Delain – Interlude

Released via Napalm Records, Interlude the new album from Dutch symphonic metallers Delain is a vibrant mix of new songs, covers, special versions of popular band songs and live tracks. It is a release which we will admit raised some doubts before it had the chance to unleash its persuasion upon the ear but soon cast those uncertainties aside emerging as an impressive album which will please their most loyal fans and all newcomers.

The first release on their new label, Interlude is as it suggests, a creative aside or as they say on the promo sheet a thank you to their supporters in the wait for a new full release but it is more than a mere stop-gap with the energetic and potent breath infusing old and new tunes The first two tracks on the album are new songs and immediately dispel also thoughts that maybe this is the end of a chapter for the band before a new direction and stance. They are prime Delain continuing their established and welcomed sound but equally do offer a fresh and pleasing voice to their creativity to date. Opener Breathe On Me is an instant warm whisper upon the ear before the grumbling bass adds its presence and the guitars shape the air with their coarse scrubs within the symphonic winds gently swaying across the senses. The voice of Charlotte Wessels is as exceptional as ever, her angelic tones the perfect balance to the fiery intensity and melodic weaves. It is an impressive and inviting start, its anthemic warmth and magnetic melodic temptation as irresistible as the sinewy frame and burning fires surrounding their grandeur, whilst not for the first time the bass of Otto Schimmelpenninck van der Oije leaves a greedy want within the passions.

The following Collars And Suits stands tall with an epic entrance of soaring scything syncs as well as tight manipulative guitar enticement from Timo Somers speared by the thumping commanding rhythms of Sander Zoer. Whilst not quite as contagious and tempting as its predecessor the track engages the passions skilfully and relentlessly, the harsher elements recruiting the passions for the melodic grace and vocal brilliance to toy with. The symphonic swerves of triumphant sounds grin as if in escape from a shadowed cage with the darker tones and corrosive lining beneath the protection for the glowing horizon they create. It is musically poetic and emotive, its presence inspiring numerous thoughts to go with the lyrical narrative.

Next up Are You Done With Me comes in a single mix version compared to its appearance on their recent album and is a strong and powerful companion to the previous songs but does not quite find their heights or rich lures. As one expects from Delain it is immensely emotive and gloriously melodic with a superbly honed intent. It makes way for a trio of cover songs starting with Such a Shame the Talk Talk track. To be honest its initial touch did not inspire great hopes but once the band stepped from the expressive yet gentle opening into an elevated  passion and energy the song took off with enthused satisfaction  in tow something the semi-acoustic version of The Cranberries song Cordell could not ignite. It is a more than decent song though which showcases the wonderful vice of Wessels in its varied glories and makes for easily pleasing company before the excellent take on Bronski Beat’s Smalltown Boy. Not a song to raise more than an eyebrow in its original guise, Delain treat it to their masterful caresses and formidable creative might, infusing it with more life and temptation than it probably deserves. They do not really change its face or body but with the keys of Martijn Westerholt as impressive as any element the band lights the heart it arguably lacks in the original.

A ballad version of We are the Others is another which is enjoyable in its company but does not light anything more than temporary pleasure though again it is hard to dismiss its craft and beauty. It is soon and easily forgotten once the live tracks come into view. It is the best part of the album with the stage offerings of Mother Machine, Get The Devil Out Of Me, and Not Enough especially standing out though all six of the songs show Delain as a mighty live proposition to rival or arguably exceed their studio work.

Also available in a limited edition digipack with a second DVD disc of videos, Interlude is a great proposition for all Delain fans new and old. There were doubts approaching it but all were dispelled with ease by release and band, an album to appease the appetite during the wait for their next full length outing.

http://www.delain.nl/

8/10

RingMaster 03/05/2013

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Serenity – War of Ages

    Austrian Symphonic Metal band Serenity go from strength to strength and with the release of their new album War of Ages have sculpted a journey of epic emotions and subtle expanses which combine for a captivating and thrilling encounter. The fourth album from the band follows the acclaimed Death & Legacy with an equal melodic might and imagination plus an invention which stirs up the senses and appetite with impressive creativity. The release draws on and explores the lives of historical figures such as Henry VIII of England, Napoleon, and Alexander the Great, casting their personalities within a riveting wind of symphonic metal veined with the pulsating and hungry fire borne of other varied metal styles, the result an exciting journey which offers plenty for all melodic metal fans.

The album features the wonderful vocal caresses of Clémentine Delauney (ex- Whyzdom); a now permanent member of the band alongside the impressive tones of Georg Neuhaser, and no apologies will be made for saying her contribution is the best thing on what is a continually enthralling and pleasing release. Also impressive about the release is the restraint placed upon the still epically sounding breath of the songs, allowing the individual imaginative use of rich vibrant flavours melodically and muscular to find a potent presence with which to strength the invention and satisfaction.

The Napalm Records released album opens with Wings Of Madness, a track that instantly seduces attention with the kiss of vocal elegance of Delauney alongside wonderful guitar coaxing. As the warmth of the vocal brilliance rises, the song opens up muscular arms to explore the air with striking rhythmic sinews employed by drummer Andreas Schipflinger and bassist Fabio D’Amore plus the driving riffs from Thomas Buchberger. It is a rousing charge with keys which wrap and enhance the stomping force with a melodic wash of beauty and emotive incitement. Into its creative stride the track does not exactly offer in many ways anything remarkably new but has an invention which interprets existing essences in to something fresh and inspiring.

The heightened melodic cascades to open up the following title track ensure the senses are fully awake and glowing from the invigorating entrance of the song. It initially crawls over the ear with a teasing mischief from vocals and guitar before blooming into a flowing sea of sonic whispers and melodic mastery, again cored by a metallic spine which challenges as potently as the keys and vocals eagerly seduce. It is a song which captures limbs and emotions bringing them in league with its romping energy and gait, one which also takes a tighter grip on the passions with each welcome of its open charms.

A major highlight of the album comes with Shining Oasis, a song which soaks its compelling narrative with full Eastern promise and sultry radiance. It is a delicious weave of magnetic intensity and sonic sunlight coated in melodies which evoke imagery and emotive responses, a song which shimmers in the heat of its imaginative flames of enterprise and beauty. Its successor For Freedom’s Sake suffers a little from its immense presence, the power ballad though finely crafted lacking the fire and dramatic intensity, though it is not exactly devoid of it neither. It is a strong song though and only pales because of the rest of the quality rampant across the album.

Tracks like The Matricide and Symphony For The Quiet continue the irresistible persuasion with contagious ease, the lyrical weaves as impressive as the songwriting and its engaging realisation. The first of the two is an excellent woven attack of djent whispering aggression and giant melodic splendour which feasts on and feeds the senses as well as the heart whilst the other is a riot of classical effulgence and driven hunger which equally leaves a full satisfaction in its wake. The greatest triumph of the album though is found in the mighty joy of Legacy Of Tudors, its opening period vocal inducement the invitation into a storming aural exploit of adventure and passion. There is a familiarity to the song especially in its urgent chorus which intrigues whilst ensuring the enjoyment runs deeper, and by its end the track is a lingering best friend for the passions, and the ultimate high point of the album.

War of Ages is a symphonic album which offers much more than other like genre releases, the craft and imagination of Serenity enabling a pleasure which works on many levels. A must investigate release of all melodic metal fans.

http://www.serenity-band.com/

8/10

RingMaster 04/04/2013

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Excalibur: Dusha

      

     Emerging from the Russian underground scene, symphonic metal band Excalibur and their excellent new album Dusha make the most agreeable and powerful persuasion as to why they deserve a much wider and heavier recognition. The release is an inventive, dramatic, and beautiful sounding album which without opening up new avenues for the genre captures the imagination with craft, grace, and melodic temptation.

From the city of Oryol, Excalibur incorporates the rich essences of bands like Nightwish, Epica, and Within Temptation within their own warm enveloping voice. Formed in 2009, the quintet of vocalist Valerya Nikiforova, guitarist Vitaly Okoneshnikov, bassist Svyatoslav Bykovsky, drummer Andrey Nazarov, and Ksenya Aranchey on keys, has made a strong mark within the metal underground of their homeland through the In the Fate Hand’s EP and their debut self-titled album, both in 2011. Now with the release of Dusha, translated as Soul, the band is looking to push the envelope of awareness around them further afield, something the accomplished sounds and open grandeur of the release should find as no obstacle.

With each song sung in their native song it is hard to fully absorb the full strength and depth of songs, the lyrical inspiration we are led to believe coming from inner feelings and experiences for a personal passion, but the emotive strength and descriptive quality of the music goes a long way in inspiring imagery and thoughts in the listener, their relation to the songs unimportant but wholly connected to the melodic warmth and stirring passion created by the band. The opening track Kadans Vremeni is a prime example, the portentous brewing whispers of the instrumental a haunting and striking sense of foreboding and suggested bedlam to leave emotions startled, unsure, and enthralled. There is a deep sinister breath to its presence which intimidates yet seduces as it makes way for the following Zhazhda Zhit’, a song with a core of sinewy riffs and testing rhythms wrapped in a heated and bewitching melodic expanse driven by the outstanding voice of Nikiforova, her tones as mesmeric and golden as the sounds surrounding her. With the keys adding their own distinct enchantment the song is a vibrant and captivating pleasure matched impressively across the whole release.

The likes of sonic temptress Doch ‘Vampira and the magnetic title track lead the senses and thoughts to the same dawning rapture instigated by the previous tracks whilst Zakroy Glaza and the excellent EVOE give and reap even greater rewards. The first of the pair has a fiery surface and intent to its almost operatic stance with the vocals for once adding a darker shade to the melodic flames whilst the second is a powerful instrumental which ignites a furnace of satisfaction. From an opening emotive piano touch the piece erupts into a reign of dramatic aural narrative sculpted by a hungry intensity, highly charged riffs, and colourful keys. The song is a canvas for weaves of imagery and emotions and with each immersion into its stunning richness inspires a new journey of thought each and every time.

Further highlights emerge in song such as the commanding Simfoniya Zabveniya and the slightly bruising muscular Labirint as well as a final triumph Kto Logo with a delicious snarling bass chewing at the senses to bring a darker edge to the sonic fire. There is no real weakness on the album though, each track a rewarding and thrilling companion to which returning is as easy as walking.

Whether Excalibur will have to embrace the English language to fulfil their already flourishing potential time will tell but with Dusha you sense the band will at some point find a much larger enthusiastic awareness.

8/10

RingMaster 06/03/2013

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An artful splendour: Interview with Dani of Crimson Blue

Russian nu art metallers Crimson Blue is a band with a distinct and individual sound and one who released one of the more impressive and enthralling albums of last year in the splendid Innocence. Fusing nu-metal grooves with irresistible essences of symphonic metal and the unique character of art rock, the album was a thrilling and captivating engagement with a passionate imagination and invention. We had the pleasure of finding more out about a band, whose album was our first introduction to them, and their innovative sound and release by talking with vocalist and keyboard player Dominica “Dani” Hellstrom.

Hi, welcome to The Ringmaster Review and thank you for taking time to talk with us.

Firstly tell us about the members of Crimson Blue and how the band begun.

Hello everyone!

Well, let me introduce the band.

Dani — keys, vox, music, lyrics. Has been the part of Crimson Blue since the very beginning.

Alex — bass guitar and great stage presence.

Iggy — guitars, effects. Another veteran of the band operates an 8-string monster.

Jenn — drums and cool sympho arrangements.

Tim — guitars. Joined us recently

Back in 2009, we started as a progressive band and spent a lot of time looking for musicians with the same likes, King Crimson, Genesis, Yes, etc. We tried to compose some complicated polyrhythmical pieces of music, and the result sounded like really bored Tool. Time passed, we learned to like groove metal riffing and symphonic beauty — and our music changed. We went through a period of djent idolizing Meshuggah then came some nu metal madness, and our guitars sounded like the ones of Korn — and so on. Now we’ve finally came to what may be named «the original Crimson Blue style», and I hope our second album will at last sound like true Nu Art Metal.

Are the inspirations which brought the band to life still as strong and active now or have they evolved into a different intent?

In some way, yes. They remain somewhere deep inside, and sometimes we have to fight them not to make our new song too «prog» or too «nu».

Looking more in depth at your introduction, your music is described as Nu Art Metal, can you elaborate on the term for us and how would you say your music has evolved since its beginnings to the release of your debut album Innocence?

It’s quite easy to explain. Imagine classical art rock harmonies, the soundscapes, ambient, but living atmosphere — and mix it with nu metal grooves and noises.

Actually, that was the main change in our music since the very beginning of the band — the hardest thing was to learn not to write 7-minutes epics one after another. We’ve learned to express ourselves more laconically, but still not primitive

The line-up in the early days of the band was quite unstable, is that fair to say?

It’s fair to say that our line-up is a bit puzzle. The three more-or-less permanent members of the band are me, Iggy and Alex. We’ve changed few drummers and more than few guitarists. The trouble is the working process in Crimson Blue has always been a challenge. You have to devote quite a considerable part of your life to make progress. Concerts, rehearsals, shootings, recording sessions, all the things…you learn to do all the things — or you’ll be left behind, that’s what we’ve learned.

Was this situation something which you would say held the band back or simply shaped its focus?

I think our course became more clear and distinct, despite all the difficulties that we’ve faced. We’ve learned a lot of things about the bands life here, we’ve learned a lot about ourselves, and now we’re ready to go on rocking whatever happens!

Was this the period of your demo Iceland? Tell us about the release and what it brought and you learned which helped with Innocence?

The demo period was the first time we faced the studio! We’ve recorded a few tracks, but the mixing process stopped, we couldn’t find a sound engineer to do the work. So the release had to be delayed. Then I came up with some electronic tracks that we also wanted to share with our audience. Still nothing happened; we kept making songs and doing nothing to introduce them. Then one day we said — ok, that’s enough, let’s finally do this!

The main thing that we’ve learned was like that — everything, absolutely everything including cover art, promo, etc. — must be done in time. It helped us to present «Innocence» very much.

When did the musicians who now make up Crimson Blue come together and did this ‘new blood’ and stability naturally give an energy and new direction to the band and Innocence?

The current line up gathered in summer 2012, when Jenn joined us. He brought some beautiful orchestral soundscapes along! We started using phonograms on our gigs; our sound became more fresh and aesthetic.

Tim came to us this autumn; he’s got a charming smile and plays terrific noises!

Tell us about the inspiration to the songs and also the recording experience for Innocence.

The inspiration is everywhere. Partly in music that we listen to, partly in some experience we get from life and each other.

The recording was like a factory work! We’ve been spending twenty-four hours a day in studio for a month. I’ve recorded incredible amounts of vocals. The guitarist had to work in shifts. The keyboard parts were recorded in the last two days in almost surreal atmosphere of forthcoming finale.

How do songs come to life within the band, what is the writing process generally?

Usually our songs start with melodies. I think of one, then harmonize it, then think of its name. Then it is being taken to our rehearsing studio where we work on the arrangement

The music within Innocence is a varied creature. What and who have been the major influences for you as musicians and band?

Let me remember… Well, some of the names are Tool, Yes, Korn, Pain Of Salvation, Meshuggah

Our favourite track on the album is L.M.A.; a song we felt was a raptorial encounter which brought essences of Korn, Animal Alpha, and The Faceless into a new invention. Tell us more about the song and its seeds.

Well, L.M.A. is an example of how the music you’re listening to may generate a new track. It started with the chorus, and firstly there’s been a Russian version, translated just about «me, I’m rising from ashes, I’m rising from ashes». It was a period when female-fronted alternative in Russian was very popular, and we were really sick of it! So the song came as a protest. Then we thought, why not make it in English? And so we did. L.M.A. is one of the few songs born during the rehearsal.

Many bands with a renowned strength in their live performances, which you have, fail to translate that to their recordings. Do you feel you have managed that or see them as different faces to the band which need a different approach?

To be a cool band you need to perform cool and sound equally cool in the studio, I think. We are not scared of the album work and we’re going to do or best in gaining impressive and rich records.

You recently linked up with GlobMetal Promotions/management, how has that impacted on the band to date?

We’ve received a lot of reviews for «Innocence»; the promoter also helps us much with some gig arranges. This is our first experience in such kind of cooperation, and we like it. We hope GlobMetal will help us get our music all around the globe.

How is the metal scene in Russia right now in context to European metal which seems on a real high?

There are a lot of great metal bands here, although it’s really hard to get to the audience. The thing is the tradition of going to clubs for a live show is not quite Russian. So you have to think of something really dramatic to get your fans out of their flats!

What are your hopes and plans for Crimson Blue in 2013?

We’re going to release our 2nd studio album somewhere in the Autumn, make a few videos, maybe some electronic internet-singles. We hope to go on tour at last, we’ve been dreaming of travelling with our music since the very beginning of the band!

And of course we will keep on playing live and making our shows more and more impressive. It’s the best thing that you get from music — the response from your audience.

A big thank you for taking time to talk with us.

Any last thoughts you would like to leave us and the readers?

Thank you for the interview!

And to all of you readers — get art, stay metal, take care!

Lastly tell us where you dream of playing one day and the bands which would make it the perfect gig line-up.

One day you’ll see us performing at Wembley, joined by Meshuggah, Nightwish and Korn. That will be a good day!

The RingMaster Review 25/01/2013

Copyright RingMaster: MyFreeCopyright

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

Downcast Art – Forbidden Memories

    A mesmeric blend of classical music and symphonic metal blended with passion and imagination, Forbidden Memories the debut album from Croatian band Downcast Art is a pleasing and warm treat. Evocative and finely crafted the album is a precise caress of sinewy energy and power wrapped in open imagination. Accomplished and elegantly presented the release may not reveal new directions or invention for the genre it openly adds quality to but still stands as a fresh and satisfying interpretation of previously discovered structures.

Formed by keyboardist Zdravko Smenderovac in 2005, Downcast Art spent its early years developing its own sound whilst playing covers of other metal bands. With a few line-up changes the band eventually arrived at the stable quintet of vocalist Jelena Mužar, guitarist Kristijan Radeka, bassist Davor Grdić, drummer Lukas Šomek, and Smenderovac, and with their own music and songs now the mainstay of their creativity recorded Forbidden Memories in 2011. Combining the golden elements of symphonic metal with an operatic breath through the glorious classically trained soprano talents of Mužar, the eleven songs which make up the release offer an emotional journey and visual inspiration which tows satisfaction and enjoyment alongside its gait.

Forbidden Memories is a complex yet fluid and organic engagement with a lush and rich breath which is defined and immediately accessible. As mentioned there are not many new avenues and corners discovered by the aural beacon within the release but makes for an enthralling and rewarding companion in its presence if not one which lingers and is deeply memorable away from its bountiful offerings. From the excellent opening instrumental Everlasting the music and songs are filled with heart and expression seemingly drawn from the souls of their creators and inspired by the world and its passion driven beauty. The piece of music to start things off is an atmospheric palate of mesmeric colours and vivid textures laid upon an emerging epic and triumphant canvas. It is a wonderful start which leads into the heart of the release gloriously whilst at the same time outshining some of the less towering moments ahead.

The following Bloodred Ink is a storm of aural thunder through riffs and rhythms permeated by the hypnotic keys of Smenderovac and gentle sunlight of the vocals from Mužar, her voice burnished sonic caresses tempering the rampant muscular intent of the track. With the additional vocals of Radeka to add a shadow to certain moments the song is a compelling and thrilling further step into the release.

The likes of the Croatian sung Miris Prošlosti with its great emotive piano strokes, the senses wrapping sonically heated Home of Silence, and the stirring title track bring more layers of warmth and enterprise to the ear. The third of the three is especially a standout song with the great dual vocals of Mužar and Radeka exchanging emotion and words irresistibly. Arguably the song is less symphonic than elsewhere on the album, its rock core a pleasing variety and break to the satisfying but overall constant symphonic wind.

Other notable highlights on the album come with the grand yet intimately persuasive Whisper of a Dying Rose, the metallic Innocence Never Dies with Desire, and the sensational Chants from the Deep. It is another instrumental unveiling further skill and invention of the musicians involved; an eager fusion of rock and metal which grabs heart and feet in a chorus of enthused union. Without implying any slight on the vocals, the two instrumentals are the best tracks on the album and a welcome aside to the impressive but dominating voice of Mužar.

Forbidden Memories is a very decent album which most symphonic metal fans will find rewarding, and one which could be the spark to take Downcast Art to a wider responsive audience.

http://www.downcastart.com/

RingMaster 10/01/2013

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Crimson Blue : Innocence

Russian metallers Crimson Blue are tagged as nu art metal, another arguably unnecessary musical label which has popped up in recent times as bands try to find a unique corner of their very own from where they can be noticed. It is not the most inspiring of terms to be honest but if you dismiss the band because of it then you would be making one mighty mistake as the Moscow quintet has released one of the best releases of the past twelve months. Fusing the most essential nu-metal grooves with the dazzling splendour of symphonic metal and the bewitching majesty of art rock, the band has created an album where imagination and inventive originality is a raging passion. It is a sensational release which at times is a familiar heart borne friend and in other moments sheer innovation igniting aural rapture whilst leaving a stirring sonic balm over the senses.

As well just having released their album Innocence the band has signed a management deal with GlobMetal Promotions and you can only feel things are primed to explode into world recognition for a band which has its seeds back in around 2007. Formed by vocalist and keyboard player Dominica “Dani” Hellstrom and guitarist Iggy Hans the band started out under the name Tragic Raven. The band merged the musical interest and passions of the members to forge a new and adventurous style with early songs holding a Tool like sound to their presences. The first couple of years saw instability with many line-up changes until the spring on 2009 where the found that constant to their core and re-emerged as Crimson Blue. As interest in the band grew across the internet and from their strong live performances, the band set about working on debut album Innocence. As a self-released CDR and download, the album came out in the closing eyes of December last year leading the band to even greater interest not only from fans but labels too. Summer of 2012 gave the album a proper CD release as recognition fired up further and with the new management deal in place the band are set to turn 2013 their own shade of hue.

Taking sounds and styles across the seventies through to the nineties with plenty of modern energies and thoughtfulness, the five piece of Dani Hellstrom, Iggy Hans, Stan Lee (guitar), Andrew Barique (drums), and Alex Verge (bass), the band since the recording going through another line-up change, s created a release which echoes the likes of Korn, Devin Townsend, Audioslave, and Nightwish with strong whispers of classic art rock bands. It is a stunning sound which plays in the heart so much more powerfully and enjoyably than it looks in print.

As soon as the cold kisses of Iceland crystalize on the ear soon speared by a dramatic piano, attention is focused in only one direction and as soon as the melodic flames and immediately jaw dropping bass sound of Verge prowls within the brewing sonic weaves nothing comes between thoughts, emotion, and song. Settling into an emotive breath with the wonderful and potent vocals of Hellstrom covering the still formidable basslines and melodramatic keys, the track just mesmerises whilst caressing tenderly with symphonic beauty and warm melodic elegance. It is an exceptional entrance into what emerges as an unpredictable and eclectic release. The song at times makes muscular suggestions through rhythms and riffs to ensure an air of confrontation is never too far away setting one up perfectly for its successor, especially with its closing Halloween like tingle of keys and inciting acidic guitar rub.

L.M.A. is outstanding; a track which though challenged throughout holds ‘best of’ honours. Its initial scorched rock swagger is soon ripped up into a raptorial encounter of bruising riffs and a groove which gnaws at the senses like those classic ones Korn used to unleash. The vocal storm of expressive vocals and oppressive heavy chewing riffs and thumping rhythms plays like a mix of Animal Alpha and The Faceless for further irresistible flavour to the staggering recipe.

Tracks like the sinew twisting Flax and the masterful Nagual with its progressive enterprise wrapping around the persistently pulsating growl of the song transport one into further thrilling and unpredictable diverse fiery engagements. Each and every song can be acclaimed with those same qualities, the blend of melodic imagination and creative invention breath taking at times and always enthralling. Further pinnacles come with the sinister and hypnotic H.U. Lab, a track bringing the key essences of Meshuggah, Opeth, and Karnivool together for thoroughly compelling rewards, and the epic emotive force that is Haesitatio. Every song deserves a mention though, each rippling with immense craft, inventive songwriting, and pure skill from the surging and glorious vocals of Hellstrom and her senses wrapping keys, the continually adventurous guitars, and the guiding rhythms of drums and that permanently  delicious bass.

Innocence is aural excellence and Crimson Blue only deserving of the fullest acclaim. The recommendation that all should go and discover this triumphant release cannot be shouted loud enough.

https://www.facebook.com/crimsonblueband

RingMaster 17/12/2012

Copyright RingMaster: MyFreeCopyright

Solisia: UniverSeasons

Powerful with epic emotions, UniverSeasons the new album from Italian power metal/symphonic rock band Solisia is a striking and rousing experience. It is a release which wraps itself around the ear with a grandeur and presence to fully involve the listener in its dramatic heart and concept theme based upon the condition of the human race. Released via Scarlet Records, Solisia has created an album which whether it is rampaging with an intense and cryptic intent or washing the senses in heightened elegance just leaves one immerse in something quite special.

Formed in 2006, the Rome band has found strong and eager responses to their sound starting with their critically acclaimed mini CD The Film Of My Life, followed with equal responses by debut album Ordinary Fate. Now with a new vocalist in the impressive talent of Elie Syrelia adding an unmistakable beauty and strength to their sounds, the accomplished collection of musicians have returned with eleven tracks which are diverse yet connected, and all oozing quality and dynamic craft. Across its stirring length, UniverSeasons is a feast of arguably established ideas to make an instant connection and a fiery enterprise to set the band apart from most similarly driven genre bands. This makes for a record which at times offers recognisable friendship for the ear but with a distinct Solisia breath, and in other moments unleashes a muscular array of invention and genre crossing imagination to ensure predictability and lack of captivation is never an issue.

The title track first pulls us into the rich absorption of the album with rampant energy and a charged flurry of riffs and twisting sinewy guitar play, its technical licks an instant lure before Syrelia unveils her mesmeric charms. The song softens as her stylish voice elevates the warmth along with the keys and symphonic caresses, but all the time the rhythms have an intimidating and forceful presence to give it all a bite. Returning to the initial pulsating energy and electronic stomp the song is in control of the listener and quite irresistible, its skill in merging the intensity soaked charge with the graceful and lush melodic weave of orchestral atmospheres impressive to say the least.

One of the major highlights of the album follows next in the exhilarating shape of The Guns Fall Silent. The track is majestic from start to sizzling end, its initial thumping beats and scything riffs soon joining forces with mesmeric keys and a thunderous adrenaline swagger. Once the carnivalesque teasing of rising melodies joins the story only passion is ensured for the rip roaring piece of metal. The bass of Andrea Arcangeli is exceptional throughout but here snarls with a real intent to its mighty invention to add further depth and shadowed life to a magnificent track. Shifting through textures, moods, and sheer ingenuity, the song leaves the senses exhausted and in bliss, the web of challenging muscle and glorious sonic kisses wrapped in melodic sensation just immense.

UniverSeasons proceeds through song after delicious song to engage fully with the emotions and thoughts, the likes of the more straightforward Kiss The Sky where every note holds its own drama, the enigmatic and thrilling Mindkiller, and the riveting onslaught of Dirty Feeling, all smoking guns delivering adrenaline shots of addiction inciting excellence. The latter two stand as strong challengers for top song on the album, their inventive and unexpected ventures irresistibly compulsive. All tracks but especially here, are impossible to make assumptions upon, the direction a song starts with is invariably not the same as it approaches its final destination and even those which hold a relatively straight forward purpose offers numerous glorious asides to ensure a sonic scenic route to devour with greed.

Before the end Symbiosis adds another pinnacle, the song a bewitching slice of pop rock with a delicious chorus as vital as any sun and the celestial expressive air surrounding the unbridled melodic energy and pulse racing triggers, ensuring a combination which is invigorating and explosive.

Symphonic metal has arguably not had its strongest year though there have been some impressive releases but Solisia and UniverSeasons have ensured it has ended of a towering high. A must listen release without doubt.

https://www.facebook.com/solisia

RingMaster 12/11/2012

Copyright RingMaster: MyFreeCopyright

Whyzdom: Blind?

Blind? the new album and return of French philharmonic metallers Whyzdom, is a release to leave mouth, senses, and heart in their individual ways, wide open in awe. It is a stunning album, a startling world of symphonic and power metal caressed and shaped into something magnificent and epic, and most of all distinctly Whyzdom. Released through Scarlet Records, it follows their acclaimed 2009 debut album From The Brink Of Infinity and as good as that was the new release proves it was only the beginning of something wonderful.

Formed in early 2007 by guitarist and orchestrator Vynce Leff, the band was soon drawing strong responses from media and fans alike with first release, the Daughter Of The Night EP, which appeared less than six months after the inception of the band. Their blend of orchestral and symphonic imagination and sounds soon led them to awards and numerous festivals appearances, many as headliners, with their debut album only elevating their rapidly rising reputation and recognition worldwide. The departure of their vocalist in 2010 led to a long search for a replacement with Lisa Middelhauve, former Xandria singer, standing in as a guest vocalist for performances at the 2010 Raismes Fest and for a show in Paris supporting Tarja.

It was with the arrival of Elvyne Lorient to the band in February of this year that the quest was over and wow, what an addition she is. Blind? is a total triumph and the voice of Lorient as major an ingredient to its success as the inventive and stirring brilliant sounds. The album title has a dual reference to firstly the blindness of people towards what is happening around them and also how people choose to be blind in uncomfortable circumstances which eventually lead to wrong decisions and paths in life.

As opener The Lighthouse turns its epic aural charms upon the ear, guitars dazzling with a burn to their sonic touch, Lorient caresses and owns the ear with vocals which envelope and seduce. Avoiding the full blown operatic indulgences many of the genre singers seem to offer she sings with a delivery, range, and expression which is instinctive, organic, and irresistibly mesmeric. The sweeping orchestral weaves around her are delicious, their enveloping kisses emotive and evocative whilst the bass growls and sturdy rhythms keep shadows and intensity as full and dramatic as the dazzling melodic enterprise. It like many that follow, is a piece of songwriting which pulls you completely into its personal world, the perpetually dawning surges and triumphant crescendos as inciteful and invigorating as any rising unobstructed sun.

Dancing With Lucifer and On The Road To Babylon both transport heart and thoughts into realms of twisting gritty energies and pulsating melodic grandeur with hypnotic skill and emotion, each track an ever evolving canvas of emotion, vision, and brewing aural expanses. It is Cassandra’s Mirror sitting gloriously between the pair though which steals not only top honours out of the three but for the whole vast show. With folk whispers entwined around the uncompromising metal confrontation and the soaring orchestral elegance merged within a furnace like passion, the track is a raging tempest of energy and uplifting drama.

It is hard to find the words to fully represent the impressive presence and might of Blind?. From beginning to end it is a stunning piece of imagination and creativity, with the beautiful Paper Princess, The Foreseer with its perfect combination of extremes and perpetually unveiling, and the colossal closer Cathedral Of The Damned, just three of the exhilarating pinnacles of the senses blowing, heart bursting  theatre. The final track makes the word epic feel so small as a declaration of its immense power and stature, the musicianship, arranging, and sheer magnitude of emotive imagination sheer captivation and pleasure.

Whyzdom return to take their place as one of the most innovative and imaginative symphonic metal bands in recent years whilst Blind? makes a late challenge for the best album to grace and light up the year.

http://www.whyzdom.com

RingMaster 01/11/2012

Copyright RingMaster: MyFreeCopyright

Hollow Haze: Poison In Black

Italian symphonic power metalers Hollow Haze is a band which has felt on the verge of big things across their previous albums but now with the release of Poison In Black it is hard to see anything other than the quintet crossing into a worldwide recognition. The album is a massive and powerful creation of stirring melodic enterprise and acutely shaped muscular intensity, that union a heated and flowing source of enveloping atmospheres and blistering sonic invention.

Hollow Haze has tapped into an impressive well of imaginative craft and mature songwriting with Poison In Black so that putting preferences aside even if the genre they frequent does not light up as much eagerness as others for many like us it is impossible not to be captivated at times by the skill and mastery on show from the band. Released via Bakerteam Records, the collection of twelve vibrant and generally rampaging tracks just win over the ear from their relentless persistence and fine artistry, and though probably not destined to be a regular partner in crime for the ear, any time spent alongside its energised heart is rewarding at the very least.

The excellent atmospheric intro Rise Above starts things off. As it plays you just feel and hear the shadows and clouds in its skies brewing, drawing together to create an epic backdrop for what is to come. This kind of start is a regular choice on albums of big metallic grandeur but it is hard to recall many as effective as by Hollow Haze here.

The following Tears Of Pain rushes through the ear with a keen and sharp intent to light up every corner of the senses with incendiary melodic play from the keys of Simon Giorgini and subsequently the guitar play of Nick Savio, though he is already rifling the senses through driven riffs which only fire up the passions. Because of personal tastes the vocal style of Ramon Sonato leave less inspired reactions though he is obviously a fine vocalist with an excellent range to leave many others in his wake.

The more reserved Never Turn Back allows a breath to be taken before the outstanding Haunting the Sinner unleashes its heavy metal heart. With mighty riffs which like accurate artillery crumble all defences before them, the song ebbs and flows with fiery melodic strokes and harsh combative intent, the track never less than challenging and inciteful h. The drums of Dave Cestaro  cage the senses skilfully to barrack them throughout whilst bassist Camillo Colleluori  prowls like a watching beast, his shadowed growls unfortunately held back by the production somewhat but there ready to take a bite.

As Poison In Black makes its way through the vast soundscapes of songs, the likes of Hit in Time which is simply an easily digestible and classy slab of rock n roll, the progressively coated Pray For You, and the immense Remorse leave nothing less than captivation behind their powerful presence. Each varied yet safely within the overall power metal brief of the band.

Taking top honours on the album is Voodoo Rites a song which is an almost seamless continuation of Remorse initially but evolves into a venom dripping and intrusive joy. It has sturdiness arguably absent elsewhere with the darker side of the band reaping its chance to explore and gnaw on the ear; even the vocal diversity encapsulates the shows at times to shuffle things up for great satisfaction.

Closing with a strong cover of the Black Sabbath track Headless Cross, easily Poison In Black is an album to light up the hearts of any power and symphonic metal fans, its accomplished skill and craft enthralling if not innovative. Even for us less enamoured with the genre Hollow Haze give more than a few pleasing moments to make them worth an investigation.

http://www.hollowhaze.com

Ringmaster 24/09/2012

Copyright RingMaster: MyFreeCopyright

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