Cease2Xist – You Are Expendable

You Are Expendable the debut album from Cease2Xist is undoubtedly the sweetest abrasion to be felt this year, the warmest violation and one of the most welcome mesmeric abuses upon the senses. The release from the British band was one of the more eagerly awaited albums this year but one wonders if any one truly expected something this powerful and imaginatively colossal. Crossing and pushing all boundaries musically and with its recipients, You Are Expendable unleashes a storm of industrial, harsh EBM, noise and post punk, in sound as well as attitude and energy. It is a toxic shower of caustic imagination and noise bringing the deepest fullest pleasure and smouldering rapture.

Cease2Xist is primarily Dayve Yates, with the skills of Jay Ruin, Seamus Bradd, and O.S. Entity added to the live setting. Back in 2010 with the release of debut EP Living by the Bullet, Yates immediately grabbed attention with his diverse composing and startling sound. With You are Expendable he has evolved and grown into a much more inventive and towering composer, a true merciless instigator of unforgiving sounds and unrelenting provocation. The album hits and rubs fiercely from beginning to end, its magnetic corrosive breath a mix of Cynical Existence and Gods Destruction, to simplify it, but offering a distinct uniqueness which marks the band as permanently recognisable from mere whispers of sound.

The album has a less than dramatic start if one is honest though that is in hindsight after the further riots have left their mark. Not All Is Wrong is a clash upon the ear of rhythmic surges within a disassociated seemingly crumbling atmosphere. It is a slow enveloping crawl over the senses, a statically bruised ambient smothering underneath the sonic eruptions. Though brief the piece sets up the senses for what is to follow without giving the full picture of the incredible strength and incendiary grandeur in store.    

My Burning Rage waves a melodic weave before the ear then manipulates it into pulsating sonic erosion which one willingly and swiftly succumbs to. The vocals of Yates are partly submerged within the brewing spite, the production and placing of his vocals a constant on the album and it works so well, adding to the shadowed and heart borne anger which sharp clarity would have distilled. The track itself leaves one breathless and smarting from its aural salt but wholly satisfied and eager for more violation.

The title track bakes the senses again with a sizzling contagion of scorched melodic touches and malignant energy to match the lyrical theme whilst the following Still Not Dead creates a dance to enrapture whilst peeling synapses further of their strength. Featuring MiXE1 on vocals alongside Yates, there is a sensational ebb and flow to the song within its rampant energy, the cleaner melodic tones of Mike Evans tempering and firing off of the harsher squalls of Yates.

Tonight is an aural defibrillator, its charged pulse shooting through ear, senses, mind and body, the sonic acid swirls it delivers cutting deeply as they tighten within the emerging sonic sandstorm. The track is as abrasive as the others whilst furthering the vibrant diversity which fuels the release, its melodies diving into the flailed flesh from the energies around them, to prove equally as violent but distinctly beautiful.

The likes of One-Zero, the virulent Teenage America, and the hypnotic I Am Destroyer only increase the depth of quality though all on the album is put into the shade by one song, the highest peak of the album, Occupy Everything. The track is irresistible, a thrilling, infectious, throbbing muscle of brilliance. A brazen and angry stomp bursting with dazzling electro fingerings and spiralling melodic ingenuity, the song is sheer addiction, its burrowing potency and majesty overwhelming whilst its crystalline expulsions and insatiable depravity persuades every cell of the body and all thoughts into subservience.

Cease2Xist has created one of the albums of the year in You Are Expendable, and upon its release on September 29th through Static Distortion Records, a label which seemingly can do no wrong this year, the band and UK industrial music will take its rightful place at the head of the world table.


RingMaster 25/09/2012

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Satan’s Wrath – Galloping Blasphemy

With a bio for the album proudly declaring that Greek band Satan’s Wrath were to unleash ‘relentless blasphemy, unholy sacraments of evil made by dwellers of the twilight, horrors that will make priests vomit in agony, abominations that the prophecies of old kept hidden’ and that the duo ’is the only band in the world in communication with thy master through ceremonial black magic and necromantic rituals’, not forgetting that ‘One member alone controls 13 satanic covens worldwide and organizes the most hideous sabbaths which our lord graces in the form of the black goat’, it would have been so easy to quickly move on in the expectation that all the vivid declarations was masking a weakness in the actual important part about them, the music. Luckily and very satisfyingly it is not the case, the new album Galloping Blasphemy being a ferocious blend of aural artistry and sonic imagination. Ok it is not the bestial violation it wants to be, the ultimate blasphemous outrage to decimate and destroy senses, but it is a thoroughly compelling release which over shadows the, to be honest the underwhelming and predictable attempt at being your worst nightmare.

Consisting of Tas Danazoglou (vocals, drums, bass) and Stamos K (guitars), Satan’s Wrath has produced an album which is impressive and captivating, its fresh blend of black, classic, and thrash metal with plenty of progressive essences an absorbing concoction. Black metal cored, the band remind of the likes of Impaled Nazarene, Burzum, and a little bit Slayer, though it is just part of the picture and ear catching triumphs the pair brew. The album is not flawless nor arguably openly original in its intent or sound but nevertheless captivates from start to finish with ease, with enterprise, and with unmistakable invention.

A predatory consumption of menace opens up first track Leonard Rising – Night of the Whip, the initial toxic atmosphere venomous and scarring. It is not long before the guitars are winding tightly around the senses, their acidic touch scything deeply. The sacrificial element of the song evolves into a full orgy of heated grooves, sharp air rupturing melodic invention, and guttural unforgiving vocals, the combination an ever shifting and hungry and evil magnetic companion.

Between Belial and Satan and One Thousand Goats in Sodom both bruise and ignite the senses equally, the first with its insurgent thrash rampage and arrogant malevolence and the second with an astringent weave of cutting sonics and raw melodics within a caustic energy. The musicianship on show here and throughout the album is impressive, the guitar play Stamos of alone more than worthy of a close attentive listen to the release.

Hail Tritone, Hail Lucifer, the stunning and masterful instrumental title track, and the insatiable hardcore spiced Death To Life, further let loose artistry and imagination to eagerly feast upon, whilst the corruption that is Slaves of the Inverted Cross just opens the door to further passions. The songs which make up Galloping Blasphemy from a distance are strong and easily digestible slabs of metal but it is when one delves deeper, immerses themselves in the heart of the tracks, that the real quality of the songwriting and skilled musicianship is evident. That makes for an album possibly needing more focus and work than others but it certainly gives much more back in return.

    Satan’s Wrath, the song, closes up what is a engaging and creative album in Galloping Blasphemy, a release which all black metal and extreme melodic metal fans would be making a mistake with if they did not give it definite and prolonged attention. The band may leave one unimpressed with their ‘back’ story but easily achieve the opposite with their release.

RingMaster 25/09/2012

Copyright RingMaster: MyFreeCopyright

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Silencer: The Great Bear

The Great Bear the new album from US thrashers Silencer offers as much intrigue as it does compulsive enterprising sounds. The release is a concept album based on an interesting historical what if question, the album an investigation of an alternative history. More importantly though musically The Great Bear unleashes songs with energy and craft which is hard not to be seduced by. More melodic and restrained than most other thrash releases this year and previous releases from the band, the album hones its sounds to stroll in league with the story. It is not musically groundbreaking, its seeds in influences from a couple of decades ago or so, but it captures the imagination thoroughly and inspires nothing less than full satisfaction.

Distributed via the Vanity Music Group, The Great Bear considers the question and premise of what would have happened if the Soviet Union had gone further in the space race than America’s step upon the moon. It is told through a Russian perspective, imagining the outcome of a union which could mobilize their entire population to achieve a goal. The tale is quite riveting at times and though to be honest the music has to be the important thing overall on a release, and the band have that in vibrant place here, it is impossible not to be wrapped up in the emerging outcome.

The album is a more tempered form of thrash from the Denver, Colorado quartet, though it still has a heavy and persistent snarl to its presence. Since forming in 1998, Silencer has earned a powerful following and strong acclaim across its years though arguably the wider recognition has eluded them up till now, something the new album could and should remedy. With a more rock cored sound to its thrash heart, the album maybe will not feature frequently at the heady heights of end of year acclaim lists but it will be a more consistent contender than most other releases.

The album sets a prologue with the national declaration like sound of opener introduction Sacred War, the song a lift of pride, endeavour, and the passion to exceed the emerging southern twang across the globe. Its brief and eventually dissipating breath explodes into the thunderous I Am Thunder!, a storm of a song which abuses the air with muscular riffs before igniting it with excellent guitar sonics and invention from Dan Lynn and Keith Spargo whose vocals are exceptional even if carrying a Hetfield tone. The song does have a firm Metallica feel, not a bad thing, probably a little expected, but still a notable aspect to the impressive song. Fully anthemic as fits the story the track fires up the senses magnificently for what is ahead.

The small atmospheric vocal lead in of 1969 sets up the track Great Bear nicely, the latter an enveloping mass of consuming and evocative intensity spiked by excellent expressive vocals, group shouts, and a rampaging yet slowly twisting groove to lap up eagerly. As mentioned it is hard to say there is anything new going on as such but impossible to declare it is not totally irresistible either.

The outstanding and best song on the album Insignia, with its cosmically sonic teasing and ravenous bass prowl from Patrick Russell, triggers further fires of pleasure whilst the two part Star City is a bustling and electrified expanse of adventure and determination brought with coarse abrasive energy and fiery melodic imagination which burns the atmosphere of the song perfectly.

Further highlights include The Roar, a blistering onslaught of tempestuous energy, rampant riffing, and scorched melodic invention driven by the excellent charge of rhythms from drummer Alex Simpson. An instrumental thrust of adrenaline to fuel any mission or intense attempt, the song eventually simmers as its final crescendo dissipates into the equally thrilling Light, a classic metal/thrash ball of heat to again bring an anthemic passion to the fore.

Closing on the again nationalistic The First, The Last, a climax of pride and finality, the album is quite excellent, and the more one joins its journey the more rewarding it becomes. The Great Bear is a release it is hard to find any fault with, and though as mentioned it does not try or succeed in venturing to new world musically it is one of the most entertaining and pleasing releases  to blast off this year.


RingMaster 25/09/2012

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