No Sin Evades His Gaze – Age Of Sedation

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Introductions from emerging bands obviously come in many shapes, sizes, and with varying success, but few leave as rich a hunger and lustful an ardour as inspired by UK metallers No Sin Evades His Gaze and their debut album Age Of Sedation. A riveting maelstrom of styles and flavours honed into a dramatically imposing and scintillating tempest, their release is an extraordinary entrance from a band young in years but mature in creativity and craft. There has been a loud buzz brewing around the quintet for a few months now and it is obvious as to why now.

No Sin Evades His Gaze was founded in the middle of 2013 by vocalist James Denton (ex-Ravenface). Completed by guitarists Kevin Pearson and Dan Thornton, bassist Matthew “Moat” Lowe (ex- Bleeding Oath), and drummer Theo Harvey (ex-Ravenface), the band gripped attention with the release of the single Age Of Sedation in May of this year, the track soon earning critical acclaim and media attention to match the appetite of the band’s growing fans. It was a potent hint of things to come, a rich suggestion of their new album but still merely a teaser to its blistering presence and might. Forging a ravenous and fluid web of everything from metalcore to technical and groove metal, progressive to death metal, the album is a raw and brutal hostility brought with the most elegant of touches and intensity of adventure. Not all songs startle as rigorously as others but each dramatically impresses with insatiable aggressive invention and rapier like imagination. Age Of Sedation may not top best album lists come December but it will be high in the majority of candidates.

A Crack In The Looking Glass is the opening intro to the album; it’s coaxing a thought challenging vocal sample surrounded by a melodic fanfare fuelled by a portentous breath. It is not a dramatic entrance but certainly awakens 10514663_279269198932257_7855588474433333182_nattention and intrigue which the following title track swiftly exploits with its masterful provocation. Continuing the brewing almost epic ambience of the first piece, riffs are immediately rubbing on the senses as a climate of change and volatile intent boils up around them. Percussive incitement and heavy bass tempting soon add to the fascination embracing ears with the guttural growl of Denton a savage provocation in their midst. The track in full stride is a beast, tight melodic veining and caustic riffery aligning to violently antagonistic rhythms from Harvey and the ravenous intensity of the basslines. There is also an intimidating swagger to it with teasing grooves simply igniting the senses. It is obvious to see why the song set greedy anticipation in motion for the band’s album and it is only the start of something special.

     Motionless In Obedience instantly sets out its own contagious bait as drums and guitars unite for an initial canvas of temptation which brews up into a magnetically layered and impressively textured weave of ideation and sound. Orchestral whispers and sultry melodic colours permeate the intensive pressure and intent of the track whilst grooves and hooks offer a barbed lure which slips comfortably into the agitated depths of the encounter. As with all songs, each moment is a passing twist in a growing picture, the aggressive growls of Denton evolving into an outstanding clean delivery with the frontman impressive in each extreme, and the overcast menace of the song finding a clearer melodic air to seduce through. Like a mix of Meshuggah and TesseracT merged into another of Between the Buried and Me and Sepultura, but still only part of the sound, the track continues the immense start of the album.

The sonic enticement of Filth makes a transfixing lure to a bordering on carnivorous onslaught, essences of Korn and Mudvayne flirting with the industrial hints and barbarous maze of the song’s invention. It is an addictively compelling provocation, much like the album, which uses every note, chord, and pestilential syllable to assault and inspire. Its apocalyptic presence evolves into a sense of awakening as it fades away with crystalline charm before air and ears are baited by another unpredictable threat of tenacious riffing and rhythmic athleticism which sizzles with spite and ingenuity. Vocally as its predecessor, the blend of roaring rancor and melodic enticing is as masterful and rewarding as the seamless merging of vicious intensity and creative rabidity.

Both the predatory Roll Up The Royalty and Debris strikingly feed a hungry appetite. The first is a bruising fury of raptorial grooves and scarring riffs caged by inventively pounding rhythms off set by the again excellent vocal mix courted by the cantankerous charm of the bass and a mystique wrapped sonic exploration. Its successor sees the bass of Lowe offering another predacious character of sound and rugged contempt whilst over him vocals scowl and croon entwining venom and harmonious enticement. At its heart the track is a toxic treat with scything beats and scorched grooves sculpting a scintillating net of creative resources and bewitching imagination.

Age Of Sedation continues to abuse and ignite the senses with its enthralling tapestry of sound and inventiveness, The Cycle Resets an incendiary blaze of sonic poise courted by a twisted fight of rhythmic brilliance whilst the next up Biometric Alchemy laces its vigorous terrain with industrial strains of tempting and potently evocative flames of sinister melodic radiance. It is another glorious pinnacle in the album; the song’s first half a towering oppression of carnal malevolence which evolves into a stunning progressively seeded fire of melodic expression and vocal brilliance. Think Soilwork meets Fates Warning to give some kind of idea to its excellence.

The release is completed by firstly the infection dripping enmity of The Guillotine Blade, a creative war for the senses and template for the imagination to immerse in. Its every turn oozes ingenious challenges and stirring provocation cored by an infestation of enslaving grooves and sonic tempting. Its triumph is matched by closing track Affinity, the most aggressively mellow proposition on the album but still littered with rhythmic animosity and stabbing riffs. It is the swarming flames of melodies and warm vocals which steal the passions though, their beauty an absorbing caress in the final creative and ravenous blitz of the release.

The song is a richly flavoursome end to a stunning debut from No Sin Evades His Gaze. The fact that Age Of Sedation just gets more powerful and enthralling with each listen, not forgetting exciting, suggest that the UK has a band to set the metal world ablaze if not now within near horizons.

Age Of Sedation is available digitally and on Ltd Ed CD now @ http://nosinevadeshisgaze.bandcamp.com/album/age-of-sedation-2014

http://nosinevadeshisgaze.com/

9/10

RingMaster 21/08/2014

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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We All Die (laughing) – Tentoonstelling

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After their riveting and extraordinary album Thoughtscanning of last year, the appetite for something more from We All Die (laughing) has been the epitome of hunger. It is a want and need now richly satisfied by the band’s new offering, the Tentoonstelling EP, well certainly by half of it. Consisting of two tracks, one from the duo of Déhà (Maladie, COAG) and Arno Strobl (Carnival In Coal, 6:33) and a second piece by Mathieu Drouet, a French photographer for whom We All Die (laughing) composed the lead track, it is a provocative encounter of instrumental temptation which pushes the imagination into dark and sinister landscapes.

When asked by Drouet to contribute a track to a contemporary art project for his Grande Plage exhibition planned for January 2015, We All Die (laughing) crafted the instrumental Variation on the scanning of thoughts, a piece 760137644422_TOX038_We-All-Die-(laughing)_Artwork_600x600inspired by and a companion to the band’s extraordinary one track album. The exhibition itself is based on photography of Drouet which the artist ‘considers worth being used as cover artwork for music releases’. Consisting of twelve pieces, he chose a similar number of bands to contribute a track (also including The Lumberjack Feedback) of which a single copy 12″ EP would be released with one of his pictures as the artwork along with an’ experimental audio rendition of the photography’s digital file’s data’, basically an aural portrait of the picture cloaking the release.

Variation on the scanning of thoughts is a piano sculpted exploration, a shadowed and brooding suggestiveness which wraps seductively around the senses and imagination whilst soaking both with melancholic expression. Noir lit jazz scenery colours the evocative canvas throughout whilst sharing hues with a more choral persuasion, their entwining suggestiveness a haunting embrace within the oppressive atmosphere. The press release with the EP declares the track as more depressive than the band’s adventure upon Thoughtscanning which is easy to agree with, yet as the music permeates ears and emotions there is also an imposing beauty and stark elegance which ignites the warmth of hope in song and reactions. As always with the band, it is a healthily long piece which provides a template for the listener’s imagination to fill and colour whilst emotionally it is a provocation which is as cinematic in drama as it is intimate.

The following Grande Plage, OP. 1, Movement #1: Le Noir from Drouet is the complete opposite and whilst you can understand and respect its breeding, the track is an underwhelming challenge. A sonic expanse of electronic smog, a static wave which ebbs and flows but makes for a constant irritant, the track is a ten minute excuse to return to the majesty of its predecessor. Again it is a piece which will inspire or push away individual thoughts and imaginations, with ours unreceptive, but it is a pale if initially intriguing companion against the magnificence of the lead track and the musical alchemy of We All Die (laughing).

Tentoonstelling is available now Kaotoxin Records @ via http://listen.kaotoxin.com/album/tentoonstelling

https://www.facebook.com/wealldielaughing

Check out the excellent photography of Mathieu Drouet @ http://www.mathieu-drouet.com/

For the track Variation on the scanning of thoughts 10/10

RingMaster 21/08/2014

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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Edge of Haze – Illumine

(c) Olli Kiikkilä

(c) Olli Kiikkilä

As much as there is a creative adventure and aggressively provocative breath to Illumine, the new album from Finnish metallers Edge of Haze, there is also a unique and mesmeric charm to its melodic metal which sets it and its creators distinctly away from the crowd. It makes for a tremendously striking proposition which brews up an atmospheric embrace through the entwining of progressive and alternative metal with a melodic and ambient fuelling. The Espoo quintet’s sound is a thick and vibrantly textured proposal which is as thrillingly adept at seducing or savaging the senses. From this the band’s second album emerges as a masterful treat which like an emotive sea laps upon the ears and imagination with varying intensities and successes whilst offering a perpetual enthralment of invention and irresistible persuasion.

The seeds of Edge of Haze begin with the metal band Damage, a project vocalist/bassist/guitarist Eero Maijala and drummer Janne Mieskonen began in 2007. Subsequently joined by guitarist Lenno Linjama two years later and with a couple of demos under their belt, the band expanded with the joining of keyboardist Akseli Savola and vocalist/guitarist Iivo Kaipainen which led to the renaming to Edge of Haze in 2010 as well as a change in direction sound wise, a new progressive and melodic strain of ideation and flavour merging with the heavier metal sound bred through Damage. The departure of Kaipainen led to the addition of Markus Hentunen as debut album Mirage begun its birth in 2011. Released the following year to strong acclaim, its success and presence is destined to pale against that of Illuminate such the latter’s riveting journey and potency. Loosely based on the book Escape From Camp 14 about a man living under a totalitarian regime that upon realising his submission to this life attempts an escape and sets out to find the landscape of his soul, Illumine musically and lyrically provides a fascinating presence which paints that theme’s journey with imagination sparking colour and thought involving prowess making a thrilling treat for ears.

Opening track Drawn releases a haunted whisper of ambience before guitars cast a provocative web of melodic expression courted by a just as magnetic keys spawned atmosphere. It is a potent start which is soon settling into a sturdy yet Cover artwarm stride, its sinew sculpted grooves seducing ears as the excellent tones of Hentunen work on the senses. His vocals are immediately compelling and masterful within the slightly tempestuous breath of the track, adding greater strength to the narrative and the impressive canvas below him. A soft and elegant drift of voice and sound brings another unexpected and intrigue ripe twist to the already absorbing and impressive emprise, the eventful track sparking thoughts and passions with sublime ease.

The Pyre brings an openly more aggressive and muscular proposition wrapped in a sinister and imposing climate of dark shadows and intent. As its title suggests, the song is a blaze of scorched sonic endeavour and rippling invention, its ravenous air entwined by a melodic beauty and that almost mesmeric vocal quality of Hentunen, which here is supported potently by the coarse growls of Maijala. The track continues to climb over the senses and imagination with an inescapable web of enslaving sounds, a solemnly flavoursome gothic darkness and drama aligning its lures to the voracious and seductive essences soaking the persistently evolving picture. Its heady almost oppressive design is powerfully contrasted by the melodic beauty of Urban Reverie, its opening gentle parade of rhythmic vivacity within a vocal and guitar spawned majesty providing an emotive urbanity which spreads throughout the imaginative coaxing terrain of the song.

The following Crushed is like a reality check to the dreams of its predecessor, riffs and rhythms an antagonistic stabbing from its opening second whilst snarl spewing grooves and vocal scowls add further predacious bait. The melodic and harmonic side of the track is equally as pungent in its voice and resourcefulness, Edge Of Haze able to merge both extremes whilst giving each a creative clarity which radiates its side of the drama. The scintillating maelstrom of ingenuity is first followed by the decent instrumental 3:30 A.M., its dystopian ambience another reminder to the tale’s political and social landscape, before Into The Red Sun makes its piano composed engrossing entrance. Over scenery of possible escape, Savola transfixes ears and thoughts before the track erupts into a powerful ball of sonic heat and creative tenacity. Riffs and grooves seduce with a slightly carnivorous texture before a relaxation of intensity makes a refined platform for Hentunen to lay his ever fascinating tones. Possibly not the most overall gripping track on the album, its every turn still brings an appetite filling adventure which tightly grips attention and stirs up greater hunger for track and album, its epic finale alone a creative alchemy.

Both Unlearn and A Storm At The River keep listener and release entwined, the first an exciting charge of energy and virulence coloured with celestial fire before unveiling the richest vein of hostility found on the album. Of course like all, the track is a series of moments seamlessly linked and united for a compelling and exhilarating incitement of ingenuity whilst its successor is a smouldering glide of emotive grace and evocative ambience woven into a melody fuelled flight of passion and reflection. The pair epitomise the complex structures and contagiously intricate flavours which paint every song, as mentioned every shift of a track’s body or thought a new expanse of pleasure and intrigue.

Illumine is concluded by firstly the fiery atmosphere and sultry sounds of Rainfall, its exploration bringing an emotional continent of insecurity and suffocating angst within the fluid movement of the song which easily combined being mellow and immersive with stormy and intimidating within a swoop of a chord or a caress of vocals. Final track A Newfound Horizon provides a ten minute journey of its own to bring the album’s musical and lyrical narrative to a powerful close. Again in all aspects the song merges serenades and croons with roars and inhospitable ambiences, its ridiculously addictive investigation of new lands and emotional extremes glorious.

Illumine is a sensational release, one where some tracks steal the heart more than others but each piece of the creative puzzle leaves ears basking, imagination devouring drama, and passions bursting with a want for more. Edge of Haze has made a striking statement for progressive and melodic metal, and you can only feel it will be the first of many ahead.

The self-released Illumine is available digitally and on CD now @ http://edgeofhaze.bandcamp.com/

https://www.facebook.com/edgeofhaze

9/10

RingMaster 22/08/2014

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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