Quartered – Eyes And Ears

Quartered - Press Photo - Credit Tyler Branston

The first thing to say about the Eyes And Ears EP from Canadian band Quartered, is it gives no real evidence to why the band self-describes themselves as progressive metal. Now genres and tags never truly represent the complete sound of a band but unless we have misunderstood what progressive metal is, it is no way the suggestion we would give to the potent sound running through the band’s release. Now call it alternative metal with a metalcore tendency and you are closer to the captivating persuasion fuelling a highly accomplished and satisfying proposition. Though not something rigorously unique, the Vancouver quartet’s sound stands as an individual incitement for ears and thoughts but most of all, it is simply potential soaked and highly enjoyable.

Quartered has earned an acclaimed reputation locally and further afield since its four friends came together around six or so years ago. Taking inspirations from the likes of Deftones, Tool, and Thrice, the band has become accustomed to praise for their live performances which has seen them play with the likes of Lamb of God, Testament , Slapshock, Bif Naked, Kobra and The Lotus, Ninjaspy, and Over The Coals through numerous festivals, tours, and shows. Their 2010 album Walks Like A Ghost equally garnered strongly positive responses and ensured that once news of Eyes And Ears broke, anticipation was fiercely keen.

The release opens with the excellent Blink Blink Flash, a track swiftly stirring up ears and appetite with its raw sonic entrance and coaxing. The guitar of Jeff Wang scorches the small hairs on flesh as it heads to the senses, laying down fine bait before the vocal roar of Greg Williams explodes with energy and passion alongside the rhythmic incitement of drummer Scotty Miller. It is a formidable start which only seems to find greater intensity as Williams explores his excellent clean delivery and the bass of Craig Rudder unveils its throaty drama. Twists in the vocal attack and jabbing hooks increase the intrigue and potency of the song and though it never explodes as it hints it might, the inventiveness and unpredictable tenacity of the song easily ignites imagination and passions. It is easy to feel the Deftones influence even in a song which is distinct to Quartered and it does the impressive protagonist no harm at all.

The following Call Me Crazy is a mellower proposition, melodies instantly wrapping ears within an evocative ambience before post hardcore like vocal and riffery adds its antagonism. It is a pungent beginning which loses some of its lure Album Cover - Quartered - Eyes And Ears - 2014with the strong but not this time as striking smooth and melodic vocals, which in turn inspires a more relaxed pressure around them. When the song rages with nostril flared though, it is a mighty slice of provocation and another aspect to the promise of the band. Its successor Violent Love, like the first track, provides a virulent temptation and pleasure as a harsh caustic assault is merged with respectful and harmonious warmth. It works perfectly, the track at ease and full potency either snarling and gnawing on the senses or seducing them. It is fair to say that the band is not setting new templates with the song and their sound but for a thoroughly exciting and impressive incitement, it is an undeniable treat.

Speak of the Devil similarly provides a riveting and thrilling encounter, its melodic rock charm and more rugged angst fuelled passion a radiant and resourceful flame of craft and enterprise. Its captivation is succeeded by the infectious She Sees Colour, a catchy and emotive caress on ears which enchants and provokes satisfied emotions with Palms like vivacity. It is a song which again does not quite catch fire as it might but easily provides another major highlight on the increasingly impressing release.

Neither Take Me There Tonight nor Echoes can match what comes before, yet with its predacious touch and tone aligned to skilled musical and vocal design, the first of the pair makes for a compelling and persistently pleasing encounter. The second of the two is a flight of emotion and hungry endeavour which evolves from a gentle caress to a raw and caustic emotional rage. It also leaves thoughts and appetite hooked but pales against the qualities of earlier songs and the closing success of Ricochet.

The final song on the EP is the most groove infested encounter on the release, fusing that irresistible spice with the now expected excellently thought out and presented vocals amidst a commanding rhythmic framing courted by superb guitar invention. It is a powerful end to a strong and absorbing encounter. Though it is easy to feel there is more to come and be discovered by Quartered to really forge a unique place in metal, Eyes and Ears is an impressive step on the way and very easy to want to keep coming back to.

The self-released Eyes And Ears is available now @ http://quartered.bandcamp.com/album/eyes-and-ears

http://www.Quartered.ca

RingMaster 09/10/2014

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/

 

 

New Model Army – Between Wine and Blood

893523_10151417453814825_935191495_o

New Model Army has never been slow in impressing and stirring up thoughts and passions since forming back in 1980 with their uncompromising and inventive sound, lyrical confrontation, and inspiring stage presence but it is fair to say that the Bradford band hit a new pinnacle with last year’s Between Dog and Wolf album. It showed as if fans needed reminding, that the band has become more impressive and essential with age, the rigorously acclaimed release being rewarded with being the UK band’s fastest selling offering and charting top 30 in UK and Germany. Now the band unleash the similarly outstanding and eventful 2 CD encounter Between Wine and Blood. Made up of six brand new songs on one disc and eleven live cuts of tracks from the previous album on a second, it is an invigorating continuation of the riveting creative plateau set out upon Between Dog and Wolf.

Following the potent release of the last album, NMA set out on the Between Dog and Wolf Tour to equal praise and success. Part two of the tour was scheduled for the spring of 2014 but due to drummer Michael Dean being diagnosed with blood clots in his leg and advised not to play shows, the tour was postponed until this autumn. The break enabled the band to hit the studio and to record 6 brand new songs for the mini studio album accompanying the live CD. The songs are bred from and continue the weighty impressive presence of Between Dog and Wolf, pushing and exploring further its creatively imposing and thrilling emprise. The tracks make for a compelling and enthralling companion to the live portion of the release. Recorded from the first part of the aforementioned tour at venues in London, Nottingham, Cambridge, Cologne, and Amsterdam, the CD sublimely reinforces and the power and impressive stature of the last full-length and the band live, easily capturing the raw and emotive energy which marks their songs and stage presence. Combined the two sides of the proposition makes for one of this year’s most enjoyable and striking incitements from a band as mentioned earlier just get better and better.

The new tracks start off with According To You and needs little time to consume ears in a slow yet heavy and throaty embrace of bass and guitar. It swiftly slips into a pungent stroll of predacious riffs and sonic enticement from the guitars of Justin Sullivan and Marshall Gill, whilst vocally Sullivan imposes himself with the distinctively confrontational yet expressive calm which has always marked his delivery. The grouchy tone of Ceri Monger’s bass brings another breath of drama to the prowl of the track whilst its flowing chorus is unafraid to dabble in rock pop without defusing the intensity and weight of the impressive opener. It is a stirring encounter, but emerging in hindsight as just the tasty appetiser for greater things to come starting straight away with Angry Planet.

The second track has barely time to coax the imagination before raw riffs incite a rampant stroll of anthemic beats from Dean, which in turn are caressed by a gentle but vocal melody and the ever riveting lure of the bass. Exploratory electronic breezes from Dean White enhance the dramatic evocation cast by the song for a stunning challenge where lyrics and vocals work on thoughts as magnetically as rhythms enslave limbs and the inventive sonic weave steals the imagination. Sure to be a crowd favourite ahead, the song builds and boils into a climactic finale driven by the discontent and unrest theming its narrative, ultimately cementing itself as a show and album stopper.

Guessing is equally anthemic in its individual stomp, beats and riffs an irresistible incitement over which melodies and sonic designs twist with flirtatious hues as vocals and the increasingly impressive bass endeavour of Monger, nestle 46f67d33-e5e6-4afa-b8eb-68050a268a25perfectly between the song’s antagonistic rhythmic drive and seducing creative enticement. Another to chalk up as a classic NMA proposition, the song is rivalled by the bewitching Happy To Be Here. An emotive folk embrace wraps ears as a sultry melodic temptation and ambience provides a mesmeric colour to the vocal draw of Sullivan and a courting acoustic beauty. An energetic bounce to the track just as rapidly emerges but is never allowed fully off its leash, the band instead simply breeding it into an infectious swing driving the provocative and intimate adventure.

The new material is completed by firstly the stunning Devil’s Bargain, again a tribal seeded bait opening up the track as keys build a haunting yet engaging atmosphere. It is an instant trap in which feet are unable to stay motionless as the body subsequently succumbs to the baiting. Thoughts and emotions are not far behind in their submission either, keys and vocals leading the resourceful and radiant temptation. As all the songs, there is a potent unpredictability and intrigue to every twist and shift of ideation in the track but skilfully explored with seamless ingenuity and passion. The closing Sunrise, the band’s new single, is a punk folk treat if it can be tagged as anything, which simply oozes irresistible melodies and spellbinding harmonies across a sinew sculpted spine. To be honest it is not the standout song on the release but still an easy choice to lead people into the album.

The live side of Between Wine and Blood just as tightly and swiftly grips passions and appetite, from the fist pumping thrills of the opening Stormclouds through to the closing contagion of Horsemen, band and CD steal total interest in ears and attention. The opening track sets the tone, pulling the listener into the middle of the tempestuous glory of song and occasion, skin almost tingling as ears are immersed in the passion and energy of the night it was recorded.

With every track a roar of intensity and passion delivered with the craft and snarl which has always been NMA, there is no point in the album where you wish to be anywhere else but certainly tracks like March In September with its fiery provocation, the impossibly addictive and brilliant Did You Make It Safe?, and especially the voraciously transfixing I Need More Time take the biggest plaudits. They are rivalled by the excitingly hostile shuffle of Between Dog and Wolf, a classic track and imperious live version in anyone’s book. As said though every song is a transport right into the heat of their recording and the evidence that there cannot be many finer bands live than New Model Army right now.

Mixed by Joe Barresi (QOTSA, Soundgarden, Tool and Hole), Between Wine and Blood is a must for fans and all with a yearning for impassioned and powerfully inventive rock ‘n’ roll, whether from the studio or stage. NMA also have a voice which never shirks taking on the world’s injustices and social wrongs and that as shown by this outstanding release, is just as masterfully engrossing.

Between Wine and Blood is available now on the band’s own Attack Attack label in various packages @ http://shop.newmodelarmy.org/ and https://itunes.apple.com/gb/album/between-wine-and-blood/id907118636

Check out New Model Army’s current tour dates and more @ http://newmodelarmy.org/

RingMaster 02/10/2014

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/

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

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/

 

Escapethecult – All You Want To

ETC-band-2

All You Want 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 Escapethecult. 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.

Escapethecult 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 Want 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 Escapethecult 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 Want To.

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

www.facebook.com/EscapeTheCvlt

8.5/10

RingMaster 19/08/2014

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/

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

http://audioburger247.webs.com/

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

http://audioburger247.webs.com/