Ad-Patres – Scorn Aesthetics


Listening to Scorn Aesthetics, the debut album from French death metallers Ad-Patres is like being persistently courted and pursued by a rapacious giant hornet, its demonic flight a niggling and insatiable tearing of the air and predatory hunt of the senses. The release also has a sonic sting which provokes and enflames thoughts and emotions for what is ultimately one deeply satisfying and thrilling confrontation. Bred in the seeds of the genre, the album is a carnivorous expanse of primal and pack like songs, a death metal corrosion which without setting new standards finds a firm place in the promising and accomplished realms of the genre.

Ad Patres was founded in 2008 by drummer Alsvid (drummer and founder of the legendary French Black Metal band Seth, also ex- Enthroned and Fornication), who wanted to continue the spirit of original death metal. Enlisting like-minded individuals from and formerly with Withdrawn and I.O.S.T., the band made its first mark with a demo in 2010 and a split release with Writhing last year. Scorn Aesthetics though is the key to a wider awareness and such its intensive and skilled persuasion it is easy to suggest the lock to stronger recognition far beyond their homeland has been opened.

Consisting alongside Alsvid of vocalist Axel Doussaud, bassist Arnaud Pecoste, and guitarists Olivier Bousquet and Canard, Ad-

885767141315_TOX015_Ad-Patres_artwork_600x600Patres allow the intro of their album to lay down its intrigue and impending destruction before flying at the ear with a vengeance through The Lock. A fury of crippling rhythms from Alsvid frame and vein the driving fire of whipping riffs and grumbling predatory bass whilst across this corrosion the vocals of Doussaud scour every synapse and syllable of his attack with potent maliciousness and savage intent. It is an exhausting but invigorating encounter quickly backed up by the equally barbaric Scars of Compromise and Circles of Red, guitars and drums taking further swipes at the senses whilst the bass gnaws insatiably within the waspish acidic grooves. As the album, the songs are intense caustic sonic scalding all speared by skilled guitar invention and barbed provocation, and all ridden by the merciless voracious vocal squalls of Doussaud.

The likes of the passion gorging To the Fathers, the compelling title track, and Emphasize Nihility leave their deep lingering marks to continue the impressive presence of Scorn Aesthetics, it is impossible to deny the torrents of break neck technical and contagious metallic exploits from stealing the passions. Admittedly there is at times a surface similarity across the tracks but with a underbelly of unpredictable grooves, esurient riffing, and imaginative twisting of sound, it is an enthralling persistent rampaging violation.

The Kaotoxin Records released album is completed by two final blood boiling ravages in the destructive shapes of Anti and the grievous All that Remains. It is a wonderfully hellacious conclusion to an experience which is as vehemently bruising as it is intensively rewarding. Scorn Aesthetics is an excellent introduction to Ad Patres, a band which you suspect is destined to make future major statements within death metal.


RingMaster 21/06/2013

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Graveyard Of Souls – Shadows of Life

Graveyard Of Souls Bandpic - 1000

The debut album from Spanish metallers Graveyard Of Souls is an intensive and powerful experience which takes the listener on a journey through at times exhausting but perpetually enthralling melodic death and doom soundscapes. Shadows of Life certainly makes you work for your rewards at times, its heavy breath and rapacious imagination brought under a uniformal predatory crawling surface of intensity, but given the effort and time emerges as a very promising and satisfying proposition.

References to the likes of Paradise Lost and Tiamat have already fallen upon the album and there is little to spark disagreement with those thoughts across the nine track encounter. Released via FDA Rekotz, Shadows of Life unveils emotive and breath-taking atmospheres within melancholic and often suffocating ambiences and provocation. Throughout though there are melodic flames which seduce and wrap their sonic invention around senses and thoughts, persuasive depths and textures working tirelessly and dramatically to seduce within violent intensity. As mentioned it is not an instant persuasion needing multiple journeys to reveal all its thoughtful and passionate essences and at times almost defies itself with a sonic monotony to its embrace, but eventually it proves to be one pleasing slab of aural temptation.

From the so-so intro Genesis, the album gets to work in capturing the imagination with its title track, a warm beckoning ambienceGOS_Cover_Web punctured by guitar stabs evolving into persistent riffs and inviting melodic lures. With crisp rhythms slowly adding their frame the guttural vocals lay their heavy ponderous coarse presence into the already intriguing equation. With the keys adding their descriptive hue to the dark narrative and guitars carving steadily and with emotive impact across the ear, the track makes for an imaginative and welcome adversary. At times the union of venom soaked vocals and black hearted shadows sounds with the seductive melodic elements is initially not easily accessible but whilst the dispute is adding further dramatic texture to the track it eventually proves its case.

Both Dreaming of Some Day to Awake and Memories of the Future (We Are) explore deeper impacting and darker realms, the first through enchanting yet smothering atmospheric structures, the air rich with acidic elegance and devouring emotion whilst the second  of the two seeks and expels a bestial hunger to its invading intensity. It has a darker carnivorous fascination compared to its equally alluring predecessor, the fall through its ravenous breath and evocative clawing at the senses guided by impressive melodic flames and riveting primal suggestiveness. There are also elements of eighties goth to its sinewy embrace with at times Sisters Of Mercy making whispers within the incisive progressive/classic metal weave.

As Follow Me continues the intrigue, the recognition that the album not being suitable for ‘light’ listening is open, glances from the ear only discovering a generally raw and similar sonic bluster and breath across the surface of most songs but there is plenty awaiting and rewarding for those bold enough to dive into the hungry seas of the songs, their invention and musical craft undeniable. Whether the production could have helped more to bring the underbelly of songs nearer the sizzling surfaces it is hard to say but with its caustic approach exposing the excellent passion and intensity of the release it is hard to be too critical.

One of the biggest highlights surprisingly comes with the cover of the Tears For Fears song, Mad World. The track has never sounded better than in the doom clad death soaked hands of Graveyard Of Souls. They have reinvented and made the it their own, so much so that it took a minute or so to confirm it was the song it was. As voracious yet consuming as a tsunami, the track is a thrilling unexpected treat, guitars and bass sculpting new shadows and emotions for the song whilst the scarring vocals bring a distinctly unique and savage interpretation to the classic.

Through the excellent Solitude’s My Paradise, the track a sobering but contagious furnace of aggressive and melodic ravenous fire, and the equally infectious Dead Earth, arguably the lightest and most accessible song on the album, the appetite for the band rises with further greed whilst the closing There Will Come Soft Rains soothes all the lesions and ruptures on the senses with a sonic mist of melodic beauty. Though the corrosive vocals for the only time on the album do not work within the elegance for personal tastes it proves not to be a fatal flaw for a great piece of imagination.

Not a flawless album for sure but Shadows of Life is an impressive introduction to the band and its inventive songwriting and sound. As the album eats and inspires thoughts and emotions there is only a single assumption at large, that this is the start of something much bigger.


RingMaster 21/06/2013


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Escape The Justice – Abscond EP

Escape The Justice

We cannot claim that post hardcore band Escape The Justice is exposing yet anything startlingly new for the genre on their debut EP Abscond, there is something invigorating and fresh about the Manchester quintet which makes them stand out whilst entrenching a promise and expectation that they will evolve into something unique and intensely potent. The six track EP is a striking and passionate affair which captivates from start to finish as it explores the band’s creativity. It uses existing armoury for sure but strips it down and rebuilds it with a heart and aggression that slaps the listener strongly on the senses for a richly pleasing and dramatic confrontation.

The band was formed in January of this year by vocalist James Holman, guitarist Tom Crane, and drummer John ‘Jay Kay’ Kendrick, all three formerly in Our Innocence Lost. Bringing in bassist Abe Shimmin and guitarist Jonny Gill, the band took no time in attacking their passionate and aggressive intent with a sound which initially was suggested at in the latter part of the founding three’s last band but has now  been expanded and taken to new boundaries. Recorded at Patron Sound and produced by Elliot Middleton (guitarist of I’ll Stay in Memphis) and then mastered by Joey Sturgis of Foundation Recording Studio, Connersville, Indiana, Abscond makes no pretence of its will and hunger and takes no time in engaging, seducing, and then ravaging thoughts and emotions.

The release opens with warm but senses alerting atmospheres as first track Ascension brews into view. Once settled in the ear 400726_474142499317563_1163921761_nkeys and guitars gently place their narrative on the table as the mellow tones of Holman tenderly make their embrace. It is not long though before his tones turn to a rapacious squall within the still smouldering invitation, beats and bass adding melancholic resonance around him. Turning up their intensive heat the band unleash sinewy textures to provoke further emotion before simmering again into a magnetic melodic seduction. It is a strong start which it is hard to say if a full track or introduction; truly it is neither but a compelling beckoning somewhere in between.

The following Austerity is bred from a short sonic lancing before turning into a corrosive blaze of rhythmic tenderising from Kendrick and acidic guitar fire from Crane and Gill, both taking their bite at the senses with intrusive twisted riffs and flesh sculpting sonic searing. It is an imaginative and violent piece of inventive confrontation with the great blend of clean and scowling coarse vocals as enterprising and impacting as the maelstrom of sounds.

Aegis takes its turn on the senses next, the song a torrent of predatory vocal deliverance and malicious sonic artistry. Like its predecessors it is also a thoughtfully composed and deliciously delivered blend of melodic temptation and aggressive rabidity but takes things further in its inventive shifting and shuffling of ideas and directions. Unpredictable and continually riveting it is an outstanding track which alongside Austerity stands as best on the release whilst again sparking the expectation of even greater things ahead on the band’s horizon.

The next up Addicted also steals the march on most other genre released songs, certainly this year, with its esurient energy and hunger, not forgetting accomplished musicianship and craft. Though not a song which stands out on the release itself as much as others, it is a fluid and unrelenting grit fuelled fury with a djent tendency to its attack and ferocity to its passion.

From the short ambience soaked instrumental Abeyance, the Abscond EP ends with the brutal Anoesia, a track which tears at the senses and chews vigorously at thoughts from its opening seconds. Like the others though it is not one to settle in a single guise or stance and expands into an excellence tempest of outstanding varied vocals, barbed guttural scrubs, and melodic alchemy within caustic maliciousness. It is a scintillating finale to an impressively striking release.

You still feel there is a way to go before the band find their truly unique voice but Abscond suggests it is just a formality. For fans of the likes of Memphis May Fire, Heart of a Coward, and Of Mice and Men, Escape The Justice has all the potential and skills to become a major presence in UK rock, and with the Abscond EP being offered for free Download for just twenty four hours from 12 Noon on Saturday June 22nd it would be stupid no to join their rise from its very first steps. Find out more at


RingMaster 21/06/2013

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