The Body Politic – Egressor

TBP-July-2014-Promos-3344

As sonically savage as it is melodically radiant, Egressor provides one sizeable tempest of aggression, passion, and technical invention which thrusts Canadian progressive metallers The Body Politic into a whole new spotlight. The EP is a furious yet seductive storm which is as accomplished and gripping in its senses ravaging enterprise as it is in its rich croon of melodic and harmonic endeavour. The six track encounter provides a blistering fascination and unpredictable adventure which took a short while to reveal all its glories but emerged as another of the rigorously compelling events of the year.

Coming out of Vancouver Island and taking their name from the Clive Barker short story, The Body Politic made an attention grabbing mark with their well-received debut album All Too Human in 2011. Their sound entangles the nuances and freedom of jazz, which most members of the band studied at Vancouver Island University, with the colourful exploration of progressive metal and the predatory voracity of metalcore. It is a striking blend, skilfully twisted into an imagination binding storm as evidenced by Egressor. Following a period which has seen the band undertake several Canadian tours and share stages with the likes of Tesseract, Protest The Hero, and Scale The Summit, the new EP suggests it holds the spark to wider recognition as it sets the band out from the crowd.

The release impresses in many aspects, the technical craft, explosive adventure to the songwriting, and the striking vocals of Sam Britton the most striking of these. Produced by Spencer Bowman, the release opens with Vitam Agere. It EP Cover - Body Politic - Egressor - 2014is a haunting instrumental piece, emotion spilling keys stroking ears as a sonic wind grazes the senses. The restrained entrance soon brews up a forcible and portentous coaxing as guitars and rhythms sculpt a climactic air which is still soaked in that initial haunted, almost apocalyptic texture. The track flows straight into Armature, the track an immediate onslaught of eventful and demanding rhythms aligned to scorching grooves and ragged riffs. Driven by the coarse scowls of bassist Jesse Janzen, his tones as aggressive as the metalcore spine of the track, the song swiftly reveals potent scenery of raw persuasion from the riffs of Matt Aasen and Dan Montgomery alongside the thumping beats of Spencer Bowman. This onslaught is tempered by the technical flair and imagination the guitarists also unleash and the exceptional clean vocals of Britton, his entrance the final piece in the jigsaw bringing the track alive. As soon realised every moment is just an instance in the journey of a song, the starter proceeding to steer ears and emotions through avenues of raucous passion and ingenious technical enterprise, all soaked in the emotive keys of Rob Wilkinson.

It is an imposing and impressing start but merely a taster of greater things to come, instantly shown by the following All Hands. Electro radiance sets the track off before a torrent of contagious jagged riffs and the brawling tones of Janzen erupt, their confrontation swiftly tempered and complimented by the smooth flow of Britton’s delivery. The song then twists into an enthralling schizophrenic dance of psychotic rhythms and similarly bred sonic imagination, both aspects flirting with and chewing on thoughts and senses respectively. It is a glorious turn in the song before it slips back into its melodic fire bound in hostile intent. The track is sensational, a constant flood of creative intrigue and bold invention unafraid to wrong-foot and confront the listener.

Swing For The Fences has the task of following the EP’s first highlight and does so with antagonistic gusto. Grooves and riffs climb over the psyche from the off before relaxing into a melodic embrace led by Britton’s refreshing tones. Keys and melodies wrap emotive arms around ears before the track combines its dark and light side for another absorbing flight of riveting imagination and honest passion. Both sides of the vocals impress but it is the guitars which push passions from ardour into a lust for the song, their almost cryptic invention as bewildering as it is bewitching and never allow senses and thoughts to settle and get a firm hold of the swirl of sonic acidity and bedlamic enterprise at the heart of the track.

In song and EP though, every part of the band combines to create spellbinding torrents of adventure and intent, keys and bass as vocal in their own way as the rhythmic and sonic character of tracks. Colqhoun instantly proves the point, the throaty lure of Janzen’s bass and the seducing presence of Wilkinson’s keys potent and expressive textures in the song’s exploration. Though not as dramatically gripping as its two predecessors, it casts a seriously rewarding and imagination provoking canvas coloured by raw metal and jazz rock hues, before making way for the closing Irradiate. The final track takes its initial crystalline melodies into a turbulent yet infectiously captivating furnace of adversarial angst and provocation, shadows and light hurling themselves around each other through the stunning skill and imagination of the band.

The track is a thrilling end to an outstanding release, one with the flesh and soul to push The Body Politic to the forefront of progressive metal.

The Egressor EP is available now digitally as a name your price download and on CD @ http://thebodypolitic.bandcamp.com/

http://www.thebodypolitic.ca/

RingMaster 17/09/2014

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Algebra – Feed the Ego

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It might not be dramatically unique but with a sound blending the voracious fury of a Testament or Exodus with raw causticity vocally and aggressively of Suicidal Tendencies, the new album from Swiss thrashers Algebra is one of the more compelling and exciting releases in the genre this year. To that irresistible rage of thrash hostility though, Feed the Ego and its nine tracks infuse an invention and riveting enterprise which as their band name suggests, is calculated and specifically honed to ignite the imagination. The album is a riveting and increasingly thrilling onslaught and its creators an emerging exciting force in the genre.

Formed in 2008, the Lausanne quartet set out uniting inspirations from eighties thrash metal and bands such Slayer and Sepultura with those of more technical and melodic thrash/death persuasion like Forbidden, Gojira, and Pantera, twisting it in with their own ideation and hostile yet ruggedly seductive sound. An early demo in 2008 brought the band strong local attention reinforced by the Procreation EP a year later. Their self-released debut album Polymorph awoke a far greater attention and recognition of the band in 2012, it subsequently earning a re-release with Stormspell Records. Now after signing with Unspeakable Axe Records earlier this year for their new unleashing, Algebra is ready and poised to push nearer to the frontline of thrash metal with Feed the Ego. It is easy to suspect that the album will bring hordes more to their feet in acclaim, fans and media alike and if not now sow the seeds to a deserved breakthrough in world metal.

The Andy Classen mixed and mastered release opens up with the steadily intimidating Survival Nowadays, its ear crowding wall of riffs and rhythms a menacing bait to which spicy grooves bring added portentous temptation. The algebra coversong starts like an imagination stalking warning, an insight to darker, heavier, and more open hostility which soon expels its weight across the expanding song. There is an essence of Biohazard to the now forcible stride and attack of the provocation but an incitement spiked with impressive endeavour and sonic enterprise from guitarist/vocalist Chaos Edy. The intensive riffing of rhythms guitarist Phil Void aligned to the thumping beats of Tony Sharp and the predacious lines of bassist Mat Showman, create a just as appealing challenge and though the song does not quite set a fire in the belly it warms up senses and passions nicely for the glories to come.

The intensive tempest of Prisoner Outdoors ignites ears and thoughts further, its determined insatiable stroll a platform for the scathing tones of Edy, his every syllable an accusing roar over his and Void’s captivating sonic sculpting. The track never relinquishes its rugged assertiveness but colours it with some alluring melodies and addictive hooks before the twisted enticing of Necessary Evil takes over. Riffs and rhythms again make a virulent and vicious contagion, the swings of Sharp senses dulling as Edy backed by the band casts a vocal web which is just provocative and unpredictable. With blistering grooves and a gripping solo, the track offers numerous enthralling flavours to its rampant charge keeping the album in firm control of body and emotions.

My Shelf is a slower more heavy metal seeded encounter, opening with a rich acidic twine of guitar invention. There is a bluesy lilt to its expressive smouldering of sound and a presence which intrigues and surprises with its emotive melodies and progressively hued emprise. Vocally, though Edy makes a potent offering it is an area which does not fully convince at times though it is more a personal preference than flaw. The song grows and persuades to potent effect over time though always pales against the might of Profound Guilt. Drama soaks it from first note to last, guitars creating an opening caress of haunted temptation before the track explodes into recognisable thrash ferocity. The core of most songs hold little to surprise but it is the layers of guitar invention and melodic mystery which turn strong propositions like here into irresistible fascinations.

Its success is followed by the title track, its threatening body emerging from transfixing scenery of rolling rhythms and winding sonic enticement aligning for a climactic atmosphere and conspiracy. The track is a mouth-watering exploration embracing its eventual thrash cored dance with a binding of guitar ingenuity and rhythmic tenacity yet never releasing that initial imposing charisma and danger soaked charm. One of the major highlights of the album it is an invigorating incitement which, as we said at the start, although the album is not openly unique it like most tracks provides something new and strikingly inventive.

With only the fade out a slight niggle, the stunning track is succeeded and emulated in glory by Ego System, its entrance and body similarly commanding and addictively imaginative before unleashing its raw thrash gnawing on the senses which in turn is bound in the inescapable lures of toxic grooves and sonic trespassing. Its triumph is followed by the again similar structure and presence of The Fort Broke. If there is one criticism to the album it is the familiarity between the thrash built spines of songs, this track’s lures a very close relation to its predecessor’s at times though that is tempered and often lost in the mesmeric creativity of the individual members which again only sparks a hungrier appetite for band and album. The last song Monotask simply reinforces all the power and potency of the album with its own individual and punk infused thrash provocation, again leaving emotions full and appetite wanting more.

A thoroughly enjoyable rampage, Feed the Ego is a rollercoaster of aggression and voraciousness for those with a head for hostile heights and the adventure for tight curves of imagination.

Feed The Ego is available via Unspeakable Axe Records on 16th September @ http://unspeakableaxerecords.bandcamp.com/album/feed-the-ego

https://www.facebook.com/Algebrathrash

9/10

RingMaster 05/09/2014

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Deadfall – The First Harbinger

Band Photo

Us progressive metallers Deadfall has come a long way since their striking debut the New Light EP of 2011. Then the creation and duo of guitarist Eddie Kim and bassist Sean Dusoe, the band instantly impressed whilst showing a rich potential within their instrumentals which was realised much more with the following Sentinel EP. By then a sextet, the Massachusetts band pushed on their already enthralling potency and explored to great effect the elements which within its predecessor were still in its infancy. Utilising vocals and a fuller climate of invention and sound, the second EP set a benchmark for the band which their new album The First Harbinger emulates and at times takes to richer and incendiary levels. There is a rawer intensity to the release which roars through the accomplished fusion of progressive metal and djent rapacity but also a maturity and conciseness to the intricate weaves of sonic ideation and varied vocal incitement. There is arguably nothing ground-breaking on the album, an achievement you feel is within the potential of the band as The First Harbinger seduces and gnaws on ears, but few encounters bred from the same genre have left as lingering a temptation and pleasure this year.

As mentioned the Watertown based Deadfall initially was an instrumental duo taking inspirations from the likes of Periphery, TesseracT, Meshuggah, Cloudkicker, and Animals As Leaders into their invention but it was with the addition of vocalist Chris Greene that arguably their sound suddenly found its most potent substance. Whereas the first EP gave the imagination and emotions a hunger for the horizons of the band it was the fuller and rounded endeavour of Sentinel which set sparks flying. Completed by guitarist Kyle Brennan and drummer Marc Brennan, the band easily thrilled and set up an eager anticipation for their debut full-length. Created by the core trio of Kim, Dusoe, and Greene, The First Harbinger is at ease ripping and twisting chunks out of the senses or soaking them in a warm seductive elegance, at times succeeding in doing both at once. It is a loud declaration from the band, one you suspect to push Deadfall into the brightest spotlight within progressive/technical metal.

The release opens with the instantly intriguing Death Code. From its first second the track sparks in the imagination, an opening entwining of raw riffs honed into a magnetic groove enslaving attention and an appetite already lying in 10574487_876700945693086_3261663937080269052_nwait because of those earlier releases. Once it expels its muscular breath and explodes with a torrent of djent inspired antagonism and agitated sinew swinging rhythms, the track comes alive with contagious hostility and compelling bait. The vocals of Greene roar with angst and passion, squalling over every syllable yet hinting at the seductive mellowness he also processes in his delivery. With a great carnivorous throat to the bass and its gripping invention, and a similarly predacious temperament to the guitars, the track is a dramatic protagonist which intimidates and seduces with equal tenacity. That smooth vocal charm of Greene does make its appearance within the song, that moment offering Palms like enticement within the otherwise rigorously aggressive tone of the track. It is a scintillating start to the encounter soon backed up by Sentinel.

The second track is just as creatively imposing and skilfully imaginative with Greene soaring melodically over the jagged enticement of Kim’s guitars and the rawer captivating weight of Dusoe’s bass. Though in many ways the song is a kinder less forceful provocation than its predecessor it still carries a menace and flirtation which entwines to create a riveting and imposing adventure. It is hard to avoid references to Deftones with the song but also thoughts takes whispers of TesseracT and Meshuggah into what is nevertheless a distinctly fresh and thrilling encounter. The same applies to The Divergence, the following track kissing the senses with an opening shimmer of crystalline melodies and warm enchantment before sculpting a voracious spine of jagged riffs and incitement through their middle. The song flows and lurches with an enticing which bruises as potently as it seduces, Greene mixing up his outstanding delivery whilst his colleagues produce a severe and absorbing tango of hungry sounds.

Both In Death’s Path and Sirens ensure the album continues to find a new facet and twist to its provocative storm of enterprise, the first searing ears with a tightly wound binding of acidic and grooved animosity over which caustic vocal squalls roar and rage as rhythms prowl through the emerging scenery. It is a strong and appealing challenge but comes truly alive with the quirky melodic toxicity which weaves within the tempestuous onslaught. It gives the song a depth and invention which its successor takes to its heart, its emotive beauty and melodic eloquence living up to its title as it paints another distinct venture within the album.

Shades Of Inception works on synapses next, its opening knot of sonic manipulation and coarse vocals with a seeming intent to brawl an attention grabbing entrance. The cleaner approach of Greene amidst equally softening textures provides an attractive landscape though it is within unpredictable and turbulent walls of djent fuelled riffs and punchy rhythms. It is a skilful merger which lets both extremes flow and shine with clarity even though locked in each other’s determined arms. The track’s mesmeric ingenuity is emulated by Visage, its own fusion of both climates seamless and invigorating for ears and emotions. The bass of Dusoe again finds a dark presence which simply lures complete attention though not to the detriment of the crusading and battling opposites of sound created by Kim. Though it does not spark in the passions as rigorously as previous tracks, it still leaves a lust for more.

The band gives the listener a chance to catch their breath with brief instrumental Orca which is strong and enjoyable but not really adding much more to the release, before the next up Utopia reveals its transfixing soundscape. The bass instantly steals ears and passions with its bestially rapacious sound which is soon joined in success by atmospheric melodies and a caustic yet elegant range of ravenous riffs and immersive sonic hues. With thumping rhythms framing the gentle but forceful maelstrom, the song soars as it explores its glorious depths and the listener’s imagination. The track on its own shows just how far Deadfall and their sound has evolved, it a mighty proposition which envelopes and inspires with majesty and passion.

The album is completed by firstly New Light, a track which brings essences of Between the Buried and Me to its incendiary and breath-taking wash of melodic and evocative grace locked in a tempestuous and at times severe climate of aggressive artistry. It is followed by the nine minute long Harbingers: Dawn, a song which encapsulates and draws all the potency and qualities shown across the album into one unique and epilogue like conclusion. It is a formidable and thrilling end, if arguably a couple of minutes too long for personal wishes, which leaves The First Harbinger on a plateau just as lofty as it began and to be fair maintained for the main across its journey.

Deadfall are ready to join the big boys of progressive metal on the evidence of The First Harbinger, its sensational body as invigorating and exciting as anything the genre has offered this year.

The First Harbinger is released on August 5th. For more info http://www.facebook.com/deadfall1

http://deadfall.bandcamp.com

9/10

RingMaster 04/08/2014

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Betraying The Martyrs – Phantom

BTM Picture HD

As undeniably compelling as it is, Phantom the new album from Betraying The Martyrs is also a bit of an odd beast to digest and get excited about. At times it roars with an invention which sends tingles down the spine and in other moments inspires sighs of disappointment, yet for those lesser moments where its persuasion flounders, they are more often than not swiftly followed and consumed by twists and ideation which leaves the passions ablaze once again. It is a release which maybe too often leaves thoughts unconvinced but it also provides a deeply intriguing and insatiable satisfaction in its turbulent wake which is impossible to ignore or dismiss.

The Paris based sextet of vocalist Aaron Matts, guitarists Baptiste Vigier and Lucas D’angelo, bassist Valentin Hauser, drummer Mark Mironov, and keyboardist/vocalist Victor Guillet forge a sound reaped from the strenuous depths of extreme metal, djent, Metalcore, hardcore, and progressive metal, though that is still only a hint of their tempestuous creativity and sound. The success of debut album Breathe In Life pushed the band into an intensive spotlight especially in North America which you can only see Phantom fuelling further and to a greater spread across the metal scene. Released via Sumerian Records, the album is in many ways summed up by opening track title Jigsaw, not only in sound but in that tracks feel like their elements and ideas are slotted together, generally seamlessly but with the occasional piece in the wrong slot.

Phantom is also an open progression from its predecessor, reaching deeper into and expanding the essences found upon Breathe In Life whilst infusing new twists and imagination. Jigsaw instantly descends on ears with antagonistic rhythms and jagged riffs, their attack predatory and controlled within a brewing sonic rapacity. The song is soon releasing the handbrake though as guitars tear way at the senses with snarling riffs and scything hooks bleeding death metal malevolence and metalcore vitriol. It is a quick contagion which flourishes further with gutturally spawned vocals aligned to a cleaner suasion of voice. It is not a startling start to the album and though certain aspects like the coarse vocals and melodic respite is strained at times, the track is a thoroughly captivating encounter with flirtatious temptations within its smothering wall of sound and aggression.

The following Where The World Ends opens with a classically seeded piano caress aided by clean vocals and a dramatic ambience which is as suggestive as it is enveloping. It is an outstanding start which rises in weight and intensity Coverwith rolling heavy footed rhythms and the evolving growling vocals of Matts, already showing himself to be a formidable vocalist. In no time the seductive start is a maelstrom of viciously flung rhythms and sonic fever equipped with splinters of sonic spite and djent spawned hostility. Again, with a demonic tone to the vocals which easily slip into a cleaner lilt at times, the track ignites the imagination and senses potently as the album continues to grow and increasingly impress, though the fade-out is annoying and for personal tastes always lazy.

Walk Away swaggers in next with an agitated gait within evocative keys to make a strong and potent start, guitars and bass again unleashing their volatile sinews to skilled and resourceful effect. The soaring harmonies and orchestrated climb which emerges from the ravenous entrance of the track soon defuses the striking impact, leaving thoughts lost and unsure in the unexpected turn of the song. Though perfectly and fluidly infused, there is an unsatisfactory feel to the move with the returning animosity of sound eagerly welcomed, especially with its twisted hooks and senses scorching vocal causticity. It is undeniably a powerful track but one almost trying too hard to be different and exploratory which leaves it prone to an unconvincing offering just as with next up Let It Go. The band’s latest single is cover of the song from the movie Frozen, and epitomises the album in many ways. Its melodic start is soon under a carnivorous swamp of metalcore ingenuity and savagery which leaves ears and passions ablaze yet then proceeds with admittedly great clean vocals to temper its assault with a melodic balladry to which the hoarse vocals lose their potency. The track has proven a fan favourite it seems but left us cold and totally underwhelmed, though there were still elements which enthralled.

Both the atmospherically haunting instrumental L’abysse Des Anges with its beautifully sculpted melodies and grooves within a rising climactic breath, and the incendiary storm of Phantom (Fly Away) bring appetite and emotions back into the sturdy lure of the album. Featuring Gus Farias of Volumes, the second of the two is a bestial predator of a track, leering at and gnawing over the senses with uncompromising rhythms and ferocious riffery, both aspects sharp and antagonistic beneath the spread of vocals. There is also a maturity and in places a reserve to the song which sets it apart from most others on the release, and proves the depth of potential within the band.

What’s Left of You is another to stir up the imagination and a fresh breath of hunger for the proposition, its barbarous presence underpinned by a great swinging yet understated groove. Keys provide a delicious drama and adventure to the adversarial climate of the track, merging in the creative rabidity with radiant enterprise and unpredictability. Whereas the mix of extremes failed to impress within the likes of Walk Away and Let It Go, here everything fuses gloriously proving that when Betraying The Martyrs get it right they have the potential to set new standards.

From the ok instrumental Afterlife with its epic nature and melodic poise, the pinnacle of the album erupts. Legends Never Die is a monster of a track, crippling riffs and viciously swiping rhythms bringing body and senses to their knees whilst grooves wind tenaciously around the inhospitable spine of the savaging. The thrilling keys of Guillet provide misaligned colour to the fury at times whilst in other moments flowing, as the clean vocals, magnetically through the voracious predation of the track. It is a masterful brute of a song though it is another, and far too many on the album, which simply fades away as if the band do not know how to end its design.

The final quartet of songs on Phantom, ebb and flow in their success with firstly Lighthouse a track which alone thrills and deflates across its barbarous terrain though it is more the former to be fair. The following brief instrumental Your Throne leads into the sadistic and enthralling landscape of Our Kingdom, a full on tempest which at times loses its definition of elements such its corrosive assault but matches that with some rich flights of melodic and inventive textures to chain thoughts and attention rigidly. It is a track which leaves you wanting more which the final song Closure Found is happy to provide with its similarly structured and uniquely flavoured tsunami of intent and voracity. As mentioned earlier when the band gets it right they excel, and to be fair on Phantom they do more often than not come up with richly pleasing successes.

It is not a classic album or one to set the passions blazing consistently but Betraying The Martyrs is not a band to short change on imagination and brave exploration which makes Phantom for all its ‘issues’ an easy to devour and recommend encounter.

Phantom is available now via Summerian Records @ http://www.merchconnectioninc.com/collections/betraying-the-martyrs

https://www.facebook.com/WeAreBetrayingTheMartyrs

7.5/10

RingMaster 31/07/2014

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Idols of Apathy – Unheard Words

IOA Promo

Unleashing a sonic cyclone of unwavering hostility and technical victimisation, Unheard Words the debut EP from UK metallers Idols of Apathy is one formidable and gripping slab of creative savagery. As striking as it is vicious, the release explains with ease why there is a healthily buzz brewing around the band. It is not without aspects which prevents it making an even more major impact but with a raging potential and openly impressive craft to its sound and textures, it is easy to raise excited anticipation of big things for the band ahead.

Hailing from Essex and uncaged in 2013, Idols Of Apathy probably could not have made a more attention grabbing assault on the senses to start off their consumption of the country’s senses than with Unheard Words. Five tracks across a fifteen minutes furnace of sound and aggression, the release is a short bludgeoning shock to the system but one which does leaving a lingering impression and hunger in thoughts and appetite. It certainly takes work to explore and reveal the intricacies and superb skilled invention at play, its thick surface similarity to an arguably formula attack of songs already having fallen short in the opinion of some others, but dive into the eye of the storm and that is where songs and Idols of Apathy excel and surprise.

The EP starts off with brief instrumental Rebirth, a piece which enthrals from its first seconds with a melancholic ambience and melodic wistfulness, soon graced further by a harmonic haunting. It seduces senses and imagination before Artworkthe staggered djent charm and tenacity of the guitars within viciously stabbing rhythms ravage the air. That initial mesmeric beauty still persists though as it settles seamlessly into the portentous tempest stirring ruggedly around it. That intimidating suggestion is swiftly realised with Death Row. The corrosive vocal roar of Jack Paul Dervish explodes in ears first, matched by the ferocious backing tones of Dean Chignell whose guitar, alongside those of Tom Johnson and Joe Gregory, collide in an ear splitting maelstrom of intensive and technical voracity. As much as the track seemingly is intent on annihilation of the senses, there is a swagger and a budding nest of grooves poised and hinting in the belly of the fury. It swiftly makes for an intriguing and riveting encounter, to which the returning melodic call from the instrumental adds a rich emotive hue . It is a stunning track which continues to reveal new corners and depths within its bestial rage; every breath and twist a punch and treat for ears but within a frame of less than three and a half minutes there is no time for excess and showing off, not that you ever feel the band has the urge to go into that kind of indulgence.

The dramatic and impressive encounter is backed up by the just as imposing The Devil’s Clock Tower. That earlier comment about similar touches of songs is evident here as the rhythmic and guitar enterprise bleeds into what came before without close attention, even with the evocative sonic coaxing in their midst. As it grows and digs deeper into its intensive heart though, the guitars sculpt an individual web of temptation whilst the bass of Elliot Black in league with the ear drum puncturing beats of drummer George, brutalise and seduce in equal measure as the vocals again provide a caustic challenge to sink teeth into. As all songs, it is not just about the maliciousness though, the atmospheric fire and melodic colour drenching the track being as provocative and imaginative as its inhospitable drive and passion.

The release is concluded by firstly Ventriloquist, a track which filters its predatory animosity through a maze of scything riffs and mouth-watering ideation. The rhythms refuse to have a veil of course, their crippling designs and hard fisted rabidity resourcefully vengeful and as irresistible as the sonic binding and aggravated riffery working away on the passions. It is a fine torturous confrontation which is matched by the closing Deceiver, which as the previous song comes from distant scenery but this time simply takes the senses in its teeth and musically and vocally flails and tears their security to shreds. It is a devastating onslaught with strangely a touch of Mudvayne to it initially before the track unleashes another creative blend of metalcore and technical metal to engross and violate ears. It is a powerful and viciously engaging protagonist bringing the EP to a potent end.

Unheard Words is a commanding and impressive debut which leaves thoughts in no doubt to the promise and quality of Idols of Apathy. For sure it has that to be honest minor issue of tracks sharing certain aspects of their identities and it is fair to say that their sound just now fails to really stand out against the best similarly styled, aggression clad bands pushing the genre. Idols of Apathy though easily stand in the company of most of that crop with all the potential to find their lone voice in the future with you imagine even more impressive endeavours.

The Unheard Words EP is available now as a free download @ http://idolsofapathy.bandcamp.com/

https://www.facebook.com/IdolsOfApathy

8.5/10

RingMaster 25/07/2014

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Vile Regression – Empires

Vile Regression Promo 2014

Irish metallers Vile Regression are no strangers to acclaim, their debut release coming under eager praise but you can only feel that it was fore play for a much stronger and fevered attention once new EP Empires consumes ears. The release is a stunning onslaught of sonic voracity forged in the imagination of technical metal and ferocity of extreme metal in its broadest diversity. The band has inspired comparisons to the likes of Death, Opeth, and Gojira, and listening to Empires it is understandable but whereas at times other technically fired bands bewitch with their skills before falling into indulgences, Vile Regression sculpt real slabs of brutal invention. Their tracks are built on riffs and grooves which come with lethal hooks and melodic tempting, all aspects treated with the same love and attention as the technical alchemy at work. This is openly evident in Empires, a clutch of songs which leave ears gloating and passions bulging.

The seeds of the Dublin band began back in 2007 when brothers Barry (guitar) and Kenn Christie (bass) formed a band which went under a few names for early demos until settling as Visitor Q and releasing a debut EP to strong responses. 2010 saw the addition of drummer Robb Behan and the band name changing to Vile Regression. The Pattern Evolves EP was unveiled the following year to, as mentioned, keen critical praise, its success leading to the band landing support slots with bands such as Dyscarnate and Fleshgod Apocalypse. A line-up change saw vocalist Padraig Croke and guitarist Brian Brady joining the brothers and Behan in 2013, which was followed by a support slot with Unearth and subsequently the recording of Empires. It has been a strong rise for the band over the years but with the new release it would be hard to be surprised if the band now found itself to the fore of extreme metal such its triumph.

Ears are immediately challenged as opener Tides confronts their anticipation, thumping rhythms grabbing instant attention to which swirling sonic endeavour sparks the imagination. It is a potent lure which evolves into a fiercely front_coverrousing tempest as the swipes of Behan trigger a maelstrom of bass intimidation, raging vocals, and senses binding sonic causticity. It is a dramatic and feverish incitement which never loses its irresistible lure even under the cascading, creatively carnivorous technical exploration of the band. It is a seamless union, one as mentioned which feels united in every intent rather than elements trying to outshine others. Between the Buried and Me comes to mind during the track but only as a spice to something scintillatingly original.

The following Raze the Complexity similarly needs little time to inflame the senses, guitars dancing seductively and with agitated endeavour across ears as the grouchy growls of Croke spill hope linked animosity. It is increasingly magnetic bait which only increases its toxicity as the guitars flirt with the imagination through ingenious designs and craft. Just as masterfully contagious though are the merciless and adventurous rhythmic incitement of Behan and the corrosively riveting riffs of bass and guitar. Not one note or twist in the song comes without scintillating creative tenacity but it never dips into the realms of excess either, every alignment of savagery and technical enthralment a gripping and easily accessible drama.

The brief instrumental Dream of the Red Chamber allows a breath to be swallowed, though its melodic beauty then takes away the next before moving into the outstanding predacious storm of Thought Replication. The new track lurches with a sonic tempting which swiftly enslaves appetite and emotions. Sinew driven riffs add ravenous shadows to ever grizzled and compelling vocals, whilst the emerging creative emprise spreads elegant and mouth-watering tendrils. Not as intensively aggression as the first pair of tracks, the song bellows at and charms the senses in equal measure, their fluid union a through captivation from ear to passions.

It is hard to relay the skills at play and the even more impressive merger of that brilliance into the grooving almost bestial rapacious heart of this and other songs, that ridiculously thrilling success repeated and enhanced with The Abstract. For all the references which flirt with thought across the release, this song also imposes a veining of inhospitality which could be Ferium or Killswitch Engage bred , this again showing the broadness and depth of the band’s sound. The track continues to gnaw on and subdue the senses, its ferocity coming with a rabidity which is flirtatious and speared with staggered and jagged unpredictability and ear teasing sonic fascination.

Another mesmeric instrumental sooths next, Down to a Sunless Sea as radiant as the previous piece, before final track raises its rhythmic ire and sonic fire to sear and assault with glorious invention. The Empyrean Divide explores thoughts and soul with a rich Opeth/Death spiced, heavily shadowed breath. There is an even more menacing darkness and imposing grudge to the proposition but again it’s devouring only leads to brighter prospects echoed by lyrics and the melodic maze of invention veining and entwining the raw onslaught.

The final track is a thunderous close to an exceptional encounter, one which puts Vile Regression firmly on the frontline of progressive/technical extreme metal releases this year. Empires declares the band a new emerging leading light, a proposition the metal world has unknowingly been eagerly waiting for.

The Empires EP is available now!

http://vileregression.bandcamp.com/album/empires

www.facebook.com/vileregression

10/10

RingMaster 21/07/2014

Copyright RingMaster: MyFreeCopyright

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

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Beneath Dead Waves – Inertia

Beneath Dead Waves Online Promo Picture

There is a storm brewing within UK metal and it comes in the thrilling shape of London based quintet Beneath Dead Waves. The quintet has just unleashed debut album Inertia, a thunderous and magnetically diverse slab of modern antagonism which is one of the most potential soaked exciting introductions to a band in a long time. It is a monster of a release, an encounter mauling and gnawing the senses but equally seducing with a technical craft and striking imagination which ensures swift allegiance to its call. There is also an undefined vein of familiarity to the proposition which brings a kinship to the unpredictable and ruggedly inventive exploits unveiled. Inertia is not the greatest album this year but right on the frontline of the most thrilling.

Beneath Dead Waves was formed in 2007 in Dorset by vocalist Joey Draper, guitarist Doug Cartwright, and drummer Leigh Costanza, the trio bringing the inspirations of band such as Between The Buried And Me and Tool into their creative whirlpool, as well as varied styles from thrash to groove and nu to progressive metal. The result as evidenced by Inertia is a rigorous persuasion which though holding familiar aspects, is still a unique incitement. The band relocated to London spending the next few years writing and recording before finding guitarist Matt Reeves and bassist Chad McCamlie, whose recruitment brought the band a new depth and potency in sound. Last year saw the band igniting stages and playing with the likes of Monuments, Intronaut, and Scale the Summit, and before its end the single Imperfect released to acclaim and eager appetites. Inertia is the next mighty step in the ascent of the band, one impossible to ignore or not find a forceful hunger for as well as what comes next from the five-piece.

The release opens with Nemacyst, the song taking mere moments to intrigue and fire up attention with its initial swirling graze of guitar Beneath Dead Waves Cover Artworkswiftly joined by dramatically textured riffs and demanding rhythms. Setting down its frame, the song erupts into a thrash fuelled rampancy driven by the raw vocal squalls of Draper, his tones an appealing irritant to match the nagging surge and intensity of the guitars. It is a stirring start which only strengthens its lure when Draper switches to clean a delivery, the frontman showing impressive prowess in both his attacks, and a weave of technical resourcefulness from the guitar. Admittedly on first listens the impressively skilled flourishes felt out of place, walking the wrong side of showing off within the rapacious turmoil, but though here it still does not quite convince, across the album the stunning skills and invention only warm a lustful want for more. The song continues to twist and flirt with ears and thoughts as it crosses it’s almost eight minutes of compelling adventure, painting a startling landscape of expressive ingenuity across an aggressive canvas. It is a stunning start straight away backed up by its successor.

Delirium similarly comes out with all guns blazing, riffs and rhythms crowding senses as a sonic toxin coaxes the imagination. Establishing its intent, a step into a slower predatory stalking ensues, guitars and vocals prowling ears whilst bass and drums draw an intimidating bait to further the seduction. As its predecessor the track swerves into unexpected detours and inventive asides, all seamlessly sculpted and each imposing new narratives and textures to contemplate. As all songs those earlier mentioned influences add spice to the maelstrom but equally here and more so through other songs, you can hear slithers of bands like Dillinger Escape Plan, Korn, Lamb of God, and Exodus at play, though ultimately it is something individual to Beneath Dead Waves.

Both the compelling Deliriant and the title track grip the tightest hold of attention and appetite, the first a hypnotic mesh of dark seduction and rabid hostility which bewitches and violates simultaneously. It is a glorious and exhaustive tempest of merciless attitude and creative intensity, riffs scything across senses whilst rhythms badger and pummel their walls further. It is a formidable provocation to which the again dual vocal incitement of Draper, alluring shadows, and a searing solo cast rich tempting hues. Its successor soothes the bruising with a gentle opening, guitar and keys a warm caress courted by the darker but no more intrusive tone of the bass. With clean vocals adding their tender touch, the song is an elegant breeze though soon prone to eruptions of expressive causticity and sonic abrasing. Again there is a web of technical resourcefulness holding the imagination, taking the listener deeper into a storm gathering weight and passion within the alluring terrain. Eventually that pressure breaks for an equally tempting flame of thrash bred suasion veined by sonic spires, though one bred with melodic and stoner-esque colouring. It is another forcibly convincing emprise of sound and thoughts, the album growing with every breath and song into a mighty marker for the band.

Next up You Were Nothing pushes into a heavier rock fired premise, the vocals of Draper clean but equipped with a great growl which easily slips into his caustic side whilst the guitars groove and court the passions with a smoothly evolving and changing intent. Not the strongest song on the release compared to its companions, the track still pleasingly shows the potent and richly pleasing diversity of the band in songwriting and sound as it makes way for the outstanding Imperfect. It is easy to see why the single lit fires in so many people and the media. From its first Korn like bait, the track just grows and towers over ears with a bitterness soaked antagonism and harsh smothering of riffs. As always it is just a moment in a constantly moving onslaught, clean vocals and melodic crooning worming in on the persuasion as technical enterprise fires up its invention. It is a scintillating encounter, the band merging styles and flavours with creative alchemy so that the song alone sparks determined interest in its creators whilst within the context of the album it shines like an anthemic beacon within a raging fire.

Inertia is completed by firstly the virulent and emotive hurricane of A Life Worth Taking and lastly the excellent fiercely yet seductively impacting Suppressional. The track brings hints of Josh Homme inventiveness into a melodic rock embrace which itself is encased in an agonizing swamp of metallic and vehement kissed voracity. It is a stunning end to a striking release, a last showing of the already impressive and sure to grow to greater heights, craft and invention of the band. They and their sound can only get better which is a thrilling thought, one you suspect a new army of fans will also have for Beneath Dead Waves from now on.

Inertia is available now via Nemacystem Records through all stores.

http://www.beneathdeadwaves.com/   

https://www.facebook.com/beneathdeadwaves

9/10

RingMaster 30/06/2014

Copyright RingMaster: MyFreeCopyright

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

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