing with pleasure before the previous inescapable toxicity merges with the new landscape for an exhausting climactic finale. It is a glorious track revealing more of the invention within Alexanred than arguably the other two songs from Susi together whilst continuing to seduce and infect a growing appetite for the man’s sound and imagination.

Rest After Result and Alexanred are not offering anything openly new in industrial metal but it sure is a frighteningly exciting proposition and that is good enough for us.

Rest After Result is available via Inverse Records now.

http://www.facebook.com/AlexanredFinland

9/10

RingMaster 22/05/2014

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Herod -They Were None

Herod 10

An encounter and experience which permeates senses and imagination with a ravenous and intense emotional hunger, They Were None is a dramatic and merciless introduction to Swiss post hardcore band Herod. Their debut is a leviathan of weight and intrusive endeavour, a dark and stark tempest of voracious atmospheres and inescapable intensity examining every pore, thought, and emotion. It is at times a testing and exacting encounter but one which is as rigorously compelling as it is intrusively predacious.

Herod was initially the solo project of guitarist/bassist Pierre Carroz which came to life in 2006. Holed up in Malmø in an isolated studio apartment, he began creating and merging dark and depressing riffs with his baritone guitar, recording them on an old 4-track recorder. Taking inspiration from the cold and desolate Swedish climate he returned back to Switzerland where in 2011 he met former Twisted drummer Fabien Vodoz and A Fine Day to Exit vocalist David Glassey. Uniting to form Herod, the trio worked the already bred ideas of Carroz into new songs, tracks which would come to make up their impressive debut They Were None. Recorded in 2012 with producer Julien Fehlmann (The Ocean, Coilguns, Unfold) and mastered by Svante Försback (Volbeat, Rammstein), the album has emerged as a devastating proposition soaked in destructive beauty and venomous enterprise. It is an uncompromising and often punishing incitement brewing a consumption of sludge, hardcore and progressive metal which instantly thrusts Herd, with a line-up completed by guitarist Bertrand Pot, into an immense spotlight.

The album opens with The Fall and within seconds is smothering the senses in a thick cloud of sonic suggestion and heavily weighted Herod Artwork 1breath. Its intimidating expansion begins as a distant squall but is soon immersing ears and beyond in a rapacious caress. The guitars cast a portentous and immediately menacing toxicity, crisp rhythms and sinewed throaty riffs spearing and veining its malevolent air to further engage and twist the psyche as the track’s exhaustive narrative unfurls lyrically and emotionally. It is a murderous encounter but irresistibly captivating especially with the brief escape of clean vocals and its entwining melodically bred sonic web; thoughts of Converge meets Cult Of Luna whispering in thoughts as the song invades further.

It is an attention capturing appetite igniting ten minutes immediately matched and pushed further by Glory North and then Inner Peace. The first roars at and contests with ears from start to finish whilst employing further unpredictable and enthralling twists of vocal diversity, a restrained passage of emotive design, and predatory imagination. Essences of Meshuggah add to the carnivorous qualities of the throaty guitar and even darker bass as the track persistently breeds fearsome yet seductive bait to its persuasion. The second of the two is even more dangerous, its more controlled gait adding menace to the intensive manhandling of thoughts and emotions by the of song’s voracity and that of its individual elements. It is a suffocating proposition but as the previous songs is swamped in rewarding violations and ingenuity.

A melodic entrance with a hypnotic percussive accompaniment instantly makes the following Northern Lights a virulently appetising proposition, the bestial gnawing in the background sparking encroaching shadows around the elegant seduction flirting with ears and imagination. The beauty of the scenery continues to call even when the track unleashes its barbarous wash of domineering rhythms and corrosive riffing; the track a brutal yet warm temptation exposing further the outstanding songwriting and composing of the band. In the hands of others the song could be just an overpowering slab of hostility but Herod sculpts it to be certainly uncontrollably demanding but also the enabler for the imagination to explore its canvas and textures.

From the sinister and immersive instrumental Sad Hill Part I, the pair of Albert Fish and We Are the Failure expose the weaknesses of emotions, exploring and pushing the limits of their and the listeners fears. The first is a ruinous concentration of coarse vocals and riff spawned rabidity which initially has assumptions expecting a primal storm throughout but the veining of sonic tempting and angst clad expression to the vocals ensures another engrossing premise, if one lacking the adventure and lures of previous songs. Its successor though is another matter, the track a melancholic proposal which from its sombre opening melodies soars into the passions with the heavy lipped dark tones of Glassey, his clean vocals merely hinted at on other songs, given full rein to immediately impress. He is not the strongest singer in that style but with such passion and expression to every squeezed syllable he is magnetic. The track itself is a helter skelter of angst bedded voracity and enslaving metallic design, every note and thought a glorious trap.

Through the bordering on savage aural protestations of Betraying Satan, captious rhythms and guitars spiteful intrigue to the tempestuous vocals and sonically laced grooves, and the rigorously erosive Watch ‘em Die, the album continues to exhaust and impress whilst the excellent No Forgiveness For Vultures moves from a heavily soaking persuasion into a mouthwatering maze of unpredictable riffs, persistently twisting invention, and biting yet composed rhythms. With the dramatic final instrumental Sad Hill Part II concluding the release, They Were None proves itself to be not only a masterful debut but an immensely exciting one. Herod has announced its arrival in a strenuously impressive way, one which is still increasing its potency with every brave immersion into its depths.

They Were None is available now @ http://herod.bandcamp.com/album/they-were-none

www.herodnoise.ch

8.5/10

RingMaster 02/05/2014

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Alexanred – Non-Stop Non-Stop

alexanred pic

Just in case in the Christmas rush you missed the release of the debut single from Alexanred, we thought we would give you a nudge to one contagiously addictive track. Non-Stop Non-Stop is pure industrial virulence, a pulsating infection soaked song which pounds the senses with anthemic temptation and captures the imagination with arguably not ground-breaking but fresh and magnetic irreverence. It is not a release which will have your thoughts and emotions stretched and lost in contemplation but unashamedly a song which skilfully and mischievously goes straight for the primal and rhythmic beast inside with a bait of tub thumping rhythms and coarse electronic wantonness.

Formed last year Alexanred is the creation of Aleksi Susi, guitarist/synth player of Finnish industrial metallers 2 Wolves. Listing influences which include the likes of Rammstein, Lacuna Coil, Type O Negative, Cradle Of Filth, Paradise Lost, Septic Flesh, Rob Zombie, Prodigy, Autopsy, Nile and more, some which you could almost guess from the single, Alexanred makes an undeniably impressive entrance with the Inverse Records released Non-Stop Non-Stop. It is never wise to make a full judgement of a band upon one song, every artist more often than not having one acceptable gem inside them whoever they are, but it is hard not to anticipate and suggest richly promising and thrilling things to come from the project ahead.

Still from 'Non-Stop Non-Stop' video

Still from ‘Non-Stop Non-Stop’ video

The opening seconds of the song alone incite full attention; they maybe clad in a simple rhythmic lure and a restrictive pulsing electro rub but there is immediate intrigue and temptation which takes hold. Barely another moment passes before the track is in full muscular stride, synths stomping with devilry dripping from every note as vocals taunt from the surrounding shadows. Once Susi makes his full vocal appearance the sounds show a restraint to allow his almost whispered provocation to wash smoothly yet sinisterly over the senses. Soon though, the song is thrusting out its imposing chest within a riveting rhythmic caging, exploding into an anthem of sound and epidemic vocal incitement to confirm the seduction of thoughts and emotions.  As mentioned the track is not really setting new boundaries but with a raw threat and empowering intent to its vocal and rhythmic barracking, and a virulent toxicity to its electronic suasion the single is pure irresistible temptation.

Like the bastard inventive son of a union between Rammstein and Rob Zombie, Non-Stop Non-Stop is the perfect appetiser to band and their horizons, something it is hard to wait for with patience.

http://www.facebook.com/AlexanredFinland

10/10

RingMaster 08/01/2014

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Cold Cold Ground – Lies About Ourselves

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Having been enlisted into their dark rock sounds with the excellent Blue Light Circus EP of 2008, Finish industrial punks Cold Cold Ground have continued to whip up our passions here but now really gone to town on them with their new album Lies About Ourselves. An intensive brew of seductive atmospheres around a carnivorous predation which stretches and pushes the release the release is a riveting mouth-watering furnace of energy and startling noise sculpted invention, an industrial punk/metal fury with a devilishly twisted intent. It is the Helsinki quartet’s finest moment to date, ten rapaciously ravaging slices of heavy, dark, and exhausting brilliance.

Cold Cold Ground was formed in 2004 by Hauptmann D, NooZ, Mr. Bunny, and John Paul Jr, and was soon grabbing attention through their trio of EPs, the Lamb and Custom Built EPs of 2005 and 2006 respectively as well as the previously mentioned Blue Light Circus. With an all senses engulfing live show and their well-received debut album This Side of Depravity of 2010, the band only enhanced their stature and fan base which Lies About Ourselves now takes to another level. On their second album the band quite simply is at its most inventive, volatile, and furiously impacting yet.

The album instantly is savaging the ears with opener My Fist And I, the track a tornado of energy and aural spite from its 1460209_10152038643995903_1113209224_nopening second, and though it has moments where it takes a step back in aggression it feels like it is merely taking closer straighter aim for the next tirade of thrilling voracious intensity. The vocals of Hauptmann D prey on every syllable given, fuelling them with a venom which matches the hunger of the riffs from Mr. Bunny and the prowling bass of NooZ. With the unforgiving rhythms of drummer Hoker Dine puncturing the punk storm brewed, the track is a stunning slab of intensive defiance and industrial antagonism. It rampages like a blend of Pitchshifter and Rabbit Junk with essences of Rammstein and Lard, but equally has its own rabidity driven uniqueness.

The following Welcome to Hell has a less intensive and more electro based presence but is still fuelled by a punk voraciousness which snarls at and chews the imagination excitingly. Less instant and commanding than its predecessor the track still grips a wildly attentive appetite for the varied and inventive sounds offered. Its successor Suck and Pay feeds that same hunger with its exceptional fire of cantankerous energy and invention. Like Fuckshovel does Fear Factory whilst on a sonic hallucinogen, the track is a glorious charge of ingenious enterprise and daring, unpredictable and wholly addictive.

The pleasure and ravenous craft of the album continues to excel, through firstly Model Citizen where thumping rhythms frame an intensive brawl of riffing before taking centre stage whilst coaxing in further scythes of guitar and electronic teasing. The bass also finds a new darker growl which excites the ear and helps create a Marilyn Mansion toned presence as the track hits its stride. It like the following venomous We Are the Sun slip a little below the plateau set by the album but with bodies of inventive hostility and imaginative provocation neither leave satisfaction or hunger wanting, the same as the contagious Tourist, another song which cannot quite match the highest pinnacles but forges its own memorable dark rock heights.

The brawl of the insatiable punk fuelled Cocaine In My Ass slaps another major highlight down on the senses and passions, the great bass taunting and esurient challenge of the riffs and rhythms colliding for an illustrious aggravation which is viciously anthemic and barbarically addictive. The song puts up a real test for those following to equal which none do but certainly they all make valiant impressive attempts, Drive the first stepping up to take the listener on an exhausting and highly satisfying charge of caustic rock ‘n’ roll to be followed by the stalking and compellingly imaginative title track, a song with melodic flames and bold textures as gripping as its extensive intensity, and finally the smouldering electro embraced Things Fall Apart. The last offering continues the great diversity across the album, its melancholic beauty and seductive balladry mesmeric if maybe lacking the wonderful addiction brewing toxicity of previous songs.

     Lies About Ourselves is a scintillating confrontation, a thunderous and greedy assault of industrial seeded punk and rock excellence. Cold Cold Ground just gets better and better.

http://www.coldcoldground.com/

9/10

RingMaster 18/11/2013

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Unzucht – Rosenkreuzer

Unzucht_Bandfoto

Unleashing their second album on a generally unsuspecting world, German band Unzucht take little time in showing themselves to be a formidable and robust provocation, and more importantly a thoroughly captivating one. Creating a rapacious brew of industrial and gothic metal which as easily seduces as it can chew upon the senses, the Lower Saxony based quartet with Rosenkreuzer, have primed themselves to be an undiscovered presence for a great many no longer. Consisting of thirteen songs which romance and invigorate the passions, the release is a fiery and magnetic tempest of sonic causticity and metallic antagonism wrapped in a smouldering electro glaze which soaked in enthralling temptation makes band and album one of the must listen escapades of 2013.

Formed by De Clercq (guitar, electronics, vocals) and emerging around 2009 with the line-up of vocalist Der Schulz, bassist Blaschke, and drummer Fuhrmann alongside its founder, Unzucht unleashed debut EP Engel der Vernichtung the same year. Numerous appearances on a wide array of compilations followed before the release of the Deine Zeit läuft ab EP in 2012. Bringing a strong attention and reputation their way simultaneously, the band in September of last year uncaged their debut album, Todsünde 8 , a record which went hand in hand with an intensive length of time touring which saw Unzucht on the road firstly with Mono Inc., followed by Megaherz and then a eager participant at the Dark End Festivals 2012. Their album drew good acclaim, stretching the recognition of the band to greater lengths which Rosenkreuzer will ignite further. With a very successful co-headlining tour alongside Lord Of The Lost under the belt this year, Unzucht stand poised to truly explode a full awareness around them with their album an irresistible weapon.

The NoCut Entertainment released Rosenkreuzer takes mere moments to have attention and anticipation alert with its title track. Unzucht - Rosenkreuzer - ArtworkOpening up the adventure with instantly contagious electro grooves and an enticing atmosphere, the track is soon teasing and dancing around the ears with unchecked energy and a brewing rapacious intensity which ebbs and flows pleasingly around the excellent vocals, theirs a clean delivery with scowling and melodic harmonies alternatingly taunting the imagination further.  It is a compelling introduction to the album, a fiery mix of industrial and gothic endeavour which is soon matched by Kind von Traurigkeit. Less forward at the start but more intimidating in its breath than its predecessor, the track roams senses and thoughts with an accomplished and engaging prowl, the vocals an emotive narrative which as in all songs defies its German language delivery to paint an evocative picture upon the enticingly crafted canvas of the song.

Triebwerk stalks the ear next, its opening predation soon accelerated into a dark hearted crowding of the senses with raw riffs and caging rhythms. With menace and danger continuing to guide the track, and pop kissed flames exploding across its bow to increase the potency of the resourceful evocation throughout, the song keeps the thrilling presence of the album going before passing the baton on to the absorbing Nur die Ewigkeit. There is a seemingly familiar presence to this track from the start, the vocals again inviting full attention to the Numanesque sounds which stroll with respect and inciting success around the imagination. It does not quite live up to the heady levels set but leaves the appetite for the album boiling nicely.

Through the feisty Feuersturm with its incendiary electronic stimulation and metallic aggravation, and the smouldering croon of Zwischen den Welten, the album continues to grip purposely and effectively, the second of the pair a seductive and sinisterly inventive treaty for the passions to submit to. There are at times elements which bring thoughts of Rammstein into play though they are fleeting moments to be fair, except on the outstanding Angst which is very much in their countrymen’s territory, and though there is an easy to access and commit to feel to the songs it is all distinctly Unzucht.

There is not one track where you find yourself looking forward or reluctant to indulge in numerous time but further pinnacles come through the excellent Das dunkle Tier, a track which dares to involve a delicious stoner/hard rock groove into its expressive tantalising, and the wonderfully inventive and powerful Der Untergang where the band again draw out a call which is pure contagion whilst sealing it in an emotionally blazing pool of sublime beauty.

An impressive cover of the Héroes Del Silencio track Entre Dos Tierras also stands out with its inventive and melodic head held high before the album provides a deliciously sculpted ballad in the shape of Nymphonie and finishes with the exhausting electro/metal stomp of Mit Dir oder ohne Dich. Coursing with a rhythmic rabidity which often has to relinquish its grip throughout to the equally fascinating hues of the keys and electronic weaves which eventually take the song into stronger evocative depths, the track is a melancholic sunset to close Rosenkreuzer. The album is a refreshing incitation from a band you can expect to be on a great many more lips and exploring a greater well of eagerly attentive ears here on in.

http://www.unzucht-music.com/

8/10

RingMaster 24/10/2013

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The Devilzwork – A Dead Horse

the devilzwork pic

Australian industrial metallers The Devilzwork set senses and fears cowering last year with their album Floodlights, a carnivorous sonic pestilence which gnawed and seduced the emotions with lethal  yet compelling severity. Now the band returns with its successor A Dead Horse and another tempest of virulent devastation hell bent on consuming and reshaping the synapses.

Hailing from Australia’s Capital Region, the 2009 formed quartet of guitarist Whiskey (also in Chud), vocalist/bassist Tobias, guitarist Kvlt and drummer Postal, has built an incendiary reputation across the regions of Melbourne and the Australian Capital Territory with their impressive live shows which has seen them stare stages with the likes of Voices of Masada, MzAnnThropik, Tim “The Ripper” Owens, and Mnemic. The self-produced demo Bad Moon Rise equally sparked concentrated attention though it was the eight track release Floodlights which stretched the bands presence much further afield as certainly an online presence and temptation. Now A Dead Horse is primed to accelerate that growing awareness. You suspect such its harsh and caustic devilry that the release will send as many running for the hills as finding those unable to resist its scourge driven charms, but if unbridled spite coursing corrosion is your idea of a treat than The Devilzwork has a nasty rewarding one lying in wait.

Opening track Obey The Worm… immediately scorches the ear with a sonic piercing before riffs and rhythms conjure up a death metal 1016963_626992130646833_1762260211_nseeded malevolence. It instantly has the hairs on flesh wilting before its vicious blaze of noise rock/industrial ferocity with the great duel vocal attack driving the aurally scurrilous fire of sound to greater depths. From the first track alone you can openly see the evolution in the songwriting and intent of the band. Whereas Floodlights was one carnally bred lime pit of intensity and noise soaked irreverence its successor has a more defined purpose and invention to its claws. A strong spicery of metal and rock adds further potency and imagination to the song and as it emerges, A Dead Horse as a whole.

The outstanding Kalifornia comes up next, its confident swagger and teasing wantonness leaving a tasty flavour of horror rock to the Ministry sounding torch of sonic animosity. A twisting feverish taunting on the senses and imagination, the track despite its too soon coming departure is the first of the major highlights on the album and ultimately the best track.

The Godflesh/Marilyn Manson lilted Prick, a track with labour to its attack but captures the passions at a glance without any resistance, and the more electro venomous Big Man follow to continue the strong start of the release if without quite matching their predecessor whilst the insidious corruption that is Hardware suffocates and invigorates simultaneously to ignite the mind and emotions. Bringing an acidic blistering groove which would rest easily in a Kyuss/Queens Of The Stone Age rage, the track pushes the diversity of the album yet again. Admittedly some work is needed to unveil some of the unique rewards to be found within the songs beneath the surface severity and taking that plunge head first only rewards all the more. The previous album was debatably short on individuality between songs in hindsight but there is certainly no issue with A Dead Horse as each track reveals given close attention.

From the pernicious Corrosive, a more than decent track which is as its title suggests, and the dark intensive exploration Vast, the album reaches another pinnacle with Insect. Thumping rhythms open up a cage of virulent toxicity, a wash of sonic itching wrapping the skin whilst vocals and restrained electronics rattle the bars and another epidemically addictive groove frequents senses and passions. The track will have you scratching the brain and emotions for hours after whilst the short burst of instrumental after its departure soothes the sore need.

Enthralling expels a raucous heavy rock fury, vocally and melodically, within another breath and atmosphere of poisonous sonic mercury to again push the envelope of invention whilst Virus Installer is just a rapacious pathogen of angry and malicious noise honed into a riveting protagonist. Both leave the senses exhausted and wondering what hit them yet thoughts alive with interpretation of their magnetic intensity.

Concluded by the tender, well in comparison to what came before, Push Yourself Around and the sinister soundscape Desolate, the album leaves a hunger for much more. The first of the final pair has a scintillating toxic swing to its pestilential might whilst the closer is just an evocative passage of sound and menace which leaves the mind exploring its own black corners. Both add further absorbing ventures to A Dead Horse, an album which shows no mercy but strikes with an intelligently sculpted persuasion offering depths of melodically spawned venom. With only the shortness of some of the most enthralling violations a niggle, the album is an impressive leap forward for The Devilzwork and a must investigation for all fans of the likes of Ministry, Godflesh, Rammstein, Marilyn Mansion and those of industrial and death metal… though are they brave enough though?

https://www.facebook.com/thedevilzwork

8.5/10

RingMaster 10/09/2013

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Mono Inc. : Nimmermehr

     MONO INC._Bandfoto

     Nimmermehr sees German rockers Mono Inc. follow last year’s acclaimed and successful album After The War with another slab of expansive gothic rock that takes the listener on an eventful and thrilling ride of sound and adventure. It is an album which employs the essences of numerous eager styles and their dynamic devilry whilst creating a fun and ultimately pleasing romp of invention and imagination.

Formed around 2000-2001 by then drummer Martin Engler (moving to lead vocals in 2006), guitarist/vocalist Carl Fornia, and original vocalist Miky Mono, three musicians who had played together previously in  both Wild Thing and Mono 69, the Hamburg band soon built a strong reputation for their stadium rock type of gothic bred sound. Albums such as debut Head Under Water of 2003 and re-released a year later, Temple Of The Torn in 2007, and Pain, Love & Poetry the following year all earned the band strong attention and impressed responses. The previously mentioned After The War set the band upon another level of world awareness which the vibrant Nimmermehr (meaning Nevermore) will only cement. Released via NoCut Entertainment it is a collection of tracks which tease with unpredictability and persuade with open passion and distinct charm, the line-up of Engler and Fornia alongside bassist/vocalist Manuel Antoni, and drummer/vocalist Katha Mia creating a shadowed sun of melodic and atmospheric breath with darkly emotive and tantalisingly provocative enterprise.

Opening track Heile, Heile Segen instantly cups the ear in roaming keys and a romping bassline, guitars brewing a scratchy invitation MONO INC - Nimmermehr - Artworkwhilst the German sung vocals of Engler bask in the great electro embrace punctuated with a breath of elevated energy. It is an infectious stomp which seizes the senses from the first second and leads them into a potent dance of electro contagion and pop rock urgency guided irresistibly by not only the vocals of Engler but the teasing sultry tones of Mia alongside. Arguably there is nothing particularly new going on but when it sounds this good and enjoyable there is not issue to be raised, the song a great mix of Konstrust and Hanzel Und Gretyl.

The following Seligkeit continues the great start, its muscular electro pulses a potent incitement going hand in hand with the cracking beats of Mia which vein the magnetic weave and drama of the keys, they driven hard by the sinewy riffs which spark up in mini crescendos throughout. As in its predecessor the vocals are a warm hug within the sturdy presence of sound, the combination an incendiary call for the passions. Again as the first song and across plenty of the album, there is a familiarity at seductive work which whilst pointing to an absence of ground-breaking ingenuity going on undoubtedly makes an imaginative use of existing and diverse rich spices.

The excellent My Deal With God is an irresistible anthem for the passions, the surprising seemingly Irish lilt to chorus and even the vocals at that moment just scintillating whilst the dynamic weave of melodic and electronic sound with a gothic emotive embrace, are pure virulent infection. A plea to limbs, voice (luckily it is sung in English to enable a full persuasion), and energy, it is an early major highlight of the album but just one in many as shown by the following Kein Weg Zu Weit with its sultry air and ambience washing a stern rhythmic pulse and evocative guitar narrative. As in evidence now the ability of the band to create choruses which resonate and ridiculously tempt is almost regal, this song a slow evocative walk with refined elegant twists as contagious as the riotous devilment of the previous song.

Both the outstanding Euthanasia and its mighty equal The Clock Ticks On cast accomplished fusions of symphonic winds within gothic rock expanses, the first a bewitching chalice of glowing melodies and enriching imagination whilst the second is a heavyweight stomp bringing the intensity of a Rammstein into the pop suasion of an Ace Of Base or Propaganda. It is a riveting melodically fuelled waltz smouldering with eastern mystique and driven by insatiable revelry, and in league with the first and the melancholic beauty that is Alles Was Bleibtnergetic which splits them, makes for another stunning stretch of triumph Nimmermehr.

The great gravel kissed vocals of Engler marks the impressive sorrowful croon of A Better Way To Die next whilst the invitingly busy lures of Herzschlag and the impossibly contagious Days Like This leave the senses and passions exhausted but invigorated, The third of the trio is a stirring and galvanic blaze of rock and pop. Like a union between Bryan Adams and the more pop spiced era of The March Violets, and much better than that sounds, the song is a fire of glorious anthemic enticement, quite irresistible and totally enslaving.

Completed by the electro rock pop provocation of Ich Teile Dich Nicht and the decent enough piano and vocal led title track, Nimmermehr is a powerful treat which shows no mercy in its capturing of the imagination and emotions. It is one of those bait loaded releases which simply leaves you full and basking in deep satisfaction.

www.mono-inc.com

9/10

RingMaster 09/08/2013

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