Scarnival – The Art Of Suffering


Scarnival_RingMaster Review

2012 saw the unveiling of German metallers Scarnival’s acclaimed self-titled debut EP, now three years on the Hannover quintet unleash their first album to realise some of the rich potential already shown to be fuelling their sound and confirm a growing reputation as one compelling protagonists of explosive metal. The Art Of Suffering is a brutal and sonically incendiary encounter, a fierce incitement wearing influences of bands like At The Gates, In Flames, and Soilwork like proud badges. It does ebb and flow in major and less impacting successes, its grip fluctuating across its irritable body, but from start to finish, it is one groove infested slab of savaging to enjoyably get the teeth into.

Scarnival was formed in 2009 by guitarists Christian Kähler (ex-Schierling) and Henna Deutsch (also Tredstone), bassist Gerrit Mohrmann (Cripper and ex-Schierling), and drummer Max Dietzmann (Tredstone and ex-Schierling) alongside vocalist Niklas Reimann. With Daniel Siebert (Inquiring Blood, ex-Steak for Breakfast) subsequently taking over the vocal persuasion three years later, the band made their first broad mark with their self-titled EP. It and the modern melodic death metal flowing through its veins swiftly grabbed fan and media attention with high praise quickly following. Live the band has also earned a potent reputation for their ferocious presence, shows with the likes of Arch Enemy, Debauchery, Rage, Tankard and Vader amongst many, helping brew an increasing spotlight upon the band. Now it is the turn of The Art Of Suffering to awaken fresh ears and appetites, and though proof that its creators are still exploring and getting to grip with finding open uniqueness, it is a definite wake-up call to the hellacious roar of Scarnival.

Scarnival - The Art O_RingMaster Review     The Art Of Suffering opens up with its title track. Portentous whispers fill ears first, quickly followed by an evocative caress of guitar. Those first few seconds are a potent prelude to the fury of sound poised to abruptly explode upon the senses, riffs scowling as harsh rhythms drive the confrontation and vocals. Already the song shows great and impressive diversity across the unbridled ravaging, the guitars also revealing their own variety of flavour and enterprise as a maelstrom of hostile and seductive tendencies quickly brew into one wholly magnetic incitement of corrosive metal, heavy rock, and addiction luring grooving.

The superb start continues through God Given, a track starting on a discord soaked splash of sound and almost as instantly turning into a primal predator. With no one else credited as additional vocalist, presumably every guttural growl, venomous squall, and grouchily clean tempting impressively comes from Siebert’s own raw throat across the album, and fair to say, as on the second track, he is as relentlessly gripping as the melodic imagination around him is emotively expressive. The song continues to merge a blend of varied metal into its appealing landscape before making way for the more brutish but no less infectious bellow of The Easy Solution. The energy of the track is again insatiable, as too the outstanding mix of vocals and jagged endeavour spilling from every guitar chord and spiteful beat. It is the nagging groove which takes most attention though, its catchy essence a rich lure in the tempest.

Hindsight steps forward next to offer a mellower, though still intimidating, proposal. Quickly it shows itself unable to ignite the same hungry reactions as its predecessors, familiarity and simply that so often indefinable spark which sets tracks ablaze missing from its otherwise strong body. It leaves ears and thoughts contented though, with Losing Identity stirring them up a little more through its barbarously grooved nagging and rhythmic punch bound in sonic rapacity. Musically it is enticing but vocally is where it wins, a hardcore essence encroaching some of the excellent diversity spilling from throat(s), though it too is left a touch pale by Watch Me. Featuring Soilwork vocalist Björn Strid, the track is heartily primal and sonically inflamed, its initial roar easily carrying ears and emotions into the clutches of its hostile stride. That alone hits the spot, but it is when the song twists into harmonic and vocally clean scenery around dancing hooks and spicy chords that it magnificently blossoms in to its greatest inimitable persuasion.

Both The Hunt and Rewind keep a freshly stirred appetite lively. The first succeeds through a fusion of insidious vocal toxicity and predacious grooves caged by skittish beats and invasive intensity, whilst its successor being part bestial and part flirtatious, stalks the senses with its inventive animus of sonic zeal and ravenous riffery. As all tracks varied hues entwine, slithers of thrash and death, black and melodic metal colluding here in a tapestry as destructive as it is enlivening. The pair thoroughly satisfies, a success shared by the classic metal infused Pathetic, though it has a more expectations feeding presence to leave it enjoyably pleasing if without causing any particular stir.

Eternal Salvation has the album back in top gear as soon as an intoxicating groove winds around ears in its first seconds, the masterful bait seeming to dictate the growing swing and contagious tempting of the excellent track. Many of the album’s songs do share certain melodies or elements of design, without any ill-effect on its potency, but this one stands bold as one of the most original and thrillingly unpredictable storms on the release. It borders mayhem at times, its fluidity pushing limits but everything just unites perfectly for one rancor soaked violation where even the sudden slip into melodic beauty only accentuates its might.

The Art Of Suffering comes to a close through firstly the gripping and barbaric drama of One Morning Left, another peak which is as emotionally cancerous as it is viciously unrelenting, and lastly Lies with its ruinous heart and tempestuously resourceful soundscape of scarring sound and ideation. The pair leaves the album on a lofty high, the latter emerging as the most courageously inventive and thus thrilling song on the release.

The Art Of Suffering is another striking step in the emergence of Scarnival, a release which impresses though also one it is easy to predict will be blown away by the band itself at some point ahead as they grow and mature further It is though a perpetually enjoyable and captivating savaging which only leaves a taste for band and more, a result not to be sniffed at for sure.

The Art Of Suffering is released via Kernkraftritter Records on August 7th through most online stores.

Ringmaster 04/08/2015

Copyright RingMaster: MyFreeCopyright

Young States – Down To You EP

Young States_RingMaster Review

If their debut EP Down To You is an indication of things to come, UK rockers Young States is a band a great many will be paying close attention to over coming years. Young in presence and age, two members barely 18, the Norwich hailing quartet make their striking introduction with four songs sculpted in alternative and indie rock; encounters which are lean on flab and strong on passion, as well as accomplished craft. It is not yet a scene stretching proposal or something to set the pulse racing out of control, but both music and EP are propositions to get ears and appetite eagerly on board and anticipating an inevitable potent progress of the band.

Young States was formed towards the closing of 2014, its members meeting whilst on courses at Access To Music in Norwich. The foursome of guitarists Libby Irons and Amy Jeffery, vocalist/bassist Georgia Leeder, and drummer Molly Draba-Mann subsequently united musically, drawing on a love for and the inspiration of bands like Brand New, Arcane Roots, and Mallory Knox to spark and enrich their own quickly brewing ideas and sound. In no time they were writing their debut release, the striking Down To You EP, which with all things going in their favour, should soon begin sparking the seeds to national attention.

YS down to you EP_RingMaster Review     The release opens with the rousing No More, a song which from a gentle guitar and bass caress bursts into vibrant life with crisp beats keenly poking steely riffs and flavoursome hooks. The vocals, and indeed bass lure, of Leeder quickly adds further invitation to the tenacious blend of rock ‘n’ roll rich with potent whiffs of punk and melodic rock. As enticing as the sound and vocals are, so too is the invention of the songwriting, twists into different textures and the fluid mixing up of energy just imagination shaped resourcefulness. It is the vocal delivery, with Irons adding her rich backing too, which leads the show though in all aspects band and song leaves ears and appetite firmly gripped.

The following Feedback is just as dynamic and quickly persuasive, hooks and melodic tang a flavoursome weave to set things off and an evocative cradle for the subsequent presence of Leeder’s voice. Rippling with enterprise and impassioned attitude, the song reminds of fellow Brits Leopards, especially with its controlled but open creative snarl and generally imposing rhythmic framing. Like all four tracks, it is not littered with big surprises yet there is freshness to it and the Young States invention which sparkles with thick promise and a suggestion of bigger things to come.

Stay takes over next and instantly seduces with a seductively anthemic rolling of beats from Draba-Mann, they leading to and continuing through a sky of melodic beckoning which in turn welcomes ever alluring vocals. Choppy riffs and tendrils of sonic craft wrap and slip between the still persistently virulent rhythms and delivery of Leeder, her bass spreading its darker tones once the rest of the band is busy creating their mesmeric persuasion. Once more the foursome creates passages of melodic elegance and reflection amidst more volatile scenery, and once more the band leaves rich satisfaction in their wake.

The release is brought to a melancholic close through Passing Time, voice and guitar the first evocative kiss on the senses, their second aligned to resonating bass tones and a scuzzier air cast by Irons and Jeffery. The track holds attention firm the first time round but grows into the peak of Down To You over constant listening, its emotionally tempestuous and musically dramatic heart a brewing, highly persuasive theatre of raw energy and skilful craft.

The best song on the EP, it not only completes a highly enjoyable first look at Young States, but in many ways sets the tone for their next and subsequent steps. Distinct originality and unpredictability is still an open hint in their sound but growing nicely as evidenced by Passing Time alone. It is down to them how bold and tenacious they grow but also you by treating yourself to their first nudge on the British rock scene.

The Down To You EP is available from August 7th @

RingMaster 04/08/2015

Copyright RingMaster: MyFreeCopyright