Empty Yard Experiment – Kallisti

EYE-INTHEMIX-PORTRAIT-1

   Kallisti is an album to which you have to commit time and attention but rewards with an enthralling journey for thoughts and emotions to deeply immerse within. The new release from Empty Yard Experiment, the fourteen track encounter is a transfixing and compelling proposition which never lets you comfortably settle into its exhausting textures and climactic structures but equally never relinquishes its grip and temptation on the imagination. A riveting web of progressive and melodic rock with just as rich veins of post rock and alternative metal, the album is an expansive landscape of consuming atmospheres and provocative emotion wrapped in a craft and enterprise which pushes Empty Yard Experiment to the forefront of progressive exploration.

Formed in 2006, the Dubai based band consists of musicians from the United Arab Emirates, Serbia, Iran, and India. Taking influences from the likes of Tool, Porcupine Tree, Nine Inch Nails, and Mogwai into their own invention, Empty Yard Experiment (E.Y.E.) has certainly on the evidence of this second album, forged a unique yet almost recognisably engaging presence and sound. It comes in an ingenious tapestry though which sets it well apart from the band’s influences and others engaged in a similar weaving of multi flavoured styles into sonic experimentation. With the band already earning acclaim through shows with the likes of Evanescence, Metallica, and Anathema, their Joshua F Williams (Bruce Springsteen, Stevie Wonder) produced Kallisti has the quality and potential to thrust the band into the keenest spotlight. Named after the inscription on the ancient Greek Apple of Discord, Kallisti is a concept album themed by the threads of chaos and discord which permeate our lives and existence, its lyrical provocation as rich and intensely provocative as its sound.

The journey starts with Sunyata, an instrumental introduction which places melancholic keys from Gorgin Asadi and strings in a crystalline and slightly portentous ambience. It is an easily engaging opening cloaked in emotive shadows and swiftly has thoughts wrapped up in its restrained yet potent drama. The track builds up a sonic link between itself and the following robust and intimidating Greenflash. That threat is slightly defused with the great ragged rub of riffs which soon emerge and mellow vocals which instantly brings a whisper of Deftones or Palms to the otherwise predatory entrance of the track. As it opens up its rhythmic pressure and sonic ruggedness everything takes on a fresh, bordering on antagonistic, approach to the melodic temptation. The result is a song which flirts and melodically roars like a mix of Alice In Chains and Karnivool. As with most tracks there is so much going on that we can only give brief glimpses, each proposition within Kallisti an on-going exploration of an evolving soundscape.EYE_CoverArt_Kallisti

The outstanding track makes way for the dystopian ambience of Red, a brief instrumental clad in an emotively sinister ambience before it in turn slips into the reflective caress of The Blue Eyes of a Dog. The track is like a stark imposing breeze, its emotional intrusion at times a wispy elegance and in others a forceful wind all sculpted by respectful rolling rhythms, melodic experimentation, and emotional turbulence. The instrumental is a beacon for ears and especially imagination to find their own scenic visions within the track and album, matched to more sinister effect by the more disturbed There Will Never Be where keys and vocals unite for a severely troubled caress.

Entropy provides the loftiest peak on the album, the track an enslaving bait of sinew stretched riffs from Bojan Preradovic and the probing beats of Josh Saldanha within an atmospheric sonic glaze courted by a gripping throaty bass temptation unveiled by Kaveh Kashani. Vocals swiftly add their smooth and evocative tension as keys swarm tenderly over the senses with a smouldering breath of seduction. The song prowls as it seduces, expelling raw abrasing flames of sonic and emotive passion throughout for a climactic and absorbing flight.

Blue is another short cinematic slither of industrial bred scene setting before the transfixing beauty of Anomie immerses ears and senses, the skilled designs of guitarist Mehdi Gr a gripping narrative alongside the increasingly mesmeric vocal qualities of Preradovic. There is a sinister almost bedlamic eruption of discord kissed sonic ingenuity within certain twists of the song which simply adds to its engrossing intrigue and unpredictability. The following Lost In a Void That I Know Far Too Well has less of the second of those two aspects but certainly a wealth of the first within its soaring melody strewn instrumental landscape. The piece again has thoughts flying their own agenda before Untitled spreads its unique but easily accessible melodic rock revelry and provocative expression. Detours into cinematic glimpses of life and festivities wrong foots at first but opens up further exploration within the constantly surprising track which over time only enhances its suasion.

The dark cavernous depths of Sama make another short but impacting twist in the narrative of Kallisti before it seamlessly evolves into the melodic enchanting of God Has His Reasons, a self-reflection driven slice of melodic and harmonic beauty. Keys and vocals steal the ears but only because the striking canvas built by restrained rhythms and an inescapable web spun by the enterprise of the guitars and bass gives them a potent background.

A final short piece called Green leads into the closing triumph of The Call, a track from its initial rhythmic trap binding ears and passions in a nine minute travelogue of gentle and tempestuous emotional climates and rugged aural terrains. It is a final emprise for thoughts and feelings, a thrilling sonic gest to lose reality within.

Though many tracks work alone superbly, Kallisti works best as a whole even though that means greater attention and effort is needed. The rewards though are enormous as Empty Yard Experiment proves themselves to be one of the truly exciting emerging forces in melodic and progressive endeavour.

The self-released Kallisti is available now @ http://emptyyardexperiment.bandcamp.com/album/kallisti

http://www.emptyyardexperiment.com/

RingMaster 29/09/2014

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Escape The Cult – All You Need To

ETC-band-2

All You Need To is a persistent little temptation, an album which admittedly did not really blow thoughts and senses away initially but did engage them in a pleasing and intriguing proposition. Away from its aural embrace though hooks and melodies, rhythmic twists and grooves kept swerving around the imagination and memory, all leading back to and revealing themselves as being bred by the debut album from Escape The Cult. The seven track encounter is still not an experience to leave you intensely awestruck but with its lingering and ingenious enterprise certainly enthrals as one of the year’s more exciting progressive metal propositions.

Escape The Cult is one of those super groups you read about, a collection of established musicians taking time out from their more recognisable exploits to explore new hopefully impressive avenues, something the quartet does with ease from start to finish. The brainchild of Kamlath bassist Peter G. Shallmin, Escape The Cult came to life in 2008 with its founder drawing on the qualities of vocalist Matthieu Romarin of Uneven Structure, guitarist Mike Wead from King Diamond/Mercyful Fate, and Primus/A Perfect Circle drummer Tim Alexander to help realise his vision of creating a progressive metal audio/visual experience. It has been a journey for the band to this point and for Shamlin who talked about the album saying “It was a dynamic and exciting start, with blood, sweat and tears shed throughout the process and a long exhausted preparation for the attack. Every day was worth to make it real. We were sincere in our ideas that are embodied in our debut.

The gentle but resourceful entrance of opener Backfired, with a bass twang courting spicy guitar enterprise, swiftly catches the imagination and though it is not a dramatic start to the album, an intrigued appetite for the song’s offering is

Created by Igor Omodei

Created by Igor Omodei

drawn. The distinctive tones of Romarin bring a familiar and passionate texture to the emerging narrative of the song, one never forceful or in a rush to challenge ears and thoughts but leaving inventive tendrils of melodies and strains of sonic incitement to infest the passions. It is a potent and riveting start to the album, basking in the renowned individual skills of its creators whilst forging a compelling and unique suasion of its own.

The following Clandestine opens with a muscular and aggressive threat which is soon tempered by an evocative heat of sonic colour and warm vocals. There is still an intensive weight to the rhythmic potency of Alexander though to keep senses on edge and balance out the almost Queens Of the Stone Age like sultriness coating the melodic exploration of the song. Grooves are seemingly slight in their bodies yet make for the most addictive and as mentioned earlier relentless temptations, the outstanding second track one of those which makes the most re-appearances in thoughts away from its source, whilst the flames of guitar endeavour from Wead transfixes as they scorch air and senses.

A definite pinnacle of the album, it is soon backed up by the gentle croon of I’m Absolute. With an immediately delicious web of hypnotic bass flirtation and the similarly mesmeric vocals of Romarin, the song sways and immerses ears in a smouldering and jazzy emprise of progressive fascination. The beats juggled by Alexander further captivate and ignite an already invigorating breath to a song, which as the album as a whole, does not explode in the passions but worms its way seductively into the psyche to forge an even more intensive bond.

Both the melodically tender Feel The Flight and the rapacious Tired Of The Past provide an absorbing canvas to lose one’s thoughts within, the first adding tense riffs and restrained yet incendiary grooves into its impassioned but mellow landscape. It is another where particular elements fire up ears and the passions rather than an overall combination but that united blend provides the embrace and rich foundation within which the sublime twists and essences can impress. Its successor is a feistier encounter in sound and intent which boils with imagination and unpredictability, preying on and tempting the listener with a provocatively charged invention which snarls and seduces with equal predation. An exceptional track binding ears in a thrilling adventure, it also sows seeds which blossom at a later date, though that is something truthfully which applies to all songs, as shown by the brilliant This Time Will Come. Hints of Alice In Chains and Tool, which have flirted with other songs too, make a rich enticement within the masterful blaze of intensive melodies and sonic acidity. There is also an underlying snarl and angst fuelled growl to the track which simply scintillates within the impressive and constantly evolving invention as it pushes itself to be the pinnacle of the release.

Where No Grown Up Grapes brings the album to a fine close with its web of heavy vocal and sonic passion. It is another where it simmers without lighting fires but then in a twist of a chord or rhythmic shuffle finds an enslaving idea or slither of imagination to set thoughts and passions ablaze. That sums up All You Need To as a whole, it at times simply pleasing with skilled ease and then striking with sheer genius and expectations slaughtering ingenuity. It all makes for an album which leaves a rich impression and presence with even deeper laid lures which prey on the listener later. How frequently Escape The Cult will be exploring ears and imagination ahead we will see with its members ‘day jobs’ etc. but anticipation and hunger for more is already breeding healthily thanks to All You Need To.

The self-released All You Need To is scheduled to be unveiled in September 2014.

www.facebook.com/EscapeTheCvlt

8.5/10

RingMaster 19/08/2014

Copyright RingMaster: MyFreeCopyright

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Pigeon Lake – Tales of a Madman

  Linn Wold Design


Linn Wold Design

A couple of months back Norwegian band Pigeon Lake unleashed the single Confrontation as a teaser and awakening to their debut album Tales of a Madman. It was a track which held all the already impressing essences and invention of the band as shown on their first release, the I: Mindrape EP, but hinted at a new individuality of sound and even greater emotional and textural explorations. The track was riveting as it thrilled ears and imagination but now showing as just an appetiser for the might and creative weight of the new album. Tales of a Madman is a beast of an encounter, a stirring and invigorating incitement which shows that Pigeon Lake has come of age and is ready to embrace the strongest intensive spotlight.

Formed in 2011 and hailing from Oslo, Pigeon Lake consists of vocalist/guitarist Christopher Schackt, lead guitarist Magnus Engemoen, bassist Anders Børresen, and drummer Andreas Prestby. The quartet has from day one created a web of intrigue and attention grabbing sound from merging a melodic and imposing blend of rock with a predatory metal confrontation. The result is a proposition which demands senses and thoughts pay attention before taking them on an enthralling and breath-taking, at times uncompromising, creative journey. The I: Mindrape EP of 2012 brought the band’s first rich mark on the psyche and passions; its success not the trigger to wide spread recognition but certainly an awakening of an awareness of the band which the new album we suspect will ignite.

Whereas the EP had irrepressible songs built on swinging grooves which could be referenced to the likes of Pantera and Volbeat in many ways, Tales of a Madman sees the band diving into the darkest corners and depths of emotions and imagination. Shadows smother the senses across the release, emotions soaking thoughts with strains of despair, fear, and predominantly melancholic evocation, yet rather than breed a depressed atmosphere which only devours the listener, the band sculpt and vein songs with an incendiary and sometimes deranged bait of hooks, grooves, and rhythmic contagion. It is a compelling and ingenious mixture which compliments its theme with intensive dramas and aggressive twists.

The album opens with the instrumental Event Horizon, a melodically elegant and captivating piece of composing which instantly draws in the imagination. Around the magnetic coaxing a dark ambience busies itself, offering a lure which is as inescapable and ominous as its title suggests. With rhythms adding their heavier enticement aided by a growing intensity of the guitars, a foreboding joins the flight of the track as it heads into the impending narrative of Epiphany. The second song also casts a caress of sonic temptation initially, though this time there is an instant edge to its charm which is soon aligned to firm beats and abrasing riffs. Antagonistic grooves break out quickly after, their lure courted by more pungent rhythms from Prestby and a throaty malevolent tone from the bass of Børresen. It is a swiftly gripping proposition which takes another lift with the distinct vocal expression of Schackt. As with the sounds the band crafts, there is an adventure and uniqueness to the voice of the man which is unafraid to test its limits whilst bringing open diversity to his delivery as it reveals every ounce of the passion and pain within the heart of lyrics and songs. The track itself writhes and twists creatively across its body with an almost maniacal intent, every swing of rhythms and lacing of sonic persuasion intimidatingly restless but rigorously seductive. It is a stunning step into the thick imposing realm of the release which is instantly matched by the current single.

Confrontation strides in on a voracious rhythmic enterprise which is ridden firmly by the fine vocals of Schackt. An anthemic baiting is right away in command of ears and emotions which the guitars colour and expand with their resourceful and ever shifting tempestuous invention. Angst fuelled harmonies bring their rich hues to the emerging maelstrom of emotion and agitated sound too, anger and despondency entangled with a romantic rage vocally to match the turbulent and thoroughly absorbing storm of sound around them. As impressive as their first release was, this song alone reveals in a short breath just how much the band has grown in their songwriting, creative maturity, and simply ravenous invention.

The smouldering emotive landscape of Doubt comes next, its scenery a melodic wash of shimmering passion and turmoil which erupts with soaring flames of vocal melancholia and sonic causticity. It is a glorious provocation for thoughts and feelings, essences of Katatonia and Tool spicing up the uniqueness of sound and imagination. The song is impossibly mesmeric and immersive but equally menacing through its tar like sludge bred intensity, a union of extremes which you wonder whether many bands could unite as sensationally and potently as Pigeon Lake.

Both Vengeance and Discrepency take their weighty share of the passions with distinctly different investigations, the first from a seducing if also imposing entrance, sending ears down a passage of forcefully jabbing rhythms and snarling riffery courted by raw vocals. It is a song which reeks of danger and destructive intent. The album is into the core of the mental disintegration of its protagonist you feel at this point, every melodic hug accompanied by a bestial savagery and every exotic twist of invention aligned to a malevolent stalking. It is impossible to pick out a pinnacle on the album but the exceptional track is certainly the most vocal re-emerging incitement in thoughts and memory with an unhinged air to every flirtatious and inhospitable turn it takes. Its successor also employs that height of unpredictability and emotive differences throughout its energetically driven swagger and corrosive touch. With a hostile edge to riffs and entrancing magnetism to its melodic beauty, the song is sheer emotional turmoil brought to sonic life and quite brilliant.

The album is completed by the two parts of Absolution. Pt 1. is a sultry escape through a calmer emotional climate but still ripe with blazes of sonic and vocal passion which are in no mood to create a smooth ride for senses and thoughts whilst Pt 2. feels not like a conclusion to the torment of the central character, but a clearer horizon even if one still littered with struggles and conflicts as painted by the roar of guitars and an intensive rhythmic intrigue to the impacting heat of the song.

Rather than a journey for the ‘Madman, the album feels like episodes from an on-going agony and leaves the imagination just as hungrily aflame as the passions. It is an exceptional release which has all the qualities and inventive beauty to push Pigeon Lake deservedly to the frontline of progressive rock and melodic metal. Tales Of A Madman is a release with a sound merging numerous styles and appetites for a mouth-watering presence, one without any reservations which is an album of the year contender.

Tales Of A Madman is self-released on August 15th @ https://pigeonlake.bandcamp.com/

https://www.facebook.com/PigeonLakeMusic

10/10

Upcoming Pigeon Lake Gigs:

15.08 – Gamla, Oslo – Release party

22.08 – Inside, Bergen

23.08 – Fru Lundgreen, Trondheim

30.08 – Union Scene, Drammen

06.09 – Downbeat, Hønefoss

03.10 – Sebs Hotel, Hamar

RingMaster 10/08/2014

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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ANTI CLONE have their ‘Hands Sewn Together’, on 25th August‏

anti clone

RSR-Photography 2014

 

APOCALYPTIC UK METAL CREW ANTI CLONE RELEASE DEBUT RECORD!

“Less a sleek sports car and more a Mad Max battle wagon, this is an EP from a band who are signalling the way heavy music is likely to sound in the years to come. I hope to God they’re right.” Get Your Rock Out

Pulling from a plethora of areas from Marilyn Manson and Slipknot, to Mudvayne and Tool, Anti Clone lay down a captivating blend of hard-hitting cutting metal laced with a biting industrial edge. The Brit noise chiefs have their rebooted new EP ‘Hands Sewn Together’, out on Monday 25th August and available through all stores.

Bursting out of Boston, Lincolnshire and originally formed in 2011, Anti Clone had a turbulent start due to personnel changeovers, however they finally solidified their line-up with brothers Peter Moore (Lead vocals) and Drew Moore (Drums & Programming), linking up with fellow brothers Conor Richardson (Guitar) and Liam Richardson (Guitar) as wellas Fraser Burch (Bass) who rounds up the unit. The five-some soon forged a reputation in their local area for their commanding and formidable live performances rammed with blistering energy and ferocious riffs. Soon after the rising metalheads widened their horizons to break out on their first UK tour in 2013 with their friends, ‘Eridium’. The shows were a rampant success and rapidly increased Anti Clone’s national profile. The band have since gone on to play around the UK sharing stages with a host of heavyweights from ‘ESO’, ‘Lavondyss’, ‘RSJ’, ‘Sworn Amongst’ and ‘Bloodshot Dawn’ to ‘Maplerun’, ‘Evil Scarecrow’ and the legendary, ‘American Head Charge’.

The metal newcomers continued their ascent with the release of their debut single ‘1984’, which was produced by the Grammy award winning producer, Matt Hyde (Machine Head, Trivium, Fightstar, As I Lay Dying and Slipknot). The track and accompanying video attracted over 7,000 unique views and led to the band being featured in Terrorizer Magazine, as well as securing widespread support from the underground.

The industrialists have just inked a management deal with ‘Black Radar Management’, who’s stable includes American Head Charge, RSJ and Maplerun. Now with the national release of their killer new EP ‘Hands Sewn Together’, which boasts five killer tracks, from the explosive past single ‘1984’ to the alluring low-slung groove of ‘Take This Pill’ and the hammering Tool-esque dynamics of ‘System’, the stage is set for Anti Clone to truly soar.

youtube.com/AnticloneHQ | www.twitter.com/AnticloneHQ | www.facebook.com/AnticloneHQ |  http://www.anticlonehq.com/ |

 

 

ICOSA – The Skies Are Ours EP

ICOSA

It is hard to know how long the members of ICOSA have been playing, nurturing their skills and invention but it is fair to say that band, and debut EP The Skies Are Ours leaves the majority of releases and certainly first encounters this year in the shade. The four track release is a fascinating and exhilarating slab of mature invention and startling imagination brought with a technical craft and instinctive adventure which leaves you grinning and basking greedily. It maybe just one release but it is impossible not to suggest that this is the awakening of one potentially important force for British and dare we say world music. Casting a web of progressive metal and heavy rock, a description which still only gives half the picture, the London trio has made a big statement with their first release and set the benchmark very high for them and UK progressive metal.

Formed in 2011, ICOSA consists of vocalist and 8 string guitarist Tom Tattersall, 7 string guitarist Stacey Douglas, and drummer Jack Ashley. Drawing on the inspirations of bands such as Tool, Meshuggah, and SiKth, the band has been stirring up a bit of a buzz around them and now having been seduced by their EP it is very easy to see why. Their sound sits somewhere amidst Between The Buried And Me/ TesseracT and KingBathmat/ King Crimson whilst infusing a wider diversity in its body for an openly distinct presence. It is a riveting weave which seduces and rages, commands and demands within The Skies Are Ours to inescapably bind ears and imagination.

ICOSA open up the release with Ermangulatr. Its initial shimmering touch is gentle, almost spatial in breath as it slowly entangles thoughts and senses. Guitars soon add additional intrigue before expelling a heavier intensive climate coverwith sonic veining which mesmerises as it scorches aligned to a Meshuggah like predation. It is a powerful lure which only increases as it welcomes the excellent vocals of Tattershall, his tones another tempering flame against the brewing ferocity of intent and invention. As it expands and explores, the track continues to twist and turn with inescapable hooks, fluid grooves, and simply a web of compelling ideation and craft. Reminders of The Ocean, Opeth, and The Mars Volta flirt with thoughts across the song but with its striking creative emprise, the track and ultimately release is impossible to truly pin down.

The two part title track is next, Part 1 instantly teasing senses with coarse but ridiculously enticing melodies within agitated rhythms and an equally frenetic narrative of riffs and invention. There is rapacious rabidity to the track and its dramatic landscape but just as potently a fury of seduction which drives every warped twist and idea as well as every melodic spearing and ingenious coaxing. At times listening to the track you feel like you are on a roller coaster ride through a vast ever shifting landscape of unpredictable dangers and beauty whilst in other moments you get the feeling of a dogfight in the air between dark and light protagonists, each spinning their individual traps as they tussle gleefully. The closing sun of melodic elegance glides the listener imperiously into Part 2 and its almost celebratory beginning where rhythms and guitars romp with ideas and endeavour whilst the vocals find an additional snarl to enrich the elevated revelry. The track simply enslaves and intrigues; its merger of metal and rock into a distinctly individual and transfixing voracious blaze of invention and imagination, ridiculously impressive and thrilling. It is all so seamless and fluid that you just get lost in the sheer beauty of the persistently shifting mystery and adventure so that at times the real world is just not there.

The EP is completed by Trepidation, a welcome trespass into the passions with bulky jagged riffs, cascading sultry melodies, and bordering on psychotic invention honed into a contagious stride of devilish imagination and just as sinisterly attractive and skilled ingenuity in songwriting and presentation. It is an outrageously brilliant end to a similarly potent and masterful release. ICOSA is already a major player in metal, it is just that we and the metal world did not realise until now through their debut. As The Skies Are Ours lets its last notes tease and thrill there is room for one more thought, something this good and genius just has to have the Devil’s backing.

The Skies Are Ours EP is available digitally as a name your price download and on CD now @ http://icosa.bandcamp.com/releases

https://www.facebook.com/icosa/

10/10

RingMaster 25/07/2014

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

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Tweak Bird – Any Ol’ Way

pic BryanRichardMartin

pic BryanRichardMartin

Having been seduced and exhilarated by the band’s previous EP Undercover Crops, it is fair to say anticipation of getting the senses into Any Ol’ Way the new album from Tweak Bird, was acute and swiftly more than satisfied as the eleven track exotic haze of psychedelically enhanced rock unveiled its acidic and generous charms. Whereas the previous release could be said to be more stoner bred at its core, the duo of brothers Caleb Benjamin and Ashton Leech seed their new full-length more in the seventies psychedelic rock side of their creativity which in turn breeds their finest, most potent hour yet. It is a glorious evocative aural summer of fresh melodic weaves and sonic winds all caught in the inventively unpredictable psych pop kissed adventure that is Tweak Bird.

Formed in 2006, the Los Angeles based brother’s musical cv together goes back years before, as kids writing and recording music after growing up on a diet of Black Sabbath, King Crimson, and Pink Floyd. Jumping forward to 2005 with Ashton putting together his own drum kit and Caleb experimenting on the way to purchasing his first baritone guitar, the pair made their live debut as Tweak Bird within a year which led them to the attention of Melvins whose drummer Dale Crover subsequently passed a drum kit down to the duo. The bigbonesnakebite 7” came next followed by the Reservations EP in 2007 and 2008 respectively. Their acclaimed Crover produced self-titled debut album two years later was the spark to greater attention and spotlight upon the band, which Undercover Crops pushed on yet again in sound and responses, a success matched by their live shows which has seen the band stand alongside the likes of Tool, Melvins, Big Business, Black Mountain, Best Coast, and Ted Leo and the Pharmacists whilst driving their own headline tours in the US and across Europe. As stated though Any Ol’ Way is another kettle of fish thrusting Tweak Bird to the highest captivating perch within imagination reeking sonic rock ‘n’ roll.

As soon as the throaty voice of the guitar embraces and resonates through the ears as opener Weird Oasis sets joy in motion there is a AOW5x5sense of something seduction lurking, a feeling soon realised as the guitar expands its slow coaxing alongside similarly urgent and gripping rhythms. It is an immediately captivating enticement which the vocals soon climb all over with strained melodic hues and irresistible expression as small hooks and hinted grooves entwine their welcome fingers around thoughts and a rapidly emerging appetite. It is hard not to think of Melvins with the song but to that slithers of Hot Hot Heat and The Mai Shi offers their suggestions also but as mere spices in something primarily belonging to Tweak Bird.

The enthralling start is soon lifted up a level by Greens, the warm soak of seventies psychedelic sun of its predecessor seamlessly given an injection of gnarly riffs and heavy stoner-esque virulence speared by Sabbath-esque rhythmic stabs and sonic groans. The gait of the song is a prowl and its air an oppressive breath but with harmonious vocals and sonic flames carving out searing grooves, the track is an invigorating fascination whose bruising is only welcomed wholeheartedly.

The first major pinnacle on the album comes next in the aural temptress that is She Preach, a song which from a seducing mist of sound launches into a ravenous almost wanton persuasion of melodically teased grooves and crisply jabbing beats reined by the again impressive individual vocals. The song SOON adds catchy claws to its salacious dance of sound and lyrical enticing, hooks and infectious bait almost deviously infesting the senses and passions as the song spreads its erotic charms, wiles enhanced by the excellent discordant blessed sax croons which brings thoughts of eighties UK band Essential Logic to the fore. It is a magnificent provocation which leaves the following A Sign of Badness a little pale in comparison, but with its wispy vocals and muscular beats the track glides resourcefully across senses and imagination to add another twinge of hunger for the release.

The great alignment of raw aggression and melodic elegance makes Peace Walker a riveting encounter next, its sixties pop lure within a slightly cantankerous punk spawned sonic voracity insatiably magnetic. If you wondered what a mix of The Doors, The Beach Boys, and Corrosion of Conformity might sound like then this song is a good hint. It is another potent entrapment for thoughts and emotions but soon passed over for the ridiculously addictive Builder with is post punk repetition and gentle but imposing sonic nagging. The instrumental seeks out and consumes every pore and synapse with delicious chilled toxicity before flowing into the vibrantly smouldering arms of A Sign of Positivity. With almost griping deep toned grooves and a rhythmic shuffle which defies feet not to join its dance, the song as the vocals soars majestically and almost melancholically evolving into a thoroughly riveting and thrilling sway of aural hypnosis.

Both the niggling contagion of the brilliant Mild Manor and the summer soirée of Inspiration Point keep album and listener entwined, the first providing five minutes plus of the kind of rhythmic and sonic transfixing bands such as Gang Of Four and Joy Division conjured so decisively. Complete with short but deeply penetrating hooks and spatial toxins, the track works its way towards a rich and fully packed stoner rock fuelled fire as a finale. Its successor is a narrative locking intrigue and surf party suasion into a psychedelic rock sculpted sway of melodies and shadows, a song not as potent as the last but full of drama and invention to enslave attention and satisfaction.

The album is completed by the outstanding Burn On, a feisty and raw surfaced rock pop proposition which simply chains and romances with the passions like a high school teenager, even if one clad in stalker like intent, and a humid reprise on the bewitching opener called Sunshine (slight return). The pair makes a mesmeric conclusion to a spellbinding adventure and pleasure.

The David Allen produced Any Ol’ Way according to the Bird brothers “…voice our opinions and feel comfortable. We hired our dear old friend, to engineer and co-produce, which helped us explore new sounds and develop unfinished ideas. We believe in peace, marijuana, individual freedoms and not taking ourselves too seriously. This just happened to be what came out.” It is all there to be heard within the album where freedom seeps from every note and syllable.

Any Ol’ Way is available now from http://tweakbird.bandcamp.com/releases and on vinyl via Let’s Pretend Records now!

http://www.tweakbird.com

9/10

RingMaster 22/05/2014

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