According To You – D€M0 EP

According To You pic

Having been strongly impressed by their 2011 debut EP No Love Lost, there was a definite eager anticipation for what was to follow from the UK indie rock/pop band According To You. The release was a magnetic and virulently infectious introduction fuelled by the instinctive ability to write and create songs which contagiously seduced and thrilled the imagination and passions. It has been a fair wait for the EP’s successor though the band has continued to tease and persuade through their live performances and glimpses of new songs but now the London quartet has unveiled the D€M0 EP making the time between patience well worth offering.

The new release shows the full range of According To You’s ability to seduce or take the listener on a rampaging stomp of energy and infectious melodic rioting. The four tracks making up the D€M0 EP are split evenly with a pair of emotively persuasive ‘croons’ top and tailed by two explosive feet commanding romps of inventive devilry. The release opens with the insatiably compelling Can’t Stop Moving, a full on dance of enterprising festivity and evocative melodic colour. A lone guitar teases the ear first to be soon joined by the strong vocals of Dennie Cook, with harmonic backing from the band, and the thumping beats of drummer Connor O’Shea. It is a rich temptation which once securing attention then explodes into a dramatic blaze of crisp rhythms and epidemically addictive hooks. O’Shea is immense across the track whilst the bass of Jack Tough is a delicious throaty dark shadow amongst the virulent enterprise from the guitars of Cook and Ross Wheatley. Impossible to resist, feet and voice succumb to the temptation offered, the song holding a ridiculously inciting presence. One slight niggle is the at times poor quality of the production on the song, though as the other tracks are fine it may be just down to the digital copy sent over for the review.

Second track I’m Not Alright is a gentler encounter, a melodic heat from the guitars immediately simmering in the air of the song. The vocals of Cook as ever richly impress whilst the heavy dark tones of the bass again add a depth and resonance which only enhances the track and makes the perfect temper and compliment to the otherwise warm embrace. The song is an angst fuelled slice of indie pop with an addictive essence which demands and receives a hungry response from the passions, a slice of sound which those frequenting the so-called important media sculpted charts could learn plenty from.

Taking its Toll slips in an emotion bred ballad next, its acoustic caressing and vocal reflection an entrancing hook soon elevated into an enthralling lure by the suggestive melancholic strings. It is a deceptively simple song but one built on emotional textures and melodic charms which leaves the listener basking in a sensitive piece of skilled songwriting. The vocal production is not quite right to play devil’s advocate with the song but nothing to diminish its majesty.

As mentioned the EP closes in the same energetic way as it starts, final track Here We Go Again one of those irresistible adrenaline driven pop songs that leave you exhausted and greedy for plenty more. An acoustic stroking of the ear is soon immersed in a boisterous stroll of deviously riveting hooks and rhythms, the combination disarmingly effective bait which recruits full enlistment from body, mind, and soul to the track’s glorious spellbinding enticement. The best track of the quartet it is a rampant explosion of charismatic energy and incendiary craft honed into an impossibly captivating and viral pop song.

The D€M0 EP is a magnificent next step in the certain rise of According To You. It might be a slow ascent right now but the release certainly shows that the maturity and evolution of the band’s sound is not a latent endeavour but a fevered fire which will only burn brighter in parallel to the band’s growing recognition you suspect.

https://www.facebook.com/pages/According-To-You/184581322899

9/10

RingMaster 07/11/2013

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Ed Zealous -Thanks A Million

ed zealous

Having recently announced that their highly anticipated debut album Wired is to be released February 2014, Northern Ireland electro rock band continue to ignite a hunger for its release with new single Thanks A Million. Already the compelling forms of previous releases Diamonds for Eyes and Medicines have made the most irresistible invitations and their third temptation is no different. The song is a mesmeric and feisty blaze of electro cast guitar sculpted pop, another shining aural beacon laying enthralling bait for the band and their impending full-length.

Consisting of Steve McAvoy, Andrew Wilson, Pete Lloyd, and Paul Irwin, the Belfast band has drawn an eager amount of recognition and acclaim with their singles so far which Thanks A Million can only increase. It emerges from a celestial cascade before big bruising bass tones and resonating coaxing exudes from the synths, the excellent vocals an equally absorbing and warm embrace to match the darker dancefloor bred essences. Complete with a chorus which infects the imagination as potently as the stirring rich body of sounds and textures around them, the track is a masterful enticement. There is something familiar to the song, something undefined but a presence which strokes thoughts like a recognisable friend whilst it immerses the listener in a vibrant and provocatively sizzling wash.

Thanks A Million does not quite reach the heights of its predecessors, especially Medicines, but easily provides a thrilling lure into Ed Zealous and the forthcoming Wired. This is a band with the promise of brightly burning horizons ahead and this single shows exactly why.

Next single Telepaths is out on Nov 18th and album Wired released February 3rd  2014

https://www.facebook.com/pages/Ed-Zealous/89457839303

8/10

RingMaster 07/11/2013

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Otargos – Apex Terror

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It may have taken more time than other releases to fully persuade the passions of its triumph of black hearted intensity, but Apex Terror from French extreme metallers Otargos emerges as a rather compelling and impressive fury. A ferocious and intrusive expanse of black metal bred malevolence with numerous additional essences, the nine track release moves from an initially satisfying encounter to something with deeper and strong substance to its presence. It is not may be an album to challenge ‘Best of’ candidates come the end of the year but as an exploratory and creative beast of venomous intent,  Apex Terror is a very appetising and striking confrontation.

Formed in 2001, Otargos has consistently pushed themselves and their dark imagination through their albums and sound. Their debut album Ten-Eyed Nemesis of 2005 alerted people to the band’s promise with Kinetic Zero two years later and subsequent releases, Fuck God-Disease Process in 2009 and No God – No Satan the following year reinforcing and enhancing their evolving presence and craft. Apex Terror moves things on further again, the band leaning into a heavier, antagonistic persuasion which leaves deep imprints with its commanding unrelenting intensity and toxic invention.

Released through Listenable Records, Apex Terror seduces ears and thoughts as it set things off with the opening of its title OTARGOS Apex-terrorCovertrack. A brewing ambience washes ominously over the senses with military rhythmic rifling adding to the impending threat, an intimidation soon in full intent through the increasing pressure of riffs and even stronger enslaving drum rallies. Eventually at full stretch and fury, the track is a tempest of unbridled rhythmic barracking and carnivorous riffery veined with a sonic colour which lights thoughts as potently as the intense provocation. With industrial elements adding their lures to the black cast storm and melodic flames licking at the raw nerves induced by the ruinous aggression, the song is a mighty entrance into the album which awakens a certain hunger for it and its successors.

The following Fleshless-Deathless prowls around the ear next, chugging riffs and grisly vocals leading the scowling temptation as again sonic endeavour and invention scores the senses as melodic adventure colours the intensive narrative. There is an insidious air to the deliberately labouring consumption; a corruptive smog which pleasingly smothers the senses as the track leads right into the jaws of next up For Terra. Like the opener the song is a ravaging torrent of hungry riffing and energy punctuated by the ever impressive violent drum exploits. With a climactic atmosphere ebbing and flowing within the noxious beauty of the violation, the track is the first major pinnacle upon the album, a plateau amongst it has to be said numerous peaks within Apex Terror.

Through the likes of the predatory Remnant from a Long-Dead Star, its presence a lingering slowly infiltrating and satisfying toxicity, and the excellent intensely voracious Fallout with its industrial causticity an additional deleterious tempting to the equally riveting rapacious blackened vehemence, the release continues to impress and command whilst Drone and Aftermath Hyperion secure any last sense of resistance to the call of the album with their distinctly individual but mutually pathogenic enmity.

Versus provides the brooding finale to the album, its threatening slow introductory suasion evolving into a thrash lit deluge of superbly crafted hostility which leaves the album and passions on a major high. Apex Terror is an outstanding album, even if one missing that final spark to place it on the frontline of extreme releases taking to battle this year. In saying that Otargos has created an encounter which dares to be as bold in its invention and imagination as in its truculence, and that is always deserving of the fullest attention.

http://www.otargos-terror.com/

8/10

RingMaster 07/11/2013

Copyright RingMaster: MyFreeCopyright

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Izegrim – Congress of the Insane

2013 HR © Tim Tronckoe

2013 HR © Tim Tronckoe

Following up their successful album Code of Consequences of 2011, Dutch extreme metallers Izegrim return with another antagonistic slab of sonic causticity in the tempestuous shape of Congress of the Insane. Consisting of eleven venomously cultured violations of thrash bred death metal, the fourth album from the band rages and spews malignant torrents of sound which conspire to ignite the imagination through its collection of well-crafted and impressively accomplished assaults. It is not a ravaging to forge new scars within either of its seed genres or any crossover field, the album devoid of any distinctly standout tracks which linger and continue to seduce with unique toxins, but the release still unleashes a fury of songs which satisfies the hunger for strong intelligently sculpted and passionately delivered intrusive enterprise.

Congress of the Insane is the second release from the band through Listenable Records and confirms the rising potency and stature of the foursome, a strong plateau built through previous releases and live performances which has seen the band alongside the likes of Kreator, Annihilator, Onslaught and many more. Looking at the concept of “evil in the deceiving human nature”, the album ensures thoughts are provoked and emotions lit through the lyrical and aural provocation which starts with the excellent artwork and moves through every aspect of the release. In its company Congress of the Insane makes a noteworthy companion, just one which manages to miss leaving long term persuasion away from its side.

The album crowds the ears from the very first seconds of opener Relic of the Past, cantankerous rhythms and intimidating riffs cover_lsetting down their canvas to turn on an intensity and power which sprawls rigorously over the body of the track. Led by the excellent guttural vocals of Marloes Voskuil, her immense delivery soaked in vehemence and aural pestilence, Izegrim twists and turns the song with shifts in rhythmic attack and meandering sinewy grooves around a thrash cored spine which in its presence fires up the senses and appetite, the strong start then emulated in strength and quality by the following Decline and Fall. With an open rabidity to every aspect of the track around a gait which lurches and prowls through the ear, the song is an invigorated almost anthemic incitement which leaves attention greedy though it, like quite a few upon the album, fades out for its finale, something which never pleases for personal tastes.

Both Celebratory Gunfire and Endless Strife continue the good work in enticing the listener into the album’s black hearted narrative, though neither matches the success of their predecessors. The pair share a carnivorous breath but flavours the charge with impressive fiery guitar work from Jeroen Van Heuvelen and Bart Van Ginkel which engages senses and thoughts firmly whilst the rhythmic tempest of drummer Ivo alongside the bassist predation of Voskuil and her ever intensively gripping vocals cage and enslave the imagination for the two guitarists to cast their sonic invention.

The ear battering Deterioration from Perfection with its intensive thrash savagery amidst death metal brutality and the exhaustive Unchallenged Dominance add their skilful corruptive suasion to the bruising encounter to fine effect but soon pale against the excellent Modern Day Freak, one song which does remain in thoughts and memory after the release takes its leave. From a carnivalesque intro with a sideshow barker making the invitation for the pursuing mayhem under a vibrant blaze of brass temptation, the track erupts into its muscular stride and rampages with a thumping rhythmic inducement and insidious malevolence to guitars and vocals which cannot fail to impress and recruit the passions. It is the best track on the album and one which lifts the lid off of the deep potential within the band, something all tracks effectively hint at to be fair.

The likes of The Legion with its imagination stalking intent and presence, the fierce Carousel of Death, and the outstanding Manifest of a Megalomaniac which features Sabina Classen of Holy Moses alongside Voskuil in a wonderfully vicious and intoxicating union, ensure the album closes with powerful strength and in riveting style whilst the final track Carnival of Deception scripts an evocative landscape of aggressive brutality and compulsion honed through a fire of sonic imagination. It is an apocalyptic pinnacle and climax to a destructive album which in its company only satisfies. Congress Of The Insane maybe a missed opportunity in its failure to create entrenched aspects which makes it a potent provocateur at any moment in time but as the last song alone roams around and incites the emotions, you know Izegrim has provided a rather pleasing and exciting incitation.

www.izegrim.nl

7.5/10

RingMaster 07/11/2013

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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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