Markradonn – The Serpentine Deception

Markradonn Serpentine Deception EP cover_RingMaster Review

Whether calling the Markradonn sound experimental death metal, brass death metal, progressive death metal or any other variation of its invention you wish to describe it as, and all potently applicable terms, the broad brush is that it is one truly unique proposition igniting ears and the imagination. Real and bold originality is a relatively scarce commodity in the music world let alone metal scene right now it seems but the Florida hailing Markradonn is one of those creative protagonists wearing uniqueness as openly as craft and invention. The band’s acclaimed 2013 debut EP Final Dying Breath revealed the rich potential and fiercely imaginative songwriting/composing fuelling the conspicuous sound of the band and now its successor The Serpentine Deception takes it all to another striking and mouth-watering level.

Markradonn is a death/extreme metal band, that is their heart but with its live brass section and similarly bold timpani temptation to simplify the rich flavours and textures woven into their music, they create an emotively dramatic and creatively dynamic proposal unlike anything else out there. As suggested, The Serpentine Deception finds the band exploring their most imaginative work yet. The EP’s tracks reveal more intricacy in their design and sound, a fiercer roar in their bracing confrontation, and thicker intensity in their atmospheric lures, a new evolution in an already fluid sound making a thick impact straight away.

Initiation Through Torment opens up The Serpentine Deception; a cinematic/vocal sample coaxing ears and attention as a portentous whisper skirts the background. In a matter of a few more breaths, the stirring resonance of rhythms and warm swipes of brass unite as a similarly potent predation is uncaged by guitars and the dark rasping tones of vocalist/guitarist/songwriter Haniel Adhar. The blend instantly swamps ears in drama and intrigue, their contrasts colluding in an inviting yet ravenous consumption of the senses. It is a stirring and compelling incitement, the light and almost celebratory blaze of brass, as well as the timpani led rhythmic swing, merging with the dark predatory blackened death honed textures cast through guitar, bass, and voice. There is a feeling of coming of age in the tone of the track too, its protagonist journeying through the song’s title with celebration and tempestuousness around them.

Already hooked, body and imagination is swiftly and fully engaged again as the rhythmic entrance of NIN.GISH.ZI.DA God Of The Tree Of Life draws the listener into a jazzy web sculpted in the embrace of a primal and deviously tempestuous sound. The tapestry crafted is fascinating, a seamlessly and inspired fusion of conflicting elements which leave thoughts as bewildered as they are bewitched and ears eagerly trapped within the hellacious waltz.

The EP’s title track is equally spellbinding; the instrumental a shamanic visitation upon body and emotions as tribal rhythms and the raw tonal call of a didgeridoo magnetically involve the listener in atmospheric adventure. There is a great essence of shadow hued distortion to the track too which shows its ingenuity in brief but masterful glimpses. As meditative as it is evocatively invasive, the outstanding track makes way for The Veil Of Negative Existence Part 1- Ain, Nothingness; an instinctively infectious trespass with its own individual bedlam of resourcefulness and dramatic virulence. There is a touch of Trepalium to the track, a vague scent in the cosmopolitan yet melodically intimate weave conjured by Markradonn, which in turn is walled in by a blackened causticity soaked in rancorous imagination and veined by Adhar’s enticingly cancerous tones. The track is a labyrinth of simultaneous seductive and venom, an invigorating intrusion leaving bodies swinging and appetite inflamed.

Closing instrumental Stillness, Silence Of The Primal Mind is a gentler tantalising of the senses, a sonic travelogue of emotive scenery in an aural landscape painted by melodic guitar and melancholic brass. An immersive flight to which thoughts are given the freedom to cast their own poetic narrative, it brings the release to an enthralling end, well until pressing that play button again which is the instinctive next move.

Working towards the release of their debut album Ceremonial Abnegation Part 1: Excoriation Of The Flesh, Markradonn is one of the true fresh breaths in metal, from its underground to its broadest landscape. As for The Serpentine Deception, that is simply a must investigation for all with the heart for real and rewarding adventure.

The Serpentine Deception EP is available in association with Bluntface Records from December 15th through the band’s GoFundMe page where news of the album and details of a DVD, which will have a collection of performances, a full show with multiple camera angles, and clips from production videos and practices can also be found.

Recording Line-up for The Serpentine Deception:

Haniel Adhar: All Guitars; Vocals

Tim Carter: Drums and Percussion

Jonathan Gabriel Katz: Timani and Concert Percussion; Drums

Richard Blankenship: Principle Trombone and Brass

Dennis Bottaro: 6 string bass, Didgeridoo , Hand Percussion, Guitar

Drew Prichard: Cimbasso; Tuba

Robin Sisk: Tuba

Danny Rowland: Tuba; Euphonium

Austin Kinard: Trumpet and Brass

Gavin Pritchard: Hand Percussion

Nicholas Weaver: Fretless bass, French Horn, and Trumpet (Live)

Beka West: Euphonium, Trombone (Live)

Allen C Raia: Rhythm Guitar (Live)

Jesse Hudson: Vocals and Trombone (Live)

https://www.facebook.com/Markradonn  https://twitter.com/Markradonn

Pete RingMaster 15/12/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Scarlet Echo – Emergency Exit

SE pic_RingMaster Review

Every now and then a band comes along and just grabs attention by the balls with an almost knowing instinct on what the passions go for. For us UK quartet Scarlet Echo is such a proposition, and though their new single Emergency Exit is just one song from an album yet to be heard here, it and the band have quickly given a keen to be greedy appetite one thrilling poke.

Formed in 2012, the Essex hailing Scarlet Echo has earned a strong word of mouth reputation through their live presence and compelling sound, a buzz reaching us well before a note was heard. The past couple of years or so has seen the band share stages with the likes of Bassment Jaxx, Rat Boy, Hadouken, The Buzzcocks, The Hoosiers, and Department S, and it is the latter in their early days which new single Emergency Exit brings to mind in some ways.

Taken from An Exact Portrayal of Nothing in Particular, the band’s debut album, Emergency Exit instantly splatters ears in inviting melodic drops cast by the guitar. They are quickly joined by the dark throaty temptation of the bass, it in turned courted by the excellent and diverse vocals led by Hannah. The jangle of her and Jamie’s guitars continue to coax and excite as the rhythmic shadows sprung by Miles and the swinging beats of Alex bring further irresistible bait. There is a definite eighties hue to the post punk meets indie rock contagion seducing ears and the imagination, with that colouring of Department S, their early singles especially hinted at, coming to mind as the song hits its dynamic stride. Also though, the melodic prowess of The Passions is reminded of by the single and the darker tonal might of Au Pairs and Horse Party, a band also exciting the now, comes to thoughts too as the track continues to transfix and thrill.

Ultimately though, the outstanding Emergency Exit with a matching video, breeds a character and addictiveness solely Scarlet Echo sculpted with a need to explore their album growing in its wake, and with increasing impatience after every listen.

Emergency Exit is available now, as also An Exact Portrayal of Nothing in Particular, via iTunes.

https://www.facebook.com/scarletecho   http://www.scarletecho.co.uk   https://twitter.com/scarletecho

Pete RingMaster 15/12/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Bells and Hunters – Modern Witch’s Songbook Vol I: Fairy Tales

Bells and Hunters - Modern Witch's Songbook Vol I- Fairy Tales - cover_RingMaster Review

Hailing out of Washington DC, Bells and Hunters recently recorded their debut album Modern Witch’s Songbook and has set about revealing it to us all via three instalments. The first part comes in the new and suitably titled EP, Modern Witch’s Songbook Vol I: Fairy Tales. Consisting of four tracks revelling in the diversity of sound and imagination which the band’s fans already heartily embrace, the EP is a captivating introduction for the rest of us to the Bells and Hunters temptation.

Bells and Hunters began in 2008, formed by vocalist Kelliann Beavers and vocalist/guitarist Keith Fischer who united through “a mutual love of creativity, song writing, and Jeff Buckley.” In no time their emerging eclectic sound enticed ears; its fusion of folk, blues, and varied decades of rock stirring up attention, as shown by debut EP The Static Sea in 2010. Three years later the band released their acclaimed first album Weddings and Funerals, though the next horizons of the band almost saw it all come to an end as members relocated to other cities across the US. Instead Beavers and Fischer called on long-time friends in drummer Guido Dehoratiis, guitarist Joe McMurray, and bassist Avi Walter, to be replaced later by Eric Putnam, to complete the new line-up.

It is fair to say that the Bells and Hunters sound has been in constant evolution across its releases but Vol I: Fairy Tales shows the biggest step through its quartet of offerings, a trait to be presumably continued across the remaining parts of the album ahead. Opening with Bruises, the EP quickly grips ears and appetite with the song’s fiery start veined by great spicy grooves with a touch of Rocket From the Crypt to them. Led along by thumping beats and eager riffs, those grooves and indeed song soon have hips swinging and attention quickly on board, even more so as the similarly tangy tones of Beavers show their magnetic lure. The track continues to stomp and invention romp with infectious enterprise and anthemic energy, those early hooks still perpetual bait within the controlled yet rousing character of the Morningwood meets Martha and The Muffins like persuasion of the song.

Warm and vibrant Keys bring the following Mexico into view next, the engaging entrance springing into a busier blues rock toned canter led by the vocals of Fischer this time around. Again rhythms are a pungent enticement, bold and firmly offered as the guitars spin a spicy sonic web courted by the rich addition of Beaver’s dark siren-esque vocal backing. Sultrily tantalising, the song makes a compelling proposal more than matched by that of Lady Luck. Again sticky blues air and melodic flames colour a flavoursome stroll, though a dark country spicing adding brings new ripe hues to the seductive shadows and evocative breath of the fiery croon.

The EP is brought to an end by the electronic tempting of Fairy Tails; a song merging eighties synth pop and nineties indie rock in an electro romance. It is a hug further enhanced by the primal bass resonance rumbling within the ethereal and increasingly muggy embrace of sound and vocal seducing from within the song. Reminding of Young Marble Giants in some ways, it is a mesmeric conclusion to a great first taste for us of Bells and Hunters.

The second part of their new album is released February 2016 and anticipation for that, thanks to the thoroughly enjoyable Vol I: Fairy Tales, is already impatient in us and a great many more.

Modern Witch’s Songbook Vol I: Fairy Tales is out now and available as a name your price download at the Bells and Hunters Bandcamp profile.

https://www.facebook.com/bellsandhunters   http://www.bellsandhunters.com/   https://twitter.com/bellsandhunters

Pete RingMaster 15/12/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Fins A Luminous – Setting Souls/Funeral Shake

cover_RingMaster Review

The introduction made to us by Fins A Luminous when making us aware of their new single was “We are UK music makers Fins A Luminous and we make music that combines dark electronica, mind-bending soundscapes and hypnotising vocals.” That just about sums up all the info available about the project but more importantly also the style and impact of their music as evidenced by the double A-sided single Setting Souls/Funeral Shake. Each track is an individual adventure of evocative electronic and emotive exploration which, though one song connects with personal tastes more than the other, leaves the imagination and pleasure revelling in the immersive prowess of the music.

Setting Souls is a fusion of house inspired electronics and melodic expression with shadow wrapped vocals a potent temper and contrast. There is an eighties hue to the track early on, a whiff of bands like Heaven 17 and Associates emerging before darker shades and repetitive enterprise emerge carrying hints of later decades and electronic diversity. From a good first impression, the song becomes a potent grower, making a bigger persuasion with every listen though each time it still gets eclipsed by its companion.

As expected the tone and atmosphere of Funeral Shake is a darker exploration living up to its name in tone and atmosphere; the gothic air and crawling melodic suggestiveness a haunting funereal romance on body and thoughts. It carries an intimacy in its vocal reflection and melancholic sound which counters the wider ethereal atmosphere of its compelling spatial soundscape. Again the track is a fascinating blending of contrasts and irresistibly mesmeric as it smothers ears in emotively thick and immersive electronic smog, its lingering success breeding a needy compulsion to hear more.

Funeral Shake certainly stole the show with a personal appetite and inspired hopes it was a reflection of the core direction of the Fins A Luminous imagination, but then again Setting Souls was more than a small part of the enjoyment found in the single so something similar for the band’s next release would not see a turning up of the nose either.

Setting Souls/Funeral Shake is out now as a name your price download at the Fins A Luminous Bandcamp profile.

https://www.facebook.com/finsaluminous   https://twitter.com/finsaluminous

Pete RingMaster 15/12/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/