The Sun Explodes – We Build Mountains

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At the time of the release of the excellent debut album Emergence, we suggested its only flaw was that there was too much going on within the release which constantly wrong footed the listener so they at times were not allowed to settle into a track and find and truly appreciate the glories within. It did not stop the record from being one of the brightest and most promising releases at that time. Well UK rockers The Sun Explodes have returned with its successor We Build Mountains and the same creative invention and imagination, but this time it works perfectly. Yes each song twists and turns like a sonic lap dancer but it is a seamless and fluid course of adventure which not only unveils each imaginative treat with clarity but brings the tracks into one singular sultry landscape of unpredictable scenery.

The Carlisle based quintet has also realised all that suggested promise too, the songwriting and music a massive leap forward and it was not exactly unimpressive to start with. This is a band with a sure maturity and though already availing our ears of a striking level of musicianship previously they have equally elevated that to remarkable craft and efficiency. Labelling their sounds is a waste of time as each song offers a new wealth and wash of distinct and enterprising flavours but let us just say the band seduce and snarl at the senses with scintillating effect and employ as many tastes of rock and at times metal you could dream of. Quite simply the union of vocalist/keyboardist Dave MacLachlan, guitarists/backing vocalists Alex Harris and Alex Adamson, bassist Mike Walker, and drummer Jamie Harris have sculpted and produced one of the biggest highlights of the year.

Opener Fear of Falling tempts our ears with a gentle tease of guitar and enthralling vocals from MacLachlan backed wonderfully by the Webuildmountains-squareformattwo guitarists Harris and Adamson, this will not be the last time they all impress this way either. As the melodic tendrils of the song wrap tenderly around thoughts the rhythms of drummer Harris make crisp patterns within their breeze ensuring an energy is brewed and poise to explode in the subsequent metallic and bruising squall of sound and harsh/harmonic vocals. Throughout its narrative the song feels like it is setting something up whether the theme, atmosphere, intent of the album, possibly all but its emotive and heated impact is unquestionable in respect to potency and intrigue.

The strong start is soon left in the slipstream of the title track. It is a towering stomp of keen acidic riffs, snapping rhythms, and a melodic mystique that permeates sound and vocals. It is also irrepressibly contagious especially when it allows its sinews to barrack the senses within sonic sabre cuts of guitar. There is a familiarity to it which whispers throughout but a recognition which stems from previous songs like Honour Bound which is only welcome. As rife in their previous album, the song allows you to think you have the handle on its intent, its course, but no chance as suddenly The Sun Explodes juggles everything into a tirade of metalcore like spite. It is a riveting conclusion to an outstanding song and gives a tough ask of next up A Thousand Fires to emulate. The spread of beats leads in an electro like ambience lined with again rich colour fuelled guitar. Expanding to an emotively crafted sunset of reflective embraces entwined with picture painting melodic endeavour, the track is an enticing flame which burns stronger and more vibrantly the further into its almost turbulent depths you search whilst drawing a bigger impossible to refuse  persuasion each time you run its flume of passion.

The pair of Machines Pt.1 and Pt.2 provides another emotionally charged canvas, the first a short expressive lead of predominantly vocals and keys into the second rousing part. As guitars and again the vocals of MacLachlan cast their influential presence over thoughts and feelings the band build a spire of dramatic yet understated sentiment which flourishes within the rising heat and incendiary air of the track. The pair has to be taken together and is probably the least accessible moment on the album at first but incredibly rewarding when given time and attention.

SevenThreeOne launches itself at the ear with a tempest of discord seeping disruptive rhythmic rain egged on by an equally disorientating sonic burst. Reeling under its brilliant assault the ear is then taken through a maelstrom of eccentric diversions, metallic animosity, and experimental ingenious enterprise. It is a constant shift of gait and invention which only enthrals and incites limbs and passions to play alongside. It works because there is a constant core to the song which even though it also twists and turns to mesmerise and leave the listener unable to settle, it ensures they are pulled into the heart of it all. The best track on the album and there are a few contenders, it most of all shows how much the band has evolved on their earlier triumph.

After the brief near instrumental Lamia with a spoken sample walking its ambient shard of melodic suggestion the closing Serpentine explores thoughts and emotions further. Again it is best to see the tracks as one though whether that was the intent the band will have to be asked, and maybe it would have been better to just have Lamia as the intro to the final song as adrift it does seem a little out of place. The intensive wrap of the last song provokes senses and feelings into play yet again. Vocals and melodies dance with them in a slow waltz of contemplative elegance and inciting heat to create a delicious aural musing, a sunset of sonic earnestness and melodic hues which intoxicatingly brings the album to rest.

The Sun Explodes stand as one of the most important bands in UK rock and We Build Mountains the reason why we can make that declaration. If you thought this band was immense before than be prepared to be awe struck and if this is your first acquaintance with them, you have a real treat in store.

http://www.facebook.com/thesunexplodes

9/10

RingMaster 30/07/2013

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All Else Fails – Fucktropolis

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As Canadian metallers All Else Fails escorts the passions on a hungry and richly satisfying trip through new EP Fucktropolis, you soon realise that the eclectic R.I.Y.L. in the promo for the record was not merely casting a wide net to pull people in but actually an accurate call on the diverse sounds parading their sinews upon the release. Listed are the likes of Killswitch Engage, In Flames, Cancer Bats, and Five Finger Death Punch, and in the EP all those essences can be heard as rich spices within something which is not exactly drenched in originality but offers an intensively riveting encounter setting thoughts and emotions aflame.

Hailing from Edmonton, Alberta, All Else Fails has carved out a big reputation certainly in North America for their constantly evolving and vibrant sound and live performances which has seen the band alongside the likes of Protest the Hero, Cancer Bats, Dayglo Abortions, 3 Inches of Blood, Fear Factory, Threat Signal, Decapitated, Suffocation, and many more as well as numerous festivals. Their previous releases, especially 2011 album The Oracle, What Was, Is And Could Have Been, have equally earned strong acclaim whilst the band itself has garnered nominations at the Edmonton Music Awards for the past two years. Now the quartet of vocalist/guitarist Barrett Klesko, bassist/backing vocals Seedy Mitchell, guitarist Mike Sands, and drummer Shane Tym, return with was is claimed to be their heaviest and most expansive release yet. The Suicidal Bride Records released Fucktropolis is a tremendous proposition, one which though not quite flawless leaves a determined hunger to keep band and their releases entrenched within future horizons, with some retrospective investigation too.

First track AntiMartyr emerges from behind a vocal sample wrapped in musical drama. It is not long before riffs and rhythms add their Fucktropolis Cover High Resmenace to spark a smothering rise in intensity and immediately enterprise and temptation grip thoughts and senses. Soon the track takes full hold as guitars carve out a weave of sonic manipulation and a fury of riffs driven by ravenous basslines and now fully imposing drum volleys take aim. The harsh vocals growl and scowl with excellent lure and expression, reaping the aggressive sounds for further intent. It is not all about ravaging the ear though as equally excellent clean vocals and acidic melodies spiral around the muscular hulk of the song to offer a full range of rich flavour and variety. The technical strikes of the guitars jar and crack on bone with riveting relentlessness locked in compelling craft whilst the array of vocal delivery keeps things moving and evolving within song and thoughts.

The following Better Left Undead unravels a precise groove from the off, additional melodic flames searing the surrounding air before holding sway as the gruff vocals graze the surface of the lyrical narrative, soon replaced by again accomplished clean persuasion. They are a moving target which never settles in to a singular gait, much like the music, and it all adds to a continually intriguing and appetising proposition. The song itself is strongest when its rage is lit but the mellower and sultry washes within still leave hunger greedy to immerse its teeth into the emotive meal. As the intensive face of the song returns with a Bloodsimple feel to its caustic breath the song leaves the flight of the release as potent and enthralling as its predecessor started it.

     La Demencia Violenta  with its sultry mystique swirling behind the again rigid framed rhythms and steely riffs is a provocative wash of metallic bite and sonic colour, the smouldering heat of the vocals initially swapped for a full fire of sizzling syllables and spite coated words. There is an underlying lure to the song which calls persistently even when the track savagely bites at the ear, imagine Palms meets Five Finger Death Punch, and though arguably it is in the shadow of the rest of the EP, the track burns and lingers perfectly, especially its jabbing compelling riffs.

The final two songs are simply the pinnacles of the release. Firstly Obedience At The Altar of Sacrifice steps up face to face with the listener, its passion brewing from behind a mesh of brightly hued guitar sculpting and rhythmic building. Limbs and neck are soon in eager union with its rapacious energy and torrential gait, though again melodies and harmonies as well as descriptive keys all have a defined place in the brawling storm. It is a scintillating blaze of heavy and corrosive, one which simultaneously scars and seduces with skilful majesty, but one instantly challenged by the following triumph A Most Unwanted Reprieve. The track is just anthemic metal at its very best, group calls roping in the passions as riffs and drums set addictive trap after trap in the unbridled charge of howling invention and sinew clad imagination. The best track on Fucktropolis with its almost schizophrenic avidity, it is the perfect end to an outstanding release. Actually it is not quite the finish as there is the hidden track The Deep Roads, but as it is just a brief schizo reprise of the opening to the previous song, it is not really something to be discussed, though it did raise a grin.

Fucktropolis is simply great, a release which has limbs, senses, and passions leaping in tandem with its metallic adventure. If this is the direction and future ahead of All Else Fails, there will be exciting times as the band places themselves on the front line of world metal.

http://allelsefails.ca/

9/10

RingMaster 30/07/2013

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Scordatura – Torment of the Weak

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Let us cut to the chase and announce that quite simply Torment of the Weak, the new album from Scottish band Scordatura, is one of if not the most impressive death metal debuts of recent times. It is a monstrous declaration of an emerging potency which already consumes and ignites the senses like a veteran destroyer of souls. It is a bestial rage of unadulterated death metal which preys on, takes up the chase against, and devours its victims in one devious swoop. The band do not stretch existing boundaries it is fair to say upon the album but instead give the genre a fresh and invigorating passion wand enterprise which leaves the deepest, hungriest satisfaction.

Consisting of vocalist Daryl Boyce, guitarists Owen McKendrick and Dave Coia, drummer Tam Moran (all founding members), and bassist Mark Scobie (joined 2011), Scordatura  have built an intense reputation around their local scene and beyond. Since forming in 2007, the Glasgow quintet has wreaked their heavy toxicity across the UK supporting the likes of Cryptopsy, Misery Index, Aborted, Beneath The Massacre, Malevolant Creation, Fleshgod Apocalypse, and Condemned as well as also joining Cerebral Bore on tour in 2011 and making their own successful tours around Scotland before that. Earlier demos and the Open Skies EP as well as their live album Live in Edinburgh [Deadhaggis Deathfest] earned a building acclaim and presence for the band but Torment of the Weak should be the key to full nationwide recognition whilst taking the band to the fore of the extreme metal scene in the UK, and with the self-released album also having distribution throughout North America and Canada by Blasthead Records, maybe the world will be making their calls upon Scordatura very soon too.

Recorded in 2012 with Scott Fuller of Abysmal Dawn doing the mixing, the eight track Torment of the Weak scorches the senses coverimmediately as opener Necromantic Disposition emerges from a sampled piece of cinematic blood soaked mayhem. Their songs are themed lyrically by serial killers and gore bought with an open black humour and the first track brings it all into devastating play. Once the rolling film and final dreg of live has been taken the track explodes into a savage assault of exhausting riffs, suffocating intensity, and crippling rhythms all ridden by the excellent guttural malevolence of Boyce. There is an instantly contagious pull which is impossible to resist within the carnally bred tempest and for all the predacious riffing and cage fighter beats from Moran, groove is king and twists around the spine of passions with intrusive majesty. This addiction causing weaponry is as lethal as the corrosive aspects of the songs and gives no respite from the merciless proceedings despite its impossibly tempting claws.

The following Visceral Disembowelment is bred from the same rapacious heart and also takes a mere moment to clamp its jaws around the ear and send snarling lashes of riffs through its defenceless throat whilst the bass of Scobies prowls in the wake escorted by the continuing to impress bone splintering rhythms of Moran. The track crawls and sizes up its recipient, crowding and provoking with compelling intimidation rather than going all out to ravage all life from the body. With again irresistible grooves littering its path to seduce whilst the rest of the song chews further into the psyche it continues the impressive start with riveting ease.

Both Neurotic Aberration and the title track bring their equally dramatic and distinct rabidity to work, the first with a jackhammer provocation merged with a thick oppressive intensity and its successor through a maelstrom of blood soaked textures and primal hunger brewed into an annihilatory tsunami of violence. As throughout the album the guitars of McKendrick and Coia have a craft and guile which leaves undiluted riffing as potent as the melodic and sonic imagination and they as ruinous as the insidious riffs.

Incestual Convulsions is sheer momentous filth, a sonic irreverence in league with an inexhaustible brutality that turns those toxic grooves into pure venom within the vicious storm. It is a glorious confrontation which uses the intense platform of its excellent predecessor Back to Crack, a song which softens up every aspect of the mind, to launch its merciless grievous tirade.

Completed by the scintillating disorientating pestilence of Sutured Flesh and finally the virulently poisonous jeopardy of From Chin To Hole, the immense Torment of the Weak leaves a blissful shattered wreck in its tumultuous wake. It is a staggering introduction to Scordatura, a band bringing the essences of the likes of Suffocation and Dying Fetus into something new and thrilling. With more tours throughout the UK and Europe ahead, including a tour with Fleshgod Apocalypse, and an appearance at The Northern Darkness Festival  in December alongside bands such as At The Gates, Decapitated, Napalm Death, Graveworm, and Hour Of Penance, 2013 looks like the year Scordatura will stake a claim to sit at the top table of death metal.

https://www.facebook.com/Scordaturaofficial

9.5/10

RingMaster 30/07/2013

Copyright RingMaster: MyFreeCopyright

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Perversion – Pillars of the Enlightened

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Formed in 2006 and hailing from Dubai, United Arab Emirates, death metallers Perversion are now ready to wake up a greater awareness for their intensive sound with the help of Blast Head Records. Debut album Pillars of the Enlightened was first self-released last year and brought stronger attention on the trio but now with N. American poised to be consumed through the Canadian label, things are stirring for one of the few if only death metal act in the U.A.E.

Originally a quartet, Perversion goes for the jugular with unbridled and unpolluted death metal. It is a sound which holds no surprises yet has a devious intrigue which pulls you back into its clutches time and time again. The release of their first EP The Origins of Horror in 2008 made them a potent force in the local scene as did their live shows, if further afield they understandably were an undiscovered scourge. Consisting of founders Mahmud Gecekusu (ex – Nephelium) and Rhama Al Rhama alongside Alex Micklewright, the band is poised to welcome greater recognition and concerted focus with their powerful and deeply satisfying full length introduction as they build on successful appearances with the likes of Hate Eternal and Grave as well as at festivals alongside bands such as Suffocation, Vader, Origin and Exodus.

The short impressively executed intro/instrumental Through the Void begins the album’s aural tale, its dramatic and epically carved Cover Artwalls a potent beckoning into the heart of the album and next up Aging the Unbirthed. The second track makes a sure and forceful start if without showing its full strength and muscle. Soon into its stride though the band captures the imagination with a heavy blaze of intensive riffing from the guitar of Gecekusu and a barrage of predatory rhythms conjured and unleashed by Micklewright alongside vocals from bassist Rhama which hold an almost expected but accomplished guttural squall of malevolence,. It is a mighty start and if not ground breaking leaves an open appetite for more.

That hunger is soon appeased by The Great Deception and the title track, both continuing the intense stance and spite of the album in individual yet connected ways. The first offers tight expressive grooves and sonic flames within its stringent savagery to twist things a little further within Pillars of the Enlightened, whilst its successor just chews up the ear with carnally bred expanses of debilitating rhythms and carnivorous riffs. Already there is a similarity forming certainly across the surface of songs which the next up excellent Subconscious Mutation does little to dispute even in its glory, and if anything that is the biggest down on the release. That is not to say each track does not have its own facets and lures but a more determined delving into the depths of songs is often needed to find a memorable lingering mark distinct from the others.

Both Gates of the Multiverse and The Origins of Horror tease and taunt thoughts and senses with style and presence, the first through winding grinding grooves which work their way through to the psyche and wrap searing tendrils around their capture whilst its thrilling companion is deceptively insidious in its climb over and consumption of the senses, riffs and sonic weaves a tempest which shadow the lethal intent at work from bass and drums.

The pleasing Ones of the Beyond starts the closing of the album with a strong similarity to The Origins of Horror, though again a detailed watch reveals more than first assumed, and is then pushed aside by the thrash led rampage of Dementia (Of Devourment). Like a pack of ravenous wolves the song snarls and clamps its feisty jaws on the listener throwing and pulling them through an eventful fire of destructive and malicious intent.

It is an exciting end to a strong and pleasing album. Pillars of the Enlightened certainly is not attempting to set boundaries or reinvent anything within the genre but instead Perversion has created an album which feeds and satisfies all the wants you could have in a straight up death metal beast. Greater adventures you feel will come with the band ahead but right now they have laid down a very decent no frills slab of metal.

http://www.facebook.com/Perversion.band

8/10

RingMaster 30/07/2013

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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