The Contortionist – Language

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Formed in 2007, US progressive metallers The Contortionist have been no strangers to twisting the senses and psyche of fans with their unpredictable weaves and startling structures of sound and ideation. Previous albums in the shape of their startling 2010 debut Exoplanet and even more so the rigorously acclaimed Intrinsic two years later, took the metal scene by the scruff of the neck with their increasingly imposing and intricately technical tapestries. Now the Indianapolis sextet has unveiled their finest moment yet, the exhaustingly compelling Language.

The band’s first studio album with new vocalist Michael Lessard (Last Chance to Reason), who replaced Jonathan Carpenter when he left the band last year, Language spins a startling web which swiftly immerses ears and imagination from its opening seconds. Produced by Jamie King (Between the Buried and Me, He Is Legend, The Human Abstract), the album seduces from the first breath of The Source, Lessard instantly caressing the senses with his mesmeric tones as keys emerge elegantly around him. As the song grows, so does its captivation as impassioned melodies simultaneously soar across and intimately shape the aural narrative. It is a gorgeous seducing with Lessard exceptional, and right away matched by the distinctly different Language I: Intuition.

Guitars tenderly coax the imagination from the very start, their thought binding enterprise soon aided by flowing harmonies and subsequently an alluring throaty bass tone amidst a soak of expressive keys cast by Eric Guenther. Grumbles of raw vocals taunt in the background at times but the track ultimately glides imperiously over ears framed by the inventive beats of Joey Baca and resourcefully shadowed bass prowess of Jordan Eberhardt. The snarl and agitation within the song rises closer to the surface as the track moves towards Language II: Conspire, the guitars of Robby Baca and Cameron Maynard at times as predatory as they are enchanting. Its successor seamless steps from its embrace with a jagged bait of riffs and an increasingly predatory voice to the bass, coarse vocal growls also stepping forward from within the brewing maelstrom. The track proceeds to prowl and size up its recipient with death metal malevolence and caustically coated progressive imagination twisted into something uniquely exploratory and individual to the band.

Integration opens with a jazzy wind of keys which is emulated by the creative sculpting of guitar intrigue and swinging rhythmic temptation. As the mellow tones of Lessard flow there is a conflicting yet perfectly harmonious merger of LANGUAGE COVERantagonistic and entrancing climates, opposites uniting for a provocative emprise of sound and intent. Thoughts of Karnivool and Between The Buried And Me offer hints as does Cynic as the song twists and evolves with every incendiary note and impacting syllable but again it is merely spice to an ingenuity owned solely by the Indiana six-piece.

Both the spellbinding grace and beauty of Thrive and the following Primordial Sound enslave ears and thoughts, the first a scintillating journey through an evocative scenery of tenacious rhythms and smouldering drama crafted by a tempest of guitar invention and sonic passion. Basking in a simmering keys drawn atmosphere veined by vibrantly melodic flames, the track also involves a technically explosive turbulence which is as flirtatious as it is intimidating. It is the pinnacle of the album, a peak matched straight away by the second of the two songs. Primordial Sound opens on another exceptional vocal caress from Lessard, guitar and bass courting his radiant tones with their own dazzling voice and expression, all wrapped in a magnetic wash of keys. The song is sensational, another innovative and remarkably imaginative binding of light and shadows.

It is fair to say that Lessard brings a Deftones like air to parts of the album, and no more so than in Arise, his dulcet tones a smooth glaze over the song’s presence and theme. This is enhanced by the equally luscious sounds around him; that is until a bestial expulsion drives vocals into a rapacious metalcore like roar and riffs and hooks into a heavily barbed torrent of addictive persuasion. The track continues the established high plateau which is maintained by the cinematic theatre and haunting colour of Ebb & Flow. The keys of Guenther alone paint an engrossing canvas for the imagination to explore, one given richer impacting depth by the cinematic hues and shadows of guitar which in turn create a tempestuous threat of intensity and a temptation of skilled enterprise.

Its success is equalled by the spellbinding majesty of The Parable. The final song on the album is a thick blaze of sonic and technical ingenuity hugged by the ever refreshing vocal brilliance of Lessard and band. It is a swirling eddy of beauty, skill, and exploration within a kinetic incitement of rhythms and rousing intensity, a sensational flurry of invention which almost bewilders as it seduces.

With so much going on and to be explored, Language is not as instant a triumph as other releases but with focus and time emerges explosively rewarding and intensively exhilarating. As much as their previous albums were impressive, you can almost say that The Contortionist has come of age with their new offering, suggesting a new template for progressive metal to contemplate with its masterful presence.

Language is available from 16th September via eOne Music / Good Fight Music.

https://www.facebook.com/thecontortionist

RingMaster 16/09/2014

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Tribazik -Tools Of Mass Creation

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Swiftly following the acclaimed success of their recent album Data Warfare, UK band Tribazik unleash their new gripping and contagion fuelled single, Tools Of Mass Creation. The closing track on their outstanding full-length, the song is an emotion and thought provoking tempest of sound and adventure, reinforcing the potential and creative emprise shining within the London based trio.

Formed by Jerry Kandiah (vocals/guitar) and Hedge Seel (drums/samples), Tribazik has grown into one of Britain’s most inventive and formidable prospects, Data Warfare their coming of age and the suspected spark to a world spotlight upon their ingenious mix of sounds. Sculpting an individual presence through the merger of genres such alternative rock, psychedelic metal, industrial, techno and much more, the band grabbed the attention of Killing Joke bassist Paul Raven from the release of the single Yang To Yin alone. The song led to the invitation and supporting of Killing Joke on two European tours as well as Jaz Coleman guesting on a track on Tribazik’s Andy Gill (Gang of Four) mixed debut album All Blood is Red in 2009. From there the pair became a trio with the recruitment of Syan and subsequently the creation and release of the self-produced and Youth (Killing Joke, The Orb, The Verve) mixed Date Warfare earlier this year. It is a fiercely flavoured tempest of imagination drenched sound and inventive force managing to cast a mix of early Killing Joke, Pendulum, Pitchshifter, The Prodigy, and Red Beat, whilst sculpting something new and invigoratingly distinct to Tribazik. Now Tools Of Mass Creation is ready to stir up another incitement for the album and itself, an aim as with its source release hard to imagine failing to achieve success.

The single harasses ears from its first breath, rhythms rapping with thick sinews on the senses whilst guitars blaze with a raw causticity to their riffs and hooks. The gothic harmonies of Syan glance across the turbulent air of the track soon after whilst beneath, the track roars with aggression and antagonistic intensity. It then relaxes into a more merciful embrace, the mellow tones of Syan snuggling closer to the ear as Kandiah unveils the narrative with his captivating voice. It is a smouldering passage prone to forceful eruptions of sonic energy and blazing passion musically and vocally. There is an unavoidable essence to Killing Joke to the track, as well as a tasty tinge of Fear Factory, but as it brawls and seduces body and emotions, the song sets down an individual character and beauty to the fury which belongs solely to its creators.

Tools Of Mass Creation is a riveting and mouth-watering furnace of sound and enterprise, the perfect doorway for those still not infected by the exciting presence of Tribazik, to dive into their glorious depths.

Tools Of Mass Creation is available on September 24th

Tribazik have confirmed a special single release party at London’s Islington Academy 2 on September 24th. To celebrate the single release of Tools Of Mass Creation, the band have promised ‘A storming show with full visual onslaught’

Tickets for the event can be purchased from http://www.o2academyislington.co.uk/event/69196/tribazik-tickets

http://www.tribazik.com

RingMaster 16/09/2014

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 Pineapple Thief – Magnolia

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     Magnolia is a melodic serenade, an album which across its immersive seduction is equally unafraid to roar and show a creative and sonic muscle. The new full-length form UK rock band The Pineapple Thief, it is an absorbing proposition, maybe not one to set the passions ablaze but certainly an encounter gripping ears and imagination in a riveting embrace.

The Pineapple Thief began in 1999, formed by vocalist/guitarist Bruce Soord as initially an ‘experimental bedroom project’. It has proceeded to be an attention grabbing band earning acclaim and success across its thought inspiring journey and releases, Magnolia their tenth album. The successor to the acclaimed Someone Here Is Missing and All The Wars of 2010 and 2012 respectively, the new release feels like the offspring of all the influences and essences of the band’s previous exploits; dreamy, progressive textures and enterprise combining to evolve into new bracing pop infused rock adventures. As mentioned, the Kscope released album might not ignite a lustful ardour but with ease it makes for one of the most vivaciously captivating propositions this year, managing to really bring the band’s renowned live power and intensity into a release for arguably the first time.

As soon as the jangling touch of opener Simple As That hits ears, band and album are in control of attention with the swiftly following vocals of Soord even more coaxing through their mellow tone. It is a gentle caress initially, Soord’s guitar as gentle as his voice before the dramatically impacting and thrilling eruption which follows turns the track on its head. It is a glorious and contagious expulsion of riffs and crisp rhythms released by Soord and Dan Osborne respectively, an intensive flame of energy and emotion with the vocals a mesmeric lure. It is hard to avoid suggesting a Muse comparison, but with the richly enticing bait of Jon Sykes’ bass adding to the subsequently sultry and pleasingly imposing stance of the track, there is a uniqueness which belongs to The Pineapple Thief. Anthemic and gripping, it is an impressive start to the album matched immediately by Alone at Sea. Entering on a bubbly hug of keys from Steve Kitch, the song flirts with ears and thoughts through suggestive melodies and the vocal prowess of Soord. The track proceeds to weave and entwine around the senses with a provocative weave of melodies and harmonies, a shoegaze breath at times kissing the narrative, but also stirring them up with sinew sculpted flames of heavier rock endeavour. As with many tracks there is a familiarity to the fascinating canvas but only adding to the infectious bait and addictive enticement.

Neither Don’t Tell Me nor the title track quite touches the plateaus of the first pair but both cast engaging and impressively compelling persuasions. The first is an emotive shuffle of rhythms and acoustic chords under a warm yet cloudy TPT Magnolia cover artexpanse of keys. This is coloured with a riveting orchestral expression which as across the album is arranged by Andrew Skeet, and a rawer incitement of guitar, whilst the second of the pair soars through another sky of orchestral beauty into an emotive climate of smouldering passion and bewitching elegance. As said they do not quite match their predecessors, but forcibly leave appetite and feelings greedy for more with their enthralling enterprise and skilled composition.

The slow Coldplay like balladry of Seasons Past is a tantalising flame of vocals and provocative melodies which seduces thoughts if not emotions to the same success, already personal greed for the more forceful elements of the album steering reactions, as also found by Coming Home. Despite that though, there is no escaping the incendiary beauty and orchestrated radiance of the strings in both tracks and the dramatic intensity and adventure of the second of the two. Vocally too there is no defence from the potent lure of Soord’s voice and the supporting harmonies of Sykes, their individual and united contributions as poetically inciting as the sounds around them.

The tenacious twang of guitar, matched by a similar bass riff, through the heart of The One You Left to Die instantly grips ears and appetite, the track going on to bind an immersive web of intrigue and melodic intimacy around its thrilling spine. It is a hypnotic flight of invention which sets up the senses for the rowdy roar of Breathe perfectly. That mighty expulsion setting the song off though it is soon awash with crystalline melodies and floating vocals before merging its peace into the original rugged and explosive bellow of sound and energy. The track is like a blend of House of Love, Doves, and Feeder, and another pinnacle of the album.

The stringed and emotionally shadowed From Me comes next, its dark charm engrossing before making way for the outstanding Sense of Fear. Guitars lay an irresistible web of jagged riffs to capture the imagination before aligning them with jabbing beats and a climactic embrace of keys and fiery melodies. It is only a moment in the shifting scenery of the song though, a slow provocative vocal caress aided by glances of keys bringing a dulled yet tantalising breath before a sturdy stride of intensive sonic flames and rhythmic bait have their potent say. It is a scintillating encounter which brings the stage presence of the band closer to the comfort of the home.

Magnolia closes with first up the graceful flight of A Loneliness and lastly the bordering on sinister noir wrapped elegance of Bond. The former is a strong and satisfying offering but between the previous track and the cinematic brilliance of the final song it is unable to leap out of their shadow and soon forgotten against the magnificent weighty body and emotional colouring of its successor. Both songs ensure the album ends on a high though, The Pineapple Thief never relinquishing its hold on ears and imagination across its aural and creative fascination, emerging as quite simply a must investigate proposal.

Magnolia is available now via Kscope @ https://www.burningshed.com/store/kscope/collection/284/

http://www.pineapplethief.com

16/09/2014

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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