Black Crown Initiate – The Wreckage of Stars

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Never have open hostility and uncompromising brutality been as elegantly seductive and radiantly fascinating as within The Wreckage of Stars, the debut album from US progressive extreme metallers Black Crown Initiate. Actually that is not quite true as the band’s previous and extraordinary Song of the Crippled Bull EP offered such imaginative daring too but within the album it has bred a new bulk and exploration which is as fearsome as it is gloriously mesmeric. Their entrance was dramatic and startling and now with The Wreckage of Stars, the Pennsylvanian quintet’s emergence is complete, placing them right there side by side with the likes of Between The Buried And Me, The Ocean, and Opeth.

Formed in 2012, the Reading hailing Black Crown Initiate was soon drawing on experiences, individual inspirations, and a vast web of styles to create what is a maelstrom of gripping ingenuity and vicious enterprise. The evidence was immediately audible with the unleashing of Song of the Crippled Bull, an introduction which was as drenched in acclaim as it was in enthralling and unique inventive personality. Its attention grabbing success led to the band securing a coveted spot on the Metal Alliance Tour alongside Goatwhore and Behemoth, as well as the sharing of stages with bands such as Septicflesh, Fleshgod Apocalypse, and Rivers of Nihil. Earlier this year Black Crown Initiate signed with eOne and now in tandem go for the psychological jugular and lustful passions with The Wreckage of Stars.

The release opens with Great Mistake and an instantly seducing enticing of melodies. It is an inviting coaxing by the guitars which only gains weight and potency as imposing rhythms and aggressive riffs join its bait. Continuing to warmly lure within the brewing tempest, the song leads the senses into the bestial tones of vocalist James Dorton, every syllable expelled loaded with malice and guttural intensity. Still the song is a seductive persuasion though and intriguingly, it is when the superb clean vocals of guitarist Andy Thomas grasps ears that the track finds itself at its most threatening as the music flares up around him. It is a delicious and surprising outcome, alone revealing so much about the skill and songwriting personality of the band. Across its extensive landscape, the track boils, squalls, and explores mellow intent, every second and twist of the song a new surprise and magnetic contagion, especially the Eastern veining which colours its engrossing finale.

The outstanding start places the album on an early plateau which subsequent tracks either stalk as boldly or certainly flirt with in presence and invention. The following The Fractured One is one hitting similar heights, its immediate BCI_coveragitated predation of tempestuous beats from drummer Jesse Beahler and throaty tempting from the bass of Nick Shaw, an enslaving death metal spiced frame within which the guitars of Thomas and Rik Stelzpflug cast tenaciously imaginative and hostile enterprise. One of the shorter songs on the album, it is an incessant and virulently contagious torrent of barbarous and sonically scorching savagery.

A breather of sorts after the inhospitable onslaught of the previous tack comes with Malignant, its opening of classically honed guitar a caress of calm within the established storm of the album. Guitars nestle creatively up to the imagination straight away though that suggested respite is eventually smothered by the serpentine venom of Dorton’s vocals and a pestilential tsunami of corrosive rhythms and caustic riffery. Of course nothing can be assumed with a Black Crown Initiate track, something learned early on the last EP, and soon the increasingly impressive warm voice of Thomas breaks the wall of maliciousness, aligning itself eventually with a similarly engrossing and graceful weave of melodic design and expression. Though it is restless to return to savaging the senses, the track courts this peace as long and creatively as possible, ensuring the song again leaves expectations a lost cause.

Both the carnivorous ferocity of The Human Lie Manifest and the exhausting technicality of Withering Waves leave senses cowering and imagination basking in majestic aural warfare; the pair, as all songs, parading more of the craft and inventive depths of the band. The second of the two is especially scintillating as extremes of light and dark, animosity and melodic beauty come together in one spellbinding emprise, a mouth-watering adventure matched by the primal and ruinous presence of To The Eye That Leads You. This erupts with a tornado of vocal enmity, the assault at times an inaudible suffocation of intent and lyrical intimidation which in allowing a coarsely veiled clarity to emerge intimidates further. Around it though there is a swing and swagger to the sounds which is no less vicious but does provides an inescapable infectiousness. It is a vat of bad blood and the thrilling dark-side to the climactic and forcibly elegant beauty of the album’s title track. Predominantly instrumental it closes with a vocal union of all sides shown so far on the album, to provoke a new hunger in appetite and thoughts.

There is no escaping the relentless battering and sonic violation uncaged by Shapes Collapse next, the track as so many, no matter how harmful and fierce it impacts on body and senses casting an addictive and seriously enticing infection. It is a constant lure throughout the tempest but especially pungent in the glade of melodic reflection ventured by song and guitars before climbing back into the outskirts of the initial storm.

The album closes with firstly the arresting terrain of Purge, a track which entwines imaginative charm and melodic beauty with voracious and vehement fuelled hostility for a mutually unsettling and seductive examination of ears and emotions. It is succeeded by Linear, a sensational final encounter where under persistent hellacious provocation, the lighter side of the band has full and irresistible rein.

     The Wreckage of Stars is a major triumph proving that the last EP was no flash in the pan but instead just the appetiser to greater sonic alchemy and brutal expression from Black Crown Initiate. Now is the time to explore their brilliant fury, though you can only feel as with their music, there will be no escaping their presence and touch from hereon in anyway.

The Wreckage of Stars is available now via eOne Heavy / Good Fight

http://www.facebook.com/BlackCrownInitiate

RingMaster 29/10/2014

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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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Glass Caves – Alive

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There is a healthy buzz around UK alternative rockers Glass Caves, and the release of their debut album Alive provides plenty of reasons why. It holds a collection of catchy and vibrant songs which live up to the album’s title with ease. There is an energy and hunger to songwriting and tracks which provides the release and sound with a tenacious and invigorating presence. It makes for a potently captivating encounter though what there is not within Alive is unique character or presence to set the band truly out from the Arctic Monkeys inspired crowd. Taking songs individually it does not impact so openly but across what is a nevertheless fascinating and highly satisfying proposition, that essence prevents a great album being a classic striking debut.

Since forming the band has incessantly hit streets and venues with their presence and vivacious sounds. This has led to a constantly increasing and eager fan base as well as praising attention from the underground media and beyond. Successful slots at numerous festivals such as Leeds/Reading, Ynot Festival, and Shrewsbury Fields Forever has done them no harm neither, nor the release of their self-titled EP last year. Now the Rich Turvey (Darlia/The Mispers) produced and John Davis (Royal Blood/Catfish and the Bottlemen) mastered Alive is ready to awaken even broader attention and even with small reservations, expectations of success are inescapable.

Glass Caves’ new single Go sets things off and instantly lights up ears and imagination with a flame of tasty guitar and probing rhythms. It is a spicy start reinforced by strong vocals and melodic acidity which begins washing over the fiery song. The band would probably protest but there is no avoiding the resonance of Alex Turner and co which whispers loudly within the track, something many bands employ or are tailored by and certainly here adds an admittedly flavoursome hue. All the same, the song is a punchy and energetically persuasive stomp providing a strong lure into the album.

The following Driving Home is just as contagious and instantly intriguing, hooks and melodies toying with ears and emotions from the start whilst vocals, lead and backing, create a warm web of enticement. The throbbing groan of a 10665245_744010618970195_5022062840488303203_nbassline adds to the rich bait whilst guitars capture thoughts with their inventive. As gently infectious and lively as its predecessor, it swiftly shows the band has an arsenal of highly persuasive songs, a theory soon backed up by Why Stay? and Out Of Control. The first of the pair lays down a slightly more reserved but no less animated canvas for voice and guitar to colour whilst the second with a similarly restrained base, explores shadowed scenery embellished by seductive keys. Whilst there is that persistent feel of other bands, Funeral Suits coming to mind, there is real individuality and distinctive character to each song which only suggests that overall uniqueness will come with time and maturity, this track a bulging proposition of evidence with its melodies caresses and vocal drama.

Both the sonically sultry Tonight and the smouldering blaze that is Breaking Out keep the album compelling and attention gripped, the latter of the pair a track with a never realised volatile edge to its temptation bringing a dramatic edge to spark appetite and imagination. The two again show further variation in the character of songs within the album, just as the excellent Let Go. There is an extra whiff of familiarity to the song yet it only enhances its spellbinding and virulently fascinating waltz. The best track on the album with ease it is an anthem to the skills and invention of the band and for passions to enlist in.

The slow burn of Match with its rhythmic crescendos and wiry melodic coaxing is another track full of intrigue and adventure but does lacks the something which ignites earlier tracks. It still makes for a pleasing companion, one sounding bigger and better over time, before This Road brings its own tantalising scenery and melodic dance to tap another keen wave of appetite whilst Be Together in turn parades its powerful embrace of warm keys and jangly hooks. Their enterprising suasions are surpassed by the creative tension of How I Feel, a song with a melodic landscape walled by raw sonic colouring and rhythmic prowling.

The album comes to a close with Moongate, a final energetic croon of voice and sound leaving a lingering touch on ears and thoughts. It is an excellent end to a thoroughly enjoyable release. Yes there is that lack of something strikingly different to set Glass Caves apart from the many but to be fair that applies to a wealth of emerging bands of which most certainly do not make as strong and as pleasing an impression as found with Alive. Glass Caves is a band to keep a good eye on and their album one to have plenty of fun with.

Alive is available now via Tri-Tone @ www.buyalive.co.uk

http://www.glasscaves.co.uk

RingMaster 29/10/2014

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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