Loudrage – Uglier Than Thou

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2014 is already getting off to a thumping musical year with numerous impressive releases across numerous genres even though barely into its second week and you can add another gem to the growing list in the towering shape of the Uglier Than Thou EP from Romanian death metallers Loudrage. Five tracks of groove infested malevolence which takes the ears and imagination on a rampant dance of incendiary and devilish contagion whilst gnawing away at the insides. It is voraciously compelling protagonist for senses and emotions and easily one of the most scintillating tempestuous assaults daring to molest the psyche in recent months.

     Formed in 2005 and bringing influences from the likes of Six Feet Under, Debauchery, Sepultura, Obituary, Grave, Bolt Thrower, and Deicide into their horror bred malevolence, the Ludus hailing, Transylvania based Loudrage are no strangers to attention and acclaim being named as Best Romanian Death Metal Newcomer in their second year and playing with the likes of Sepultura, Vital Remains, Godphobia, and Rictus Grin in their first couple of years as well as sharing a split DVD with the last of the four in 2007. The following year saw the release of the Rage Unleashed – Tale of a Murderer EP which followed a self-released demo two years earlier. Shows with bands such as Grave, Belphegor, Nile, Opera Ix, Lividity, Furnaze, Nuclear, and Amethyst to name just a few filled the following years as well as the release of the Pungent Roots demo in 2011. Last year saw the quartet of Molester (vocals), Bestial (guitar), Vomital (bass), and Canibal (drums) enter the studio to record their new release and though wide recognition outside of their home territories still escapes them, given luck and attention it is hard to imagine Uglier Than Thou not providing the hefty key to open up new doors in recognition.

   It is fair to say that as soon as opening track Doomed thrusts its muscular intensive frame upon the ear and an instant predacious groove calls from within the tsunami of sound the band has their irresistible hooks in deep. Riffs gnaw away at the senses with torrential persistence whilst the drums clobber the ears with sturdy endeavour and enthusiastic violence. The predominantly death metal track is an unrelenting nagging driven by the guttural squalls of Molester. It is a potent irrepressible mix, arguably not breaking new ground but is virulently contagious especially as little splinters of grooves entwine the tempest from time to time. It is an impressive start to the encounter with greater assaults to come it soon emerges.

     As Long As I Live soon has things instantly aflame as it stomps into view wielding an addiction fuelling groove which wraps around the ears like a salacious temptress. The stroll and swagger of the song is virulent in the extreme, a wonderful carnivorous bass sound constantly chewing upon the infectious lures laid by the guitars alongside corrosive vocals which get better and more impressive as the EP progresses. With the lyrics parading the nastiest dangerous romance and often slight but always open twists and turns to the invention and gait of the song almost taunting, it is a masterful insidious seduction. Again you can argue that Loudrage are revitalising previously sculpted sonic animosity and venom rather than spawning their own but truthfully who cares when it sounds so good.

    Both Fear Me and Suffo-Kate stalk voraciously the new found plateau of the release, the first a thoroughly ravenous intrusion on the senses. Riffs crawl and antagonise the air whilst rhythms show rigid restraint to frame the savagery though still managing to have moments to add their bone splintering spite too. Again the bass feeds the primal beast inside, its stringed jaws a rapacious aggressor alongside the toxic scrub of riffs. Its successor is no less pestilential and more ferocious in its energy and groove lit rabidity. There is also a crunch to the tone of the song, a metallic intensity which infests and resonates in bone and the imagination, whilst the melodic poison raging through the veins and grooves of the track sear and almost asphyxiate the senses. The pair are again pinnacles which linger and drive a real hunger to hear more from the band now and in the future.

     The EP closes with the groove fest of Intruders; from vocals to riffs, rhythms to those wonderfully infernal grooves the song savages with death metal sculpted hips swaying like a whirling dervish. It is an infection which should be quarantined, though only if we are locked inside with its uncompromising, ferocious devilry. It is a blistering conclusion to an impressively hellacious release. There is nothing to fault the EP over apart from debatably it holding a strong familiarity in some ways to established invention, but as mentioned before it is a minor thought before a major triumph and the moment when Loudrage will be a name eagerly thrust around the metal world.

Go grab Uglier Than Thou as a buy now name your price release at http://loudrage.bandcamp.com/album/uglier-than-thou now!

https://www.facebook.com/loudrageband

9.5/10

RingMaster 10/01/2014

Copyright RingMaster: MyFreeCopyright

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Public Domain Resource – Dead Surface

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     Until the arrival of their debut album it is probably not too far-fetched to assume a great many like us were not aware of Public Domain Resource and their magnetically crafted contagious sound. The recently release of Dead Surface has certainly addressed that lapse and such the potency of the synth pop bred waltz marking this fifteen track temptation the only recommendation is for you to go immerse yourself in this band. It is an album which ebbs and flows at times to both intrigue the imagination and occasionally leave the appetite wanting a little more from particular moments but taken as one radiant proposition the album is a riveting and vibrantly refreshing slice of electronic adventure.

     The Bergamo based project consists of Pietro Oliveri (music, synths, programming, vocals) and Ugo Crescini (vocals) though founded in 2012 it was initially a solo venture for Oliveri before Crescini linked up with him in March of last year. The band’s first year saw the appearance of Under The Ground, a track which reached 3rd place in the Industrial Music chart on Soundclick.com. Its successor Nemesis-The Third Day and the following The Hang were no less eagerly received either with the two songs riding high in IBM charts and all three now appearing upon the Space Race Records released Dead Surface. Combining a weave of sounds and flavours from eighties synth pop to EBM and varied electronic spicery, it is an encounter which warrants plenty of encounters to discover all its little nuances and seductive essences but one which constantly rewards with those unveilings. Whether the album will rival your all-time favourites time will tell but certainly it will earn and deserve a regular feature on your adrenaline cast playlists.

   The album starts with its best track, a title Ideals never relinquishes despite the strong challenges to come. Opening with a Dead Surface Coverdelicious bassline right out of early songbook of The Cure, the track immediately has interest hungry and eager to learn more. Tantalising electronic strokes soon join the persuasion alongside energetic rhythms and roving synth temptation but it is the excellent vocals of assumedly Crescini which seal the deal. It is hard to know who provides vocals actually each voice clearly distinguishable but only if you know which belongs to whom, something we could not find out in time. A more than healthy Depeche Mode feel evolves to wash through the song as it expands its lures and enterprise as well as a sturdy rock element to the vocals especially, it all adding to a masterful infection clad synth pop triumph.

    The following Red Lines has a more tempered energy to its candescent electro glow aligned to shimmering enticements and also has little difficulty in seducing ears and thoughts. There is a rich emotive breath to the track from its opening note and first lyrical syllable and though as it progresses and builds a rich intensity in its melodic colouring and emotional depth the pervading shadows within never waiver or lessen their evocative call. Its successor Under the Ground is a similarly crafted blaze of melodically hued imagination, different in sound and delivery but as provocatively expressive and built with dark edges to provoke the imagination. Both tracks continue the impressive start to the album before passing over to another pair of pinnacles on the release.

    The title track from an arguably predictable opening dips enthrallingly into a darker climate of voice and sound which brings thoughts of New Order to the fore. It is when the song takes a breath and puffs out its melodic chest and rhythmic muscles around a pulsating nagging electro core that it ignites a virulent fascination of sound and shadowed seduction. The melodic groove which laps at the heart of the song alongside impassioned piano strokes only go to accentuate a Heaven 17 like bait fuelling the outstanding track, its success straight away matched by Fiat Lux. Admittedly the song took a little linger to fully convince but evolved into a strong favourite. Like those before, it has a unique character seeded in familiar yet fresh seeds. Once more thoughts drift to the eighties, this time from the chilled atmosphere which reminds at times of post punk band The Passage and a discord kissed vocal delivery which persuades like the haunted expression of that band’s creator Dick Witts crossed with the wily tones of Fatima Mansion’s frontman Cathal Coughlan. It is a ravenously addictive slice of electronic tempting adding further depth to the album.

    After such a strong passage maybe it was inevitable that the release would wander a little in potency which it does with the slightly predictable Negative Fields and the unsurprising Nemesis – The Third Day, though both are undeniably enjoyable and conjured by accomplished craft as they sandwich the arresting electronic landscape of Always Prey for Them – The Reich’s Station. Their enjoyable presences are soon lost to thought as the minimalistic beauty of Mishima San and the impossibly addictive Your Blood Is Mine combine to ignite the passions all over again; the first an elegant stimulation of melodic mesmerism and sultry synth pop engagement which is as epidemically contagious as any full on virus and its successor a multi-spiced electronic web which hustles and imposes its grandeur on the senses whilst holding them in a warm atmospheric embrace. Both tracks are irresistibly memorable, something you can say about the majority of the album as proven by The Hang. Heavy in texture and similarly weighty in infectiousness the song is a slow burning rousing of the imagination which needs longer than some to fully convince but does so without reservation before The Second Day takes its swipe at winning over emotions, its inevitable success going on what has gone before soon confirmed by its resourceful and skilful electronic maze of adventure.

    Completed by two more than decent remixes by Tourdeforce (Red Lines) and Retrogramme (Under the Ground) as well as the Magnetic Fields edit of Mishima San, the thrilling Dead Surface is an exhilarating incitement of a united dancefloor and individual passions. Increasingly more impressive with each romp through its insatiably addictive and inventive body the album marks Public Domain Resource out as a new protagonist in exploratory synth pop, a band draped in shadows for not much longer you suspect.

http://www.publicdomainresource.net/

http://ekproduct.bandcamp.com/album/dead-surface

8.5/10

RingMaster 10/01/2014

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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The Isolation Process – Self Titled

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    Thick in sound, textures, and emotional presence, the debut self-titled album from Swedish alternative metallers The Isolation Process is a transfixing adventure which catches the imagination and ignites the senses. Expectations for the album were slightly on the high side looking at the pedigree of its creators and it certainly does not let those hopes and assumptions down, instead leaving them an underestimation of what emerges from the riveting release.

      The Isolation Process was borne from the ashes of Scandinavian alternative rockers Lingua, vocalist/guitarist Thomas Henriksson, bassist Anders Carlström, and drummer  Patrik Rydbrand from the group (and also of sludge metallers Come Sleep), continuing to write and create together after the band’s recent demise. With a heavier, darker, and slightly more progressive sound emerging, the trio recorded their debut album with Michael Nordström (Switch Opens, Lingua, Jesaiah) last year. Mastered by Magnus Lindberg (Cult of Luna, Khoma) the resulting proposition is a mouth-watering incitement aurally and emotionally. Released via Version Studio Records the nine track evocative journey merges beauty and intimidation, shadows and flames into a creative landscape which immediately enthrals and continues to intensify its persuasion over every listen.

     Opener A Simple Gesture takes no time in casting a voracious presence over the ears, riffs gnawing the senses as they chug the-isolaton-process-cover-300dpiwith an intimidating predation alongside a bass sound which is bestial at its core and wonderfully ravenous at certain moments. It is just a teaser to the enterprise to follow though as just when you expect to be chewed up from start to finish unrelentingly the band swoops into a fire of melodic temptation and soaring sonic endeavour which aligned to the impressive rich vocals of Henriksson simply captivates. Merging and alternating between the breath-taking sounds and climbing intensity, it is a skilled and fluid union of diverse textures, a masterful suasion which by its end has alone seduced the fullest attention and appetite for what is on offer.

    The following Visions is a different kind of creature right away, it’s gentle entrance, in comparison to its predecessor, a melodically bred coaxing which canters across the imagination as guitars stroke out magnetic chords and firm but respectfully rhythms frame the potent welcome. Into its stride with again great vocals wrapping every word and emotion around the striking sounds, the track unveils its sinews to create crescendos of intense incitement with again the bass producing a throaty rapaciousness which only deepens the persuasion. It is an anthemic slab of a song which like the first only strips any stability from remaining reservations, if any are still remaining.

     Underneath It All steps forward next and with a melancholic air to its beckon provides an emotive canvas to reflect and immerse within but one unafraid to erupt with volcanic force and passionate ferociousness from within the sirenesque melodic narrative. Not for the first time on the album there is an element of Stabbing Westward and Cold about the song which though adding a familiarity only enhances the potency of the bewitchment. Initially not as instant in its strength as the first pair it a song which just gets better and better every time it evokes attention, again just like the album.

     From the pleasingly sculpted and intriguing instrumental Inhale the album is back to snarling with a voracious rabidity through Victims of the Masses; the track a mentally invasive and emotionally provocative tempest of aggressive hunger and elegant beauty forged into a sonic landscape which is as rugged as it is mellow and as reflective as it is feverishly intensive. An adrenaline raising evocation, the song makes way for the scowling beauty of The Dead End, a giant of a track which roars with melodic passion and growls with rigorous bearing before it departs for the second instrumental Exhale to provide a breathing space. Both pieces of music are perfectly enjoyable but to be honest more allow time to process and reflect on what has come before than reveal any addition to the album’s objective no matter their intent. It is not their failure but just the power around them.

     It Will Burn and Nothing To Collect complete the immense encounter, the first arguably the most bestial track but again in league with a melodic flaming and sonic invention which radiates and sublimely tempers any unbridled aggression which other bands might succumb to. It is not the strongest on the album but still a moment to lose one’s satisfaction to before the final emotionally fuelled fury brings the album to a dramatic conclusion. A slowly burning but wholly convincing and absorbing storm of sound and intensity, the song momentously completes an album which it is impossible not to find a torrent of time for physically and emotionally. The Isolation Process has for these humble ears and thoughts created the finest moment of its member’s artistic journey to date, a gem of a release and a long term engagement.

www.theisolationprocess.com

https://www.facebook.com/theisolationprocess

9.5/10

RingMaster 10/01/2014 

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

Depths. – We Love, We Lose, We Break

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Emotionally potent and unmistakeably passionate We Love, We Lose, We Break the new single from Belgian post hardcore band Depths. is an encounter which easily suggests that this is a band to keep a close eye on. Their chosen genre is a proposition which to be truthful can leave the emotions lukewarm just as often as it ignites them, bands often seemingly reworking a formula and presence well established. Depths. skilfully sculpts the latter reactions with their two track offering. Certainly they are not the finished article but with two songs drenched in open craft, a variation of flavours, and deep promise the single makes an enjoyable declaration that they are on the right path.

      Formed in 2010 by two members of Carrying My Burdens which had just spilt up, Depths. were soon writing songs whilst bringing a full line-up together. Hailing from Eeklo, the band went through a slight personnel change before releasing debut EP Past/Present in 2011. Well received it was a potent first step which the new Flood Hardcore released single reinforces and extends. The pair of songs on the single are emotionally turbulent lyrically but wrapped in a sound which though doused in melancholic atmosphere raises hope and passion clad beauty within the situation. It is a thoughtful and provocative mix, occasionally clashing maybe but persistently enthralling and pleasingly enterprising.

     We Love, We Lose, We Break opens things up with a delicious solo guitar coaxing. It provides one of those riveting and cover_front_1000pxaddictive temptations which cannot fail to make strong bait, its lean melody beckoning ears and imagination with an almost poetic lure. The persistent call is soon joined by brief rallies of rhythms from drummer Ebert with the second guitar of Thomas joining Stijn in that initial irresistible temptation. It is an emotive wash with the darker tones of Frederic’s bass especially potent. Vocalist Olivier next steps forward to unleash his angst driven almost exhaustive tones, his initial contact at odds with the softer sounds but the great incitement to their own raising of intensity and energy. The fiery crescendo makes way for melodic hues to again paint their reflective thoughts before returning for a heated powerful climax. It is an impressive slice of drama which gets better and stronger with every listen, proving irrefutable evidence that the band has an indefinable something many other post hardcore provocateurs lack.

     Second song Alone and Forsaken also makes a commanding compelling entrance, a controlled bass groan and roaming rhythms immediately seizing attention and sparking the appetite. Their suasion continues as melodies wash warmly over the ears as the caustic delivery of Olivier riles the air and uncages the strongest emotions and abrasive textures. The guitars paint their own earnest and sinew driven inventive narrative upon the hypnotic rhythmic canvas to support and stand distinctly at angles to the vocals raging with lyrical sorrow and emotional struggle above them. Though not as open as its predecessor the track equally provides unchallenged satisfaction over numerous encounters and completes an accomplished and potential clad release.

     There is little to raise up against We Love, We Lose, We Break in negativity though a slight variation in the vocal delivery would be a suggestion as at times especially in the title track, Olivier’s fine but abrasive delivery clashed with the thrilling melodic textures and emotional elegance of the music. Also there were moments where it seemed like the band held back on their invention so as not to threaten the balance of the songs and that adventure would be pleasing to see stretched further. Nevertheless the single is a clear and powerful musical statement from a band which has an impressive future waiting if they wish.

https://www.facebook.com/Depths.officia

http://www.depthsofficial.bandcamp.com

8/10

RingMaster 10/01/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com