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

http://audioburger247.webs.com/

 

 

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

http://www.audioburger.com

 

The Room Colored Charlatan – Primitives

DSC00932

Every now and then we come across a release which certainly impresses and is very easy to recommend but at the end of the day just does not excite as much as it should and that is just the case with Primitives the new album from US metallers The Room Colored Charlatan. Musically and emotionally the encounter is glorious and technically bewitching but for all the moments which have thoughts basking and imagination captivated without reserve, for us it fails to light a fire in the passions. It is still very easy to suggest exploring its stylish merger of progressive and technical metal filtered with the voracity of extreme metal aligned to soaring ambiences, as it is a fascinating and striking adventure.

Hailing from Indiana, the quintet has been compared to the likes of Between The Buried And Me and The Contortionist, two bands which indeed have inspired The Room Colored Charlatan along with the likes of Painted In Exile, Born Of Osiris, Veil Of Maya, and Animals As Leaders. Listening to the new album you can see what breeds those references though equally there is plenty about the release which sets the band apart. Building and increasing their reputation live, playing with bands such as TesseracT, Veil of Maya, Born Of Osiris, and The Contortionist over the past years, the band brought concentrated attention upon themselves with debut album Between Mirrors: The Quantum Immortality in 2012 which was released, as the new album, on Subliminal Groove Records. Primitives take all the qualities of its predecessor into new expansive dramas and evocative climates, across sceneries which roar and claw at the senses whilst seducing with a melodic and atmospheric beauty. Inspired by the theme ‘that humankind is not as civilized or as modern as we like to think’, the album is an epic imposing journey broken up into individual musically poetic chapters.

A chilled breeze around a lone guitar opens up the album and Instinct, and it is a beckoning soon full of melodic intrigue and rhythmic Primitives-covresonance as the song grows into full view. It is a hypnotic entrance potently luring in attention before the grizzled vocal delivery of Jared Bush brings a raw imposing into the creative elegance already cast by guitarists Justin Seymour and Brent Edelson, his presence seemingly a spark for an expanding intensity which stalks with djent seeded stabs, oppressive breaths, and rapacious shadows. The weave of melodic enterprise becomes more acidic but still seduces within and tempers the more vocal tempest of sound. It is an enthralling proposition, the composing and craft of the band alone gripping as the soundscape of the sonic narrative consumes the imagination.

The starter evolves into the brief and invigorating instrumental Native Habitat, guitars and drums sculpting a mouthwatering terrain for thoughts to explore before it then flows into the following Apex Predator. The rhythmic enterprise of Adam Dixon swiftly has its heavy skilled hand on a definite appetite for the impending adventure as a sonic web spins an absorbing and perpetually shifting picture, one nicely courted by constantly dark and agreeably imposing bass hues from Michael Miller. As the track permeates thoughts the aggressively caustic growls of Bush fail to sit easily but to be fair it is just down to personal taste, just like eyes maybe lack a kinship to the colour green, at times his delivery fails to persuade our ears. It is no reflection on his presence and attack but to our loss it does defuse some of the might of what is an impressive track, especially its vivaciously ravenous climax.

The intensively bruising emergence of the title track has senses rocking back on their heels next rugged riffs and similarly predacious rhythms badger and assault before an entrancing melodic mesh wraps the heart of the song, caressing and soothing the sores spawned by the formidable and pleasing storm. The subsequent body of the track does not quite inspire as its entrance but again the individual skills combine for an almost romantically colourful view of an intimidating premise.

Keys make another potent and important texture to the album, none more so than within Questions of Origin, their vigorously simmering dazzle impregnating another virulently aggressive, almost rabid exacting landscape. With guitars searing as they simultaneously entwine the senses in melodic beauty, the track is one which lights a fuse to more keen ardour alongside again nothing but impressed respect for the album so far; oh and note Bush is exceptional too, his bordering vicious snarl resting very nicely in the ears, yes we like to be contrary.

The sweeping synth grandeur within the following Survivalist Notion soon captivates whilst beneath riffs grind and chew through ears, the fusion a riveting endeavour which is only accentuated by the first appearance of clean vocals, something the band should definitely explore more ahead. The bass of Miller has its finest hour here, though maybe it is just it is allowed a little more space to enslave away from the smothering tempests it so richly helps create. Like many of the songs, there is very little to criticise or question, though for a still indefinable reason, as the album, it does not ignite the heat of passion it probably deserves.

The Atlas Artifact from its first touch floats and rigorously pursues an epically honed expansive progressive flight, though it is soon perpetually buffeted by clinging almost hostile eruptions and vigorous creative rabidity. The song again unveils exceptional harmonious vocals which once more impress thoroughly whilst the guitar invention and imagination between Seymour and Edelson is breath-taking at times; everything combining for a gripping and highly enjoyable emotively driven conclusion to the main thrust of the album.

Closed by the outstanding bonus track Nexus Point, which as good as steals the album’s pinnacle moment, its voracious enterprise and outright creative aggression savaging and firing up ears and emotions, Primitives is a fine album which only offers impressive bait to acclaim and eager recommendations. The Room Colored Charlatan is potentially a major force in the making, the album makes that easy to say and who knows they might even get us over excited at some point too.

Primitives is available via Subliminal Groove Records and @ http://theroomcoloredcharlatan.bandcamp.com/album/primitives

https://www.facebook.com/TRCCBand      

8/10

RingMaster 23/05/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

 

Exist Immortal – Darkness Of An Age

Exist Immortal

Build a majestic beast of a proposition from the predatory instincts of Meshuggah and Scar Symmetry, the rapacious technical instincts of Periphery, and the melodic poetry of Circles and you will most likely come up with UK metallers Exist Immortal, though this is not to say that the London quartet does not have its own distinct voice as superbly evidenced by new album Darkness Of An Age. The imposing release is a monster of an encounter, a gloriously adventurous and imaginative journey unafraid to align the darkest vicious shadows with the most radiant mesmeric beauty. Cast over ten explorations, the release alone makes the most compelling reasoning as to why the London quintet is so highly thought of.

Formed in 2011, Exist Immortal have taken little time in establishing a rigorous reputation for their mature and inventive sound as well as their ferocious live performances which has seen the band play UK Tech Metal fest alongside the likes of Textures and Sylosis, as well as making inroads across the UK, Europe, and Asia. The band first stole our eye and attention with their mini-album Dream Sequence at the tail of last year, a tantalising and incendiary fuse for the passions which left thoughts reeling and emotions full. Darkness Of An Age takes the imagination on a heavier and darker exploration than its predecessor, one so intense that first impressions asked questions in its success against the sensational previous release. With every listen revealing new depths, triumphs, and temptations within the brutally seductive offering though, Darkness Of An Age has proven to be another dramatically masterful treat from one of Britain’s most seriously inventive metal bands.

The album emerges through an evocative breeze of keys as opener Insanity Project makes its initial play for ears and imagination; the ei-artwork-hd-2engaging entrance swiftly joined by an equally inviting guitar coaxing. It is crystalline bait which continues to tempt as rhythms punch their rigorous weight within an expanding squall of intensive riffs and a portentous bass sound. Vocally raw growls align to excellent clean tones, the voice of Meyrick de la Fuente ably assisted by that of guitarist Tom Montgomery, just as uniquely impressive and expressive as on the last release. The track continues to twist and spread its inventive toxins around senses and thoughts, immediately feeling angrier and more venomous than those found upon Dream Sequence. The new release sees the band exploring new territory emotionally and lyrically in an impacting move which takes thoughts aback at first but only adds weight and intrigue to the immense start of the album.

The following Legions lays jagged riffery and sonic scythes across the air next, its entrance an acidically fuelled wall of barbarous intent. It soon evolves into a fiery prowl though, clean vocals taking over from the vicious roars as the guitars of Montgomery and Kurt Valencia sculpt a captivating design of uncompromising predation and sinew framed seduction. Flailing with strict muscles and caressing with sultry keys, the track brews a contagion which is as fearsome as it is virulently addictive for the first major pinnacle of the towering adventure. The finale burns like a raging fire before elegantly relenting and making way for the similarly crafted In Parallax. Though ultimately different in character the song is similar to its predecessor at its beginning before worming its way under the skin to develop its own identity with niggling and delicious sonic toxicity beneath potent clean vocals. Skirted by the animalistic voice of David Billote’s bass and the rapier thrusts of Fergus Gardiner’s rhythms, the track emerges as an irrepressible enticement.

There is a heavier involvement of the dark caustic vocal delivery on the album than upon Dream Sequence, a more fifty-fifty split with the mellow soars which works well but whether it brings the same success as the higher clean vocal percentage of the previous release, such the excellence of de la Fuente in that style, is still under debate. Darkness Of An Age has a more malevolent darkness across the board though so it is an understandable move which really shows its potential in the excellent Edge Of Infinity, the track a captivating swirl of progressive investigation within a tortuous metalcore causticity coated by a ravenous voracity speared by djent bred stabs.

Both the enthralling Imperator and the immensely riveting Desolace seize the imagination next, the first sparking greed in an already eager appetite through synths which bring perfectly orchestrated emotion and colour to the tempest before them. Its successor casts a warmer more temperate climate to its storm allowing de la Fuente to sing from the first breath as keys and melodies reinvent the scenery with beauty and startling ideation. It is a mouthwatering invention which courts perfectly the ever poised rabidity of guitars and rhythms which take their share of the plaudits on the album’s highest pinnacle so far. Vocally too, the mix of seduction and violence is spot on, bringing the heart and rich landscape of the song to bear on the listener.

Like a trigger the song seems to ignite the release to stronger adventure, The Participant next unveiling a maelstrom of sonic and vocal ingenuity which thrusts numerous styles into one tempestuously inventive tsunami. The track whips up the passions to an even greater pleasure with its explosive and intelligent ravishment, the song standing side by side with hands on the best track title with the previous glory, though both are soon under pressure for the honour from the excitingly abrasive Embrace The Cycle and the corrosively appealing Liberator which features Sam Rudderforth from The Colour Line. Neither manages to quite live up to the demands but still leave bloated satisfaction in their creative wake whilst the closing brilliance of The Omen Machine ensures the album leaves a final peak foraging senses and emotions with its suitably toxic and endlessly invigorating inventive ferocity.

Though Dream Sequence still just has the edge on the two albums, Darkness Of An Age is a dramatically refreshing and thunderously inventive incitement from a band easy to assume that will have a major say on the future of certainly progressive and technical metal in Europe. Exist Immortal has all the potential to be a major player; the evidence is all there in the album.

The self-released Darkness Of An Age is available now @ http://existimmortal.bandcamp.com/album/darkness-of-an-age

https://www.facebook.com/existimmortal

8.5/10

RingMaster 13/05/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

Intervals – A Voice Within

 

Intervals_1lo

    The additional information accompanying the promo for the debut album from Canadian band Intervals, declares that the quartet is ‘set to be the most exciting new progressive metal prospects of 2014 with the release of debut album, A Voice Within. As their offering seduces and fascinates it really is impossible to disagree, the nine track adventure a magnetic kaleidoscope of sonic colours, inciting textures, and contagious adventures. With a technical craft to match its progressive enterprise, the self-released A Voice Within, with distribution across Europe by Basick Records, is a maze of diverse and inventive flavours which captivates and absorbs from start to finish.

      The Toronto hailing Intervals was formed in 2011 by guitarist Aaron Marshall and took little time in earning a well-respected and acclaimed presence with their evocative instrumental soundscapes. With a line-up completed by guitarist Lukas Guyader and drummer Anup Sastry (Jeff Loomis / Skyharbor), the band released two well-received EPs, The Space Between and In Time in 2011 and 2012 respectively, as well as playing and touring with the likes of Texas In July, Northlane, Structures, The Kindred, The Color Morale, Misery Signals and more. Last year a new direction was taken by the band, not so much in sound though that was unavoidably affected, but with the joining of vocalist Mike Semesky (formerly of The Haarp Machine). Work began on their first album last September with Jordan Valeriote (Silverstein, Structures, Counterparts) and what has emerged is a riveting triumph taking the band to new scintillating levels and you can only expect greater spotlights.

      The first single taken from the album Ephemeral opens up the endeavour, the track taking no time to immerse the ears in the Intervals.AVoiceWithin.cover.lotechnical skill and inventive breath of band and release. Bass and drums instantly cast a web which entangles and excites the senses whilst the guitars flirt and dance with the imagination. It is a potent start enhanced by the melodic tones of Semesky, his expressive and fluid delivery holding hands with the melody rich flames licking from within the sinew framed opener. Sculpting an aurally scenic venture which intrigues and draws in thoughts with ease, it is only hindsight and not its company which suggests the album’s introduction is merely an appetiser to greater things ahead.

    That suggestion arises straight away with the following Moment Marauder, the song a compelling temptation which enslaves and dances with the passions from its initial melodic caress and technical invention. Winding jazz bred imagination around precise and bewitching temptation, it seduces with almost mischievous glee as the vocals stroke and coaxes the emotions as irresistibly as the complicated breeze of sounds surrounding them. Dazzling bordering on disorientating , the ingenuity and sculpting of the song is a virulent lure but one which never indulges itself, each transfixing technical exploit matched by an openly accessible and infectious hook or sweeping groove aligned to the persistently persuasive vocals.

     Automation and The Self Surrendered struggle just slightly to match the album’s first pinnacle, though both build their own plateaus to rigorously enthuse over. The first offers an almost pop rock swagger within its progressive and technical mesmerism, the melodies and contagious assets framed by muscular rhythms which take no prisoners but equally have a respect leaving ardour rather than wounds. It’s equally smouldering and vivacious bait is swiftly matched by the second of the two, a song which has voraciousness to its opening technical gambit which it then lends to the rest of its potently catchy and provocative body. As all the tracks, the melodic canter never settles into one gait or stance for long, the ever evolving and twisting emprise coming with flared nostrils and irrepressible passion.

    After the brief elegant instrumental Breathe, the song allowing that very action before the next spiral of adventure, The Escape confronts the ears like a frantic acrobat, leaping through and wringing out its sonic narrative upon a mouthwatering canvas of inventive hues and emotion. Its beauty is replaced by the fiery landscape of Atlas Hour, technical poise and passionate energies once again offering a journey of unpredictable and persistently shifting scenic inspiration clad in formidable rhythms aligned to just as forceful riffs.

    Siren Sound confronts the senses next, the song a whirl of almost carnivorous jagged riffs and rhythmic antagonism reined in by the ever impressive vocals and harmonies. As the second song on the album, the track explores and unveils that something extra, something which sparks a furnace in the imagination and passions in comparison to the fierce blazes spawned elsewhere. There is a predatory instinct to the song too which inspires everything from the skill and hunger of the band to the uncompromising sounds themselves, and all engulfed in an irresistible seduction. The track steps up to offer a real challenge to the brilliant Moment Marauder for best song accolades, the pair then tested by the closing title track. Bringing the outstanding album to a tremendous close, the song stomps and teases the passions with a weave of severe rhythms, awe inspiring technical artistry, and simply unbridled adventure.

     Offering a kind of mix of Circles and Beneath the Buried and Me with TesseracT, but something different again, A Voice Within is an exceptional encounter and yes as suggested the evidence of something new and exciting emerging. The evolution to include vocals and new adventures by Intervals might just be the boldest most inspirational move from any band in recent times too.

www.facebook.com/intervalsmusic

http://intervalsmusic.bandcamp.com/

9/10

RingMaster 05/03/2014

  Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

Animus – Fall of the Elite

Animus Online Promo Shot

    If you understandably missed the limited regional release of the Fall of the Elite EP last year, Scottish metallers Animus have provided another chance to immerse in its tempest with its deserved nationwide unleashing. Consisting of four savagely aggressive and rivetingly varied slabs of sonic provocation, the band’s introduction is a mouthwatering onslaught providing a well of satisfaction as deep as the promise also rampaging through its sinews. Its sound whips up an antagonistic fury from a brew of progressive death metal and djent with technical and groove metal, creating a predation which is equally recognisable and innovative. Fall of the Elite certainly suggests this is a band still evolving its presence but one with major expulsions ahead you easily feel.

     Hailing from Dundee, Animus was formed in 2010 by drummer Poul Thomassen and guitarist Sam Gilmour. It was not long before the pair was joined by second guitarist Graham Brown and Gavin Holloway on bass. The first couple of years saw the band playing around Scotland drawing strong support and responses but it was with the addition of vocalist Aaron Fawns in 2012 that it could be said a spark ignited within the band, the quintet finding that something bringing everything into focus and vital explosiveness. A further rampage of shows ensued, including sharing stages with the likes of Bleed From Within, To Kill Achilles, Here Lies A Warning, Heights, Silent Screams, Chronographs, Hero In Error, Our People Versus Yours, and I Divide, all only increasing the stature and reputation of the band. The final weeks of 2012 saw Animus enter the studio to sculpt their debut Fall Of The Elite, influences from the likes of After The Burial, Suicide Silence, Bring Me The Horizon, Whitechapel, and Tesseract spicing up their own distinct toxicity. After a well-received first unveiling, the EP is now poised to work on the rest of the UK with its ravenous and creative intensity.

    Drawing a single breath whilst a groan brews in the background, opener Damnation announces its presence with an intriguingAnimus - Front Cover air accentuated by sirens and an apocalyptic ambience. With the scene set, the track emerges from the anarchy with forcibly twisting grooves and percussive provocation speared by vicious rhythms skirted by predatory riffing. The vocals of Fawns snarl and growl with bile soaked animosity, his direct intent sharing enough variety to engage whilst musically the band lashes and entices the senses with a masterful and bold invention. The song is not the most malevolent and violent proposition but holds an intimidation and intensity which leaves knees buckled and ears scarred as its imagination captures that of its recipient with ease and enterprise.

   The following DB8666 follows suit but instantly uncages a lethal groove and commanding swagger which leaves its predecessor in the shade. The swinging contagion of the track is clad in a threatening musculature upon a djent inspired spine whilst it’s flailing sonic arms and acrid melodic adventure provides the most compelling hues to potently ignite the imagination. Every move and twist of the song is pure infectious bait, at times almost too involved in itself but never relinquishing the tightest entrapment of thoughts and emotions. As all the tracks upon the EP, there is plenty to discover with each subsequent encounter, certain underlying textures and touches unveiled within the increasingly persuasive tempestuous engagement after numerous excursions.

     The following Home(less) is a bestial display of maliciousness but one aligned to the most creative progressive enticement yet. The guitars sculpt simultaneously uncompromising and seductive endeavours whilst bass and drums carve out bruising lures which also only beckon and threaten. Once again the song is a cascade of innovative manipulations which flirt with indulgence and chaos but only to tease and taunt within its skilled and deliberately devious craft. That dramatic and alluring enterprise is pushed further with the closing title track, its bewitching opening progressive design of melody caressing keys wrapping the ears in a transfixing coaxing before being joined by staccato riffs and splintering rhythms within a brawling cast of sonic causticity. Carnivorous in its stalking and guitar endeavour whilst magnetic in its continually evolving melody induced progressive searing of the air, the track is a smouldering rampancy which seizes an instant lingering submission for its ruinous nature and assault yet slowly burns an even greater seduction in the passions over time and multiple unions.

   The outstanding climax brings a similarly impressive release to a close leaving anticipation and appetite for Animus a greedy hunger. Certainly the release shows that the band is yet to find its truly unique presence but that is only a matter of time with, on the evidence of Fall of the Elite, stronger dramatic triumphs destined to follow. This is an immense exciting start and base for their horizons and the open doorway to eager recognition countrywide.

www.facebook.com/AnimusUK

9/10

RingMaster 03/03/2014

 Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

Verdict – The Meaning Of Isolation

VERDICT_Band

A virulent scourge you will want to be ravaged by, especially if your blood boils for thrash metal, The Meaning Of Isolation from German metallers Verdict is an uncompromising slab of riveting extreme destructiveness and mouth-watering savagery. The nine track torrent of aggression and enterprise takes no prisoners and has little time in gentle persuasion, instead it simply and voraciously pillages the senses whilst rewarding with an underbelly of exhaustive yet captivating invention. The release definitely needs time and work to explore but rewards long-term with some addiction sparking technical viciousness and passionate ferociousness.

Verdict began in 1991 with a technical and melodic death metal intent and rage to its sound. Numerous line-up changes followed during subsequent years from which the band’s sound evolved and developed a deeper wealth of thrash hunger to its attack. Debut album Reflections Of Pain of 2002 brought strong attention upon the band and their emerging sound whilst the following full-lengths, Generation : Genocide of 2005 and Assassin: Nation four years later, only empowered their presence which in  turn has led to eager anticipation for the Verdict’s fourth and new album from a great many. Live the band has not left any physical or emotional stone unturned within either as they shared stages over time with the likes of Destruction, Disbelief, Illdisposed, Dew-Scented, Legion Of The Damned, Entombed, Death Angel, Gorefest, Obituary, Nile and many more. Mastered by Dan Swanö, The Meaning of Isolation thrusts the band forward to the frontline of thrash and extreme metal with a masterful display of malevolence and enterprise. The release may be just misses out on threatening best of lists this year, mainly through an arguably too similar a surface storm across many of the tracks and the lack of diversity in the vocals of Daniel “Ratte” Baptista to match the unpredictability and surprise of the music, but nevertheless The Meaning Of Isolation is a thrilling and captivating devastation which leaves the listener exhausted and deeply contented.

Leader Of The Soulless opens up the absorbing punishment with a haunting entrance; a sinister ambience brewing up a VERDICT_Coverswiftly imposing sonic menace which around an inspiring classical stringed melody, intimidates to temper the simultaneously dark seduction. It is not too long though before an artillery of crippling beats from drummer Florian Bauer corrupts the air closely skirted by melodic flames from the guitars of Marius Pack and Dave Hadarik which scorch the air whilst riffs batter its peace with carnivorous urgency. From here the barbarous persuasion is in full flight, the vocals of Baptista as vindictive and merciless as the sinews driving the sounds. It is an intensive start to the album, one unafraid to delve into dark doomier places within its persistent predation.

Manifest Of Hate and Killing Fantasies both keep the malevolence spewing from every antagonistic note and vocal squall, the first charging over the senses with a violent rabidity whilst grooves and sonic invention entwine their venomous craft around the song’s core whilst the second from a delicious dark and brooding introduction with the bass of Dave Helmstetter a pulsating evocative lure, goes on a creative rampage which bleeds intensity and wastes the welcoming senses. It does not match up to the first two tracks overall but still makes a sturdy encounter leading into the similarly impressive if not jaw dropping Layer Of Lies, a track which has a very close related aggressive and melodic cover to its predecessor and needing deeper focus to reveal its individual bait.

Lack Of Insight marks a new upturn in originality and invention within the album, the guitar twisting with bedlamic adventure to cast the first web over the ears before fusing into a resourceful and magnetic weave of intrusive and spellbinding antagonism. The track is certainly no less hellacious than previous songs but unveils a greater exploration and imagination of textures and invention which prevails through the likes of the blistering First To Fight and the creatively pungent Through The Eyes Of A Dead Man, both tracks with grooves and progressive intrigue to light fires within the imagination. The first half of The Meaning Of Isolation is an intense and formidable offering but is definitely exceeded by the second half and it’s more potent daring.

The Meaning Of Isolation returns the senses and dull peace back to its recipient but only after the barbarous Nemesis Of God, the song an exceptional beast which stalks and gnaws the listener from the inside, and its title track which provides another prowling intimidation prone to inventive sonic lashing outs and ruinous brutality, takes their pound of flesh. They complete an excellent album which from an impressive opening stretch emerges as a sadistically pleasing treat. For all thrash fans especially with those holding darker preferences in their hearts, Verdict has given the year an inventive pestilence which leaves no one disappointed or in one piece.

www.verdict.de

www.facebook.com/verdictthrashmetal

8.5/10

RingMaster 12/12/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

Human Improvement Process – Deafening Dissonant Millennium

hip

A musical carnivore with no respect and mercy for the senses, Deafening Dissonant Millennium the debut album from Italian death metallers Human Improvement Process, easily reveals why the brewing hype surrounding its creators. The eleven track predator is a striking and unrelenting assault of technical death metal with the fury of hardcore and a wash of melodic metal to its antagonism. It is at times a breath-taking confrontation and always a riveting expanse of sonic intrusiveness which debatably is not re-inventing anything but certainly merging existing imaginative armoury into a fresh and potent corruption.

Hailing from Modena, the quintet formed in 2010 soon creating a string following locally. Their first EP S.T.A.R.S. of 2011 was well-received in the Italian underground scene and made a good impression in a year where the band toured Ukraine and Russia with Italian band Dufresne. From there Human Improvement Process recorded the second EP In Cristalline Worlds Beyond which was supported by a couple of videos that drew more than 70’000 views on YouTube. Signing with Memorial Records earlier this year, the band now set loose their beast of an album, a brutal pleasure you can only imagine taking the band to a much wider recognition.

Deafening Dissonant Millennium opens with the atmospheric haunting of Jenova, the brief instrumental introduction a cavernous lurea2521107223_2 with a yawning ambience. Its sinister call intensifies as it evolves into the hellacious title track, a lethal storm of crippling rhythms and predacious riffs twisted into greater malevolence by the technically sculpted guitar invention of Fabio Carretti and Francesco Pini within the disorienting drum assault of Alessandro Lugari. The harsh unbridled passion and scowling venom of the vocals prey on the wounds caused by the sound, Stefano Sebastio an unrelenting scourge of varied spite spearing the continuing to move and evolve sounds. It is an explosive start which slightly loses its potency nearing its climax of melodic seduction but only because of the immense suasion it brought itself in with.

The following Erase increases the threat and strength of the album right away, the ravenous guitar riffs and enterprise finding greater maliciousness whilst the bass of Marcello Tavernari provides a primal provocation which leaves you cowering and wanting more. The hardcore aspect of the band’s invention rages from the chorus and through the accompanying vocal scowling but surrounding it the death metal pestilence is concussive and riveting in creativity, skill, and contagion. Making an early play for best track on the album it is soon challenged by Empty Eyes and even more so by Our Last Pieces Of Sanity. The first of the pair parades an industrial causticness within the brewing extreme breath and intent of the track. It is an intriguing lure which deepens with the equally fascinating vocal suggestiveness, a hint of something unpredictable though ultimately for the main, the song sticks to its ferocity in that department until the excellent clean harmony drenched flames provided by Tavernari. An imposing treat its successor sears an even mightier intensive and compelling storm upon the senses with no remorse and unrestrained voracity, the guitars chipping away and then gnawing upon ears and imagination before soothing wounds with some excellent sonic colour and skill.

As mentioned there is enough familiarity and similarity to elements of tracks to not feel like the tempest is an unknown malefaction but as the likes of Artificial Savior and Architecture Of a Dying Sun, split by the absorbing melody bred guitar painted instrumental Materioscura, unfurl their toxicity and invention it is a undoubted refreshing fascination that is devouring body and soul.

The final trio of tracks deliver their own unique inciting fires, The Process beginning the closing fearsome and ruinous avalanche of hostility though it also teases the wounds with an evocative melodic metal enticement surrounding an excellent clean vocal wash and classic rock sinew built charm from within the tempestuous ferocity. It is an impressively designed journey which is equalled by the ravaging might of Ethereal, the track a severe challenging coating of sonic acidity over the ever furious and exciting rhythmic violence.

The Deepest Oblivion brings the defilement to a close with one last treacherous expanse of lethal passion and invention. Experimental and superbly sculpted Deafening Dissonant Millennium continually feeds to the full the hunger it triggers from its opening presence if not to the same max the appetite for complete uniqueness. Nevertheless Human Improvement Process has placed themselves to the front row of adventurous extreme metal as well as one suspects, into a wider world recognition.

https://www.facebook.com/HumanImprovementProcess

8.5/10

RingMaster 02/10/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

Pteroglyph – The Great Unseen EP

Pteroglyph Online Promo picture

The excellent Found EP of last year made a striking introduction and formidable base for UK metal project Pteroglyph to stretch its evolution of invention and power from, which it surely has with The Great Unseen EP. The new release is a riveting expanse of technical art, fervour fuelled imagination, and finely crafted textures which go from chewing upon to seducing the senses within the time a breath takes to release its hunger, and back again continually. It is a masterful giant soundscape, a three part emotive adventure merged into one long rewarding excursion through shadows and blazing light wrapped in an evocative potency.

Pteroglyph is the one man project of multi-instrumentalist Jimmy MacGregor, once of one of the UK’s finest bands Mishkin. Setting out on his own to explore his unique musical premises and sculpt multi-layered technical structures within a torrent of sonic incitement, MacGregor chiselled a debut in the Found EP which was as emotionally colourful as it was metallically confrontational. Pulling acclaim from the underground media and offering a track to a cover mounted Metal Hammer CD, the release set up strong anticipation for future compositions from the man, an appetite fully satisfied by The Great Unseen.

Part One of The Great Unseen instantly unleashes a concentration of stabbing riffs with swarming sonic persistence as its companion, thePteroglyph Cover Artwork immediately riveting introduction soon joined by the hoarse growls of MacGregor and an acidic melodic wash. An intensive brew of rapier like jagged guitar spite and perpetually shifting vocal and enterprising invention, the track brings a suspicious and intimidating landscape to engage the listener whilst setting it ablaze with the excellent skill and progressively layered cutting sonic narrative. The promo accompanying the release suggests the EP is for fans of the likes of Devin Townsend, Sylosis, and Gojira, an impossible to argue with statement which can be stretched to include The First, Tesseract, and similarly inspired artists on evidence of this stretch of creativity alone.

The second part merges from an evocative mist to bring a singular guitar coaxing against the brewing storm with vocal harmonies flanking its suasion. Soon though the track has sinews and teeth coveting and assaulting the ear with pure rapaciousness whilst the vocal croon of MacGregor glides through the attack at times breaking into a rabid delivery to match the carnivorous side of the piece as melodic and atmospheric layers weave a concurrent evocative and resourceful flame to shape further tantalising depths within the track.

With the third part of the EP a tender and gentle plain of melodic and emotionally charged reflective imagination, The Great Unseen leaves thoughts and feelings soaring as high as the skies the final part ventures with its warm and evocative charms, though the outstanding heavy tones of the bass provides a dark anchor ensuring the piece of music never loses its shadowed footing as it brings an impressive release to a potent close.

Released through Red Tower Records The Great Unseen is a formidable step forward for Pteroglyph yet still suggesting there are more layers and depths to explore, which is one very exciting proposition.

https://www.facebook.com/Pteroglyph

http://www.pteroglyph.com/

8.5/10

RingMaster 24/08/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

Mycelia – Nova

Mycelia Online Promo Shot

Though at times it is uncertain what to make of some elements of Nova, the new album from Swiss metallers Mycelia, the ultimate outcome is a release which leaves the senses alive and thoughts through to passions empowered by the riveting and superbly crafted confrontation. A fusion of progressive and technical metal, the nine track album takes the listener on an enthralling and impressive escapade through sonically carved ventures fuelled by uncompromising melodic and djent invention.

Founded in 2010 by guitarist Mike Schmid and drummer Marc Trummer in the idyllic Swiss mountain town of Le Croix, Mycelia using inspirations from the likes of The Human Abstract, Meshuggah, and The Dillinger Escape Plan was soon creating potent songs. The line-up expanded soon after with the addition of vocalist Marc Fürer, second guitarist Patrick Küng, and bassist Roy Sonderegger. Two digital EPs and shows supporting bands such as Carnifex, Veil of Maya, Suffokate, and Maroon followed as the band built an impressive reputation in the metal scene of their homeland. Debut album Isolator arrived in 2012 to greater acclaim and reception though not long after Küng departed the band. Remaining as a quartet the band worked on writing their second album which they started recording in the latter part of the year with Clawfinger guitarist Jocke Skog at the controls. Seemingly investigating the depths and expanse between bands from The Human Abstract, The Faceless, and Meshuggah to those like Between the Buried and Me, Nova emerges as a riveting exploration which though not flawless leaves a very hungry appetite for the band behind.

The album opens with the towering Shmashmortion, the track immediately standing tall and wide before the ear with crushingMycelia Cover Artwork kinetic rhythms, grievous throaty bass snarls, and ravaging riffs with sonic grooving twisted around their sinews. With great and varied guttural growls squalling over the whole thing as well, it is an intimidating invitation which leaps with expulsions of raptorial intensity directly on to the senses, chewing them feverishly as the guitars dance tight melodic flames over all surfaces. Leaving breath an absentee in the lungs, the song is a scintillating fury to set passions off in tandem with the absorbing corrosive assault.

The following Ectoparasite exercises the same brew of maelstrom bred rhythmic attack and sonic tantalising but in a distinctly different gait and stance. The bass and riffs prowl and provoke a menacing narrative to the venture but that eventually evolves into a mesmeric sultry weave of melodic grandeur and emotive manipulation before returning in union with the acidic beauty. Though not as instantly dramatic as the first song it worms its charms into the heart and emerges as one of the many highlights of the release.

After the brief and refreshing instrumental Dopamine, the track a rhythmic dance within a heated sway of melodic ambience which allows its sinews to also add their potent textures, Nova takes another of numerous twists with C.O.R.P. and its invention. Ridden by less successful clean vocals which admittedly took time to adjust to, the track teases with some psyched grooves and devouring  rhythms veining another devious web of sonic enterprise which seduces the ear and emotions with ease, the technical flare beguiling without being flamboyant. Intriguing and descriptive in its aural narrative, the song leads thoughts into the visual arms of a sultry and dangerous landscape leaving behind a lingering satisfaction.

The Timemasheen is odd, well in its appearance on the release. A mix of dubstep and trance metal it is a decent enough piece which grips limbs to do its bidding without igniting any real fire in the belly but is utterly out of place on the otherwise impressively creative album. Its touch is soon forgotten though as firstly the excellent instrumental Event Horizon with its predacious intensity and carnivorous rhythmically provoked riffing makes its appearance followed by the three part expanse of The Golden Ratio. The Golden Ratio – Prologue opens with a glorious kiss of classical keys and symphonic whispers before climatic drums and growing energy adds extra passion to each aspect. Bone gnawing riffs and flesh scorching grooves emerge to consume without completely dispersing the beauty as the piece pulls the listener into the heart of the sonic travelogue. The Golden Ratio – Interlude takes a moment to re-establish its classic lined grandeur before opening a torrid heat of rapacious malevolence to take the seduction to deeper depths, the pervading union realised to its fullest potency with The Golden Ratio – Epilogue.

It is a stunning three track conclusion declaring and investigating the rich lengths and textures of the songwriting and its immensely crafted interpretation. Nova even with its surprising and less successful moment is an album of the highest pleasure.  Mycelia will be a major force in the future, whether this album is the accelerator is debatable but it gives the confidence to say it will happen at some point.

www.mycelia.ch

8.75/10

RingMaster 10/07/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com