Dichotomy – Paradigms

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Turning the air into a whirling dervish of sonic antagonism and invigorating confrontation, Paradigms the debut album from Irish technical death metallers Dichotomy, is an introduction not to be taken lightly. The eight track tempest of skill and aggression instantly sets the Dublin quintet as one of the most formidable emerging predators within European metal. Veined by acidic melodic enterprise which leaves breath a rare commodity and superbly crafted intrusive riffing offering intensive but welcome scars the album is a scintillating piece of creative corrosion that marks the band as a dramatically promising and already accomplished force.

Formed in 2010 by guitarists Rats and Andy Kealy with the idea to merge the technicality of death metal with the groove and defined essences of other genres whilst feeding off the inspirations of bands such as Death, Necrophagist, Gojira, and Opeth, the band was soon making a strong impression in the Irish underground scene. With vocalist Kev O’Connor and drummer Dave Fay alongside the pair, Dichotomy was an immediate attraction and with a line-up soon completed by bassist Neil Coburn the five-piece was earning an intense reputation for their live performances and scintillating sound.  Recording their first release in the summer of 2012 at the esteemed Westland Studios in Dublin, Dichotomy is set to extend their success over the widest arena with the unleashing of their self-released beast of a record. As brutal and seductive as you could wish Paradigms is set to enslave the passions of legions of new followers one suspects, certainly leave them basking in its annihilatory wake.

The album opens with the brief instrumental Empyrean, the tender guitar led piece giving no hint of what is to follow in sound or Dichotomy Album Coverintensity. It is a nicely composed welcome but to be honest underwhelming, certainly in hindsight once The Sentient Oppressed opens its jaws of aural fascination and technical manipulation to sucks senses and thoughts into its heavy consuming heart. From the first seconds riffs are scrubbing the surface of the ear whilst mini grooves tease within the brewing wounds. Compounded by the hard fisted rhythms of Fay it is a startling trap eagerly devoured and explored by emotions. Into its textured depths with the vocals of O’Connor scowling with a squalling maelstrom of malevolence, the guitars of Rat and Kealy parade incisive flames of melodic venom and sonic toxicity to ignite further satisfaction whilst the Bass of Coburn prowls and adds greater shadow to the contagious blaze, though there are moments here and through the album where he sinks within the thick assault to be a presence rather than a strong flavour though admittedly making up for it when he is coaxed with clarity.

It is a staggering full start which as the album evolves its temptation only gets better. Both All-Seeing Eye and Polarity have emotions grinning broadly, the first expelling a torrent of vocal causticness over a deliciously niggling sonic guitar persuasion and the unbridled and exhaustive rhythmic barrage of Fay. Like its predecessor it is an immediate titanic lure before which defences crumble and hunger takes on predacious heights to match the intensity and creative greed of the song. The song mixes up a fluid unrelenting attack with mighty swipes at the senses brought by concrete riffs and steely beats crossed by the sabre like technical invention and flames of the guitars. It is a thunderous pinnacle swiftly matched by its successor. The song is a more deviously considered encounter, a rapacious pack like approach from the songwriting and sounds challenging the ear and beyond in comparison to the tsunami savagery of the previous track but not lacking in the artillery to flatten walls and doubts before letting the bewitching guitar play and imagination to scorch the debris.

Vocally O‘Connor deviates very little from his core delivery but where others may push limits and patience, here it works as another bestial string to the creative bow and ruinous sonic resourcefulness, the voracious No Catharsis the next destructive proof. Once more the guitar work is a tantalising almost bewildering furnace of pleasure and open ingenuity caged by the most vicious and explosive rhythmic avalanche of venomous skill and rapacity. Mere words cannot truly relay the potency and power of the song, or release come to that, but it powerfully confirms the earlier suggestion that the release just gets zealously better and more impressive, this song taking top honours on the album closely badgered by the likes of the primal Covenant of the Foresworn and the evocative instrumental Alea Iacta Est, a piece that unites beauty and a sonic beast for an enthralling and imagination lighting narrative.

The senses burning malefactor Of Strife Of Discord completes an exceptional and intoxication debut from Dichotomy. As savage as it is aesthetically wondrous, Paradigms simply declares its creators as one of the most exciting new antagonists to widely hit European metal this year.

www.facebook.com/dichotomyireland

9/10

RingMaster 14/08/2013

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System:FX – Twentyfirst Century

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     Twentyfirst Century, the third EP from UK industrial antagonists System:FX, is one of those releases which as it ravages and enthrals the ear feels like it is standing astride the senses with a sledgehammer of sound and wash of melodic animosity. It is a collection of colossal songs which seem to come at the body and those beleaguered senses from every angle and through every pore whilst treating the bruising with invigorating and refreshing radiance. Already used to strong acclaim upon their steady and rapidly ascending rise the London duo have taken their sound and stature to another level with the new EP, giving it a spite and anger that provokes from start to finish whilst unleashing the most potent rewards.

Formed in 2011, System:FX has already set stages alight alongside the likes of Panzer AG, 32Crash, DAF, Client, Implant, Grendel, Assemblage 23, Nitzer Ebb, Combichrist, Leaether Strip, Uberbyte, Inertia, Deviant UK, Cybercide, Crash Symptom and many more, each performance adding to their increasing reputation. Last year saw the band playing Resistanz 2012 as Phil Barry’s (Be My Enemy, Cubanate) live band whilst this year at the same event their new EP felt the hunger of fans as they clamoured for its purchase, something which is going to be emulated one suspects as the release works its way into the passions and psyche of not only the UK industrial scene but the world. Consisting of Steve Alton (vocals/guitar/programming), who recently also linked up with Fredrik Croona in the latter’s project Cynical Existence, and Debs (drums/backing vocals), with the band expanding to a trio for live performances, System:FX go for the jugular with Twentyfirst Century, its sinew driven body of sound and the lyrical/sonic intensity inspired by the disappointment of adult hood and seemingly seeded in the memories of the London Riots, clenching its jaws around the throat of the senses and thoughts never relinquishing the grip until the last note has seared its imprint into place. No mercy is given, or wanted when a release sounds and feels this good.

Surrounded by the dissident calls of the populace opener Vengeance courts the ear with scratchy guitar and equally blister electronic lures before exploding into a storm of thumping hungry rhythms awash with deliciously fiery melodic bait. It is an instantly hypnotic temptation, its touch a barracking intensity on the senses but accompanied by a colour fuelled seduction which ensures any discomfort is a prize worth taking. Just as passions and thoughts have no resistance to the intensity and empowering provocation of the song, limbs are mere pawns to the heavy trodden dance beats and the epidemically compelling sonically sculpted enticement. It is a maniacal puppeteer leaving a breathless and fully satiated victim in its undertow.

The following Fire, skirts around the ear initially with a scattering of sonic steps punctured by muscular strokes before letting the intensity off of its rein to prowl and intimidate. With samples adding further menace and intrigue the track is a rapacious journey through the shadows and blackest corners of society, its Prodigy like urgency and punk toxin aided by the snarling vocals, a belligerent poison to the seemingly warm electronic embrace. Though not as impossibly addictive as its predecessor the track is a thoughtful imagination spiking treat which evokes and narrates its intent superbly.

The title track like the first brings the sound of streets in turmoil to the ear to compliment the rigorously persistent start of worrisome electronics and riffs framed in unbreakable rhythmic caging. Danger and unrest stroll hand in hand with the pulse bursting stomp of the song whilst the sonic heat rinses the air of the song in impacting and emotively inspired imagery, helped by the continuing samples of sirens. An intensive imposition on apathy and assumptions, the track is another weighty tempest to capture the appetite before handing over to the closing red alert of Stay In Your Homes. With samples of martial law declarations punctuating the thrilling start, the track pulls to its loftiest heights on the EP and proceeds to oversee a nation in self-destruct with a rain of sonic mercury and melodic acidity falling upon a web of rhythmic and bass toned predation. It is a stunning finale of corrosive imagination and commentary leaving the body and mind exhausted but fulfilled.

Twentyfirst Century is a devastatingly outstanding release which only gives a ‘complaint’ to its briefness of just four songs, but episodes which confirms System:FX as one of the most exhilarating bands in the UK. Roll on an album is all that is left to say.

https://www.facebook.com/SysFX

10/10

RingMaster 14/08/2013

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Biomechanimal – Renegade 2.0

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The creative project of Matt L. Simpson, Biomechanimal and its debut EP Renegade 2.0, is a seriously dangerous infection for feet and passions. Consisting of five tracks which steal away contact with the ground from the feet to send them into an eager dance of urgency whilst simultaneously igniting thoughts and emotions through sonic passion and lyrical narrative, the EP is a potent confirmation of all the strong responses and impressions flying around the band since its conception.

A classically trained musician, Simpson not wishing to become one of and lost in the crowd turned to creating his own distinctive style of industrial rapaciousness, merging strains of hard dance, hardcore, and EBM into his incendiary ideas and conjurations. Taking inspirations from the likes of The Prodigy, KMFDM, Skinny Puppy, Uberbyte, The Sisters of Mercy, The Cruxshadows, Dope Stars Inc., Eisenfunk, Grendel,  Menschdefekt and many more into his insatiable musical hunger, Simpson immediately drew attention and acclaim to his emerging creations. Live too with Danny Panic and Liam Peel alongside, Biomechanimal has drawn successful appearances at festivals this year to further enhance the growing stature of the band, whilst at its appearance at Resistanz the band almost sold out of its debut EP less than a week after release, down purely from a couple of promo tracks.

As the title track emerges from a building pulse, a melodic tease rising alongside the breath of the track, intrigue is instantly engaged andBiomec-R2cover fed by the thumping rhythmic persuasion and bass heavy throb of the song’s core. With the confronting rasping vocals of Simpson adding their serpentine call to the now contagious electro boogie, shadows merge with sizzling radiance wrapping a near riotous hug around the ear and senses. There is a metallic taste to the track which suggests influences also step from the world of metal though ultimately the track is a riveting industrial stomp of electronic flames and melodic temptation.

The following Broken Wings also steps out from within a distant and pending ambience but once in full control of its recipient there is an unveiling of a darker sturdier presence and intent, the bone shaking beats and persistent sonic rub an unmoveable niggle and provocation laying out a compelling canvas for the caustic vocals and acidic melodic weaves to explore and design their calls upon. There is a feel of Pittersplatter and Project Rotten feel to the insidious air bred and the reserved but anthemic bait offered but it only help brings a fresh and unique raw invention to the fore which sets band and release apart.

    The Stars Are Wrong is undoubtedly the best track on the EP, a full on electro waltz to worry the dance floor into a fevered passion littered with cascades of virulently addictive grooves, toxic hooks, and a primal bass led stalking that only elevates the ridiculously easy and merciless predacious suasion. Within the hands of the song it is like being trapped in a sinew clad cage, predatory shadows nipping and clawing at the psyche whilst their beauteous counterparts divert attention from the deepening thrilling wounds. It is a scintillating song and alongside its companions only increases greed towards the project.

Completed by two remixes of the title track, the first by Italian cyberpunk duo Wormz whose take on the song leads it into slower and darker climates whilst opening an almost folk metal like vein alongside the towering rhythmic skeleton being exposed, and the Trashed by Telemark remix an encounter which rips greater metal essences out of the original version to bring a new face and antagonism to the song. They both enjoyably conclude a great debut which easily places Biomechanimal on the UK industrial map with a muscular swipe. This is only the beginning of big and exciting things one suspects as the Renegade 2.0 takes the ear on another rampant venture.

https://www.facebook.com/BiomechanimalMain

8/10

RingMaster 14/08/2013

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Fight The Dice – Oh Me, Oh My

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Following up their enjoyable and successful debut album Your Wisest Choice and Your Worst One Yet and its two singles Bad Decision and L.O.V., UK alternative rock band Fight The Dice return with brand new song/single Oh Me, Oh My to confirm the promise and appeal already set in motion by the Shropshire based quintet. Accomplished and quietly infectious whilst being wholly persuasive, the track  leaves the appetite tantalised and eager for more, making it the perfect confirmation for those aware of the group and introduction for newcomers.

Formed in 2011, the five piece consisting of vocalist Ben Jackson, guitarists Jack Turner and Tom Worrall, bassist Sam Jackson, and drummer Phil Beauchamp has built a strong presence for themselves through not only the mentioned releases but their live performances which has led them to venues such as O2 Academy 2 and the NEC Birmingham, The Slade Rooms in Wolverhampton, Bedford Corn Exchange, Bristol O2 Academy main stage and booked shows at the likes of the O2 Academy Islington and the Cavern Liverpool. Their sound finds inspiration in the likes of All Time Low, Avenged Sevenfold, and Blink-182 but defines its own breath and persuasion through well-crafted and shapely slices of unfussy rock, of which the new single is a richly pleasing example.

Oh Me, Oh My opens with inviting rhythms from Beauchamp aligned to respectful but hungry riffs and melodic grooves laid down by the guitars. It is an instantly calling start which embraces the vocals of Jackson which from a slightly weak start set down a strong and expressive stance for the band to fill the air around with melodic colour and open passion. The song does not have the infectiousness of their first single it is fair to say but instead shows the expanse of the songwriting and evolution in sound of the band since that initial emergence from the shadows.

The single nevertheless lures in ears and thoughts to secure their appetite whilst the subsequent washes of keys entice extra hunger for its additional caresses within the inventive passion fuelled evocation. Oh Me, Oh My is a pleasing and skilful piece of rock that only goes to reinforce the rising opinion and success of Fight The Dice.

http://www.fightthedice.co.uk/

7.5/10

RingMaster 14/08/2013

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Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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