Promethee: Nothing Happens. Nobody Comes, Nobody Goes

Promethee - Photo    Last year the single Sickness Unto Death from Swiss metallers Promethee whipped up a strong wind of excitement and expectation for their debut album, its intrusive and enveloping storm of imagination and destructive craft a formidable step on from their earlier impressive self-titled EP. The song also made a suggestion of something remarkable in the future mists of time. Now Nothing Happens. Nobody Comes, Nobody Goes has stepped forward to answer those hopeful and eager expectations.

      The album is a staggering brute of a release, an immense tower of venom, intensity, and creative imagination. It satisfies all wishes and expectant thoughts before exceeding their limits with further ingenuity. It is fair to say the album does not rip open new avenues for melodic and progressive metal/metalcore but brings a new and invigorating interpretation of prevalent sounds from within the existing inventive sphere. In fact the album ignites real passion for its ferocious might and inventive annihilation whilst its technical skill and unpredictability has the senses dizzy whilst within a numbed state from all the malevolent abuse.  Since forming in 2008, the band has earned and garnered a deserved wealth of acclaim of which an elevation due to this outstanding album will not be a surprise, in fact is expected.

Released through Bad Moon Records, Nothing Happens. Nobody Comes, Nobody Goes is a ten track leviathan of intrusive Promethee Cover Artworkand towering sounds coated in an understanding and deeply rewarding craft. As soon as opener The Great Deception sidles up to the ear on an atmospheric raw breeze, the senses are engaged and then thrown into willing turmoil by the brawl of gnawing riffs and corrosive energy permeated by a sonic enterprise which leaves one drooling. Wanton grooves and teasing melodic shards of light shower from within the intense breath of the song to further the already brewing rapture erupting out for only the first track of the release. The guitar craft and imagination of Ludovic Lacroix and Elric Doswald is as mesmeric and captivating as it is intimidating whilst the squalling abrasion of vocalist Joshua Orsi trawls the emotions off of a spine of irresistible rhythms from bassist Mathieu Tappolet and drummer Nils Haldi to incite the primal and emotive heart.

It is a sensational combination and start continued as powerfully by the following Banner Of Lies and Buried. Both tracks rip the synapses asunder through djent spikes and merciless sonic violation, the first a malicious onslaught of devastating inventive chaos leading into the emotive tempest of the second. The latter of the pair smoulders and burns within the ear and though brief in stature lingers long after its departure though the hellacious presence of the excellent Of Loss And Disgust soon after dominates as if the only thing in the world. One of the biggest pinnacles on the album, the track throws the listener into a bedlamic fury of twisted grooves and sonic mania driven by a fierce energy and rhythmic hunger which resonates long after its last violent gasp. A perpetual wash of progressive ingenuity and melodic urgency the song also caresses and kisses the ear as tenderly if forcibly as it erodes and consumes fearsomely elsewhere.

The Geneva quintet continue the blistering confrontation through the equally immense Life/Less, a track with a depth and character dripped in turmoil and vengeance, the brief and masterful Genesis with its hybrid whispers of Korn, and The New Face Of Mankind, another varied assault of innovational expertise. All three send flames of thrilled emotion through the body only to be exceeded by the brilliant Thus Spoke and the previously mentioned single Sickness Unto Death. Thus Spoke is a muscular furnace of hypnotic sonic malice and rib cracking rhythmic tension. As with all the songs and especially the biggest triumphs on the album, the track is a continually evolving exploration of light and dark, passion and shadows which is reported through a magnitude of ingenuity and invention.

     Nothing Happens. Nobody Comes, Nobody Goes is a colossal album which offers a richer and deeper experience as well as a more impressive one the more time spent within its corruptive squall. Fusing essences marked in the likes of The Faceless, Cryptopsy, and Architects, Promethee has made the first towering statement of the year for extreme and metal in general.

www.facebook.com/prometheemusic

RingMaster 22/01/2013

Copyright RingMaster: MyFreeCopyright

By The Rivers: Take Control

   By The rivers

    Take Control is the new single form the highly rated UK sextet By The Rivers, a band which has already earned eager praise and a loyal following around their home town of Leicester and further afield. The single is a warm and vibrant blend of reggae and ska tinged enterprise which teases and caresses the senses into a warm and satisfied bliss.

Formed in 2010 by friends Nile Barrow (vocals/guitar) and Jordan Birtles(drums/vocals), By The Rivers has certainly been on a steady and rapid rise. Taking their passion for the sound, culture, and style of reggae and its roots, the pair soon recruited Will Todd (saxophone), Leo May (trumpet), Matt Willars (bass), and Sam Read (keyboard/guitar/backing vocals) to the mix. The first year saw the band venture into the live arena to rapturous responses and within their first seven gigs had lined up to support Dawn Kinnard, Neville Staples, Toploader, and Fun Lovin Criminals. The band was in strong demand with venues and promoters with the following year seeing the band support the likes of The Buzzcocks, Maxi Priest, Musical Youth, Dawn Penn, Saxon Sound, Neville Staple, and John Holt & The Specials. Their second EP repeated the success of their first with fans as did their debut single One Word, both earlier EPs receiving a full release as a single package in 2011, the release reaching second spot in the iTunes Reggae Album Charts, behind Bob Marley.

Released on Kompyla Records, second single Take Control shows with ease why the band is hailed as something special. Opening 1778070903-1with pulsating bass strokes and gentle yet fiery brass calls the song is an immediate temptation, its heated elegance and sinewy heart an instant magnet for the ear. A musical infection sets in even before the vocals have a place in the scheme of things with the fine tones of Barrow and Birtles elevating the existing satisfaction to greater depths. Limbs are recruited before the willing passions, both without defence to the magnetic melodic wash and inciting passion of the song musically and lyrically. It is a gentle yet formidable coaxing, a persuasive ‘call to arms’ which engages on every level, voice and thoughts willing recruits to the heart and breath of the song. Our knowledge of reggae and its history is sketchy at best but the same emotion and pleasure spawned from the best moments of UB40 and the current enterprise and emotion of Onlyjoe is prevalent throughout the song.

The track is accompanied by a remix by Radio Riddler (Fast & Frank Benibi of Fun Lovin Criminals)of the single and the excellent acoustic version of the song Don’t Stand Alone. The remix is a more than decent engagement which lights different shadows and flames from within the original song whilst the last song is a deeply impressive and pleasing wash of acoustic guitar, melodica, and the again delicious vocals and harmonies of the band founders. A fresh and uncomplicated breeze of emotive energy and mesmeric craft, the track would have made an irresistible single all on its own, the living melodic and harmonic contagion quite delicious.

By The Rivers is on the verge of big things and Take Control the compelling persuasion that it will be sooner rather than later. Just starting a tour of England, this is a band which brings something invigorating musically and emotionally to UK reggae and melodic enterprise.

https://www.facebook.com/bytherivers

RingMaster 22/01/2013

Copyright RingMaster: MyFreeCopyright

Deceptor: Chains of Delusion

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    Though from personal tastes there are parts of Chains of Delusion which crawl beneath the skin and irritate like a rash it is impossible not to recommend the new mini album from UK thrashers/speedsters Deceptor, especially to those with a passion for the eighties soaked presence of the genres as well as that of heavy metal. It is not an era which lights the wick to our enthusiasm let alone fires, but there is plenty within the release which leaves one bristling with contentment and satisfaction.

The Shadow Kingdom Records album follows the self-released EP, Soothsayer of 2011, which met with strong critical acclaim and fan fervour. The new release is sure to ignite similar if not further the responses for its predecessor, with the London trio pulling out all the stops again and then exceeding them with a direct and thunderous thrash sound. The songs which make up the release are not mere thrash though, the loud traditional metal and almost manic progressive squalls within the tracks offering a freshness to compliment and temper the nostalgic aggressive wash. Consisting of vocalist and bassist Paul Fulda, vocalist and guitarist Sam Mackertich, and drummer James Ashbey, the 2005 founded Deceptor, conjure up speed metal which whatever the individual preferences makes a positive impression.

Consisting of six tracks of which two are not exactly frivolous but feel like ‘window dressing’, the first Transmission I opening up 3558128579-1the release, the essential heart of the release is set in motion with To Know Infinity. The track is an immediate charge of grappling riffs and surging rhythms scored by some fine sonic enterprise. The vocals are raw and decent enough but arguably one of the weaker aspects of the album though it is more to do with the impressive imaginative sounds than their actual presence which makes them pale in comparison. The song is at its heights when the progressive elements are set free whilst the straight forward trad/thrash metal assault leaves a level of satisfaction which cannot be dismissed by any metal fan.

It is a decent start which is left in the shadows of the excellent Heatseeker, easily the best song on the release. The guitars scramble over the ear from the first breath of the song whilst the vocals growl and scowl with venomous intent. This charge is unrelenting but speared by outstanding inventive melodic sorcery and scarring rhythmic juggling. The track has a hunger and mischievous stomp to its incessant storm which is irresistible whilst the evolving creative gait and sinews of the song is a captivating and enthralling mix of incendiary imagination and bruising. There is very little if nothing to offer as a negative against a song which leaves one more than ready to face further confrontations from the band.

Following really a needless interlude in Transmission II, the thumping arrival of Sentient Shackles incites an enthrallment which the song never relinquishes. The jabbing beats of Asbey are as invigorating as the stirring sinewy basslines of Fulda, both forming a trap impossible to resist entering whilst the guitar of Mackertich strokes and inflames the emotions with its insistent and incisive persuasion. Into its heart the track is a bruising mix of classic and speed metal with progressive whispers calling loudly from within the intense storm. The track rivals Heatseeker as top brawl with only the coarseness of the raw vocals not quite maintaining the levels of its rival, even if they prowl and rub the ear with appropriate eagerness.

The closing Oblivion’s Call is a less intimidating eye to eye encounter, though it is no slouch on the aggression front, which conjures tides of acidic sonic cajoling and startling melodic initiative to wrap around the intertwining variations of energy and pace. Once more the rhythmic spine and stance of the song is as impressive as the melodic flames unleashed, to make another track which certainly with repeated companionship is a greatly pleasing venture.

The heavy metal aspects of the release may not work for us personally but it is hard to imagine those with a spark for the genre will not find great pleasure and inspiration in Chains of Delusion, a strong enjoyable release from a band in Deceptor which offers a revitalising spark to the roots of thrash metal in the UK.

https://www.facebook.com/deceptoruk

RingMaster 22/01/2013

Copyright RingMaster: MyFreeCopyright