King Satan – King Fucking Satan

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In a world bent on self-destruction from the intimacy of relationships through to the broader intolerance of religion and the greed of those governing it up front and behind the scenes, never has there been a more suitable and insidiously compelling soundtrack to it all than the new album from King Satan. Recently released by the  Finnish outfit, King Fucking Satan is a ten track devouring of the senses and an insatiable trespass of the psyche as flirtatious and contagious as it is emotionally pestilential.

Originally a solo project for vocalist, multi-instrumentalist, and producer King Aleister Satan (aka fra. Zetekh, the frontman of Saturnian Mist) when it emerged in 2015, the band has subsequently expanded due to live show demands with Kate Boss (vocals, synths, piano), John Oscar Dee (guitars, bass), Martin Shemhamforash (synths, bass), and Magister Demaniac (beats, additional instruments, programming) completing the current line-up. Musically King Satan creates and fester a senses consuming, body inciting fusion of black and death metal with dark electro, EBM, aggrotech and more besides whilst lyrically and emotionally, nothing is left out from being invaded and violated; the album exploring themes “found within occult philosophy, psychological mind-fuck and even sociological satire hand in hand with renegade rock ’n’ roll spirit that surely bows to nothing and no one!”

Dance With the Devil pretty much sums up the experience of listening to the album as well as providing the title for its opener. As a dark atmosphere crowds around ears, a vocal trigger brings hungry beats and synth cast temptation upon the senses. Equally predacious and alluring, with increasing addictiveness and virulence as melodies and hooks play, King Aleister Satan’s vocal trespass bullies and harries, every syllable explored and sharing primal instruction. Like a mix of God Destruction, Skinny Puppy, and label mates Barathrum, the track infests and incites, its infectiousness and inviting hooks as loaded with viciousness as its boldly direct animosity.

It is a great manipulative start soon matched and overshadowed by As Above So Below, a song managing to be even more primordial and catchy as nagging rhythms pound and synths cast their toxic melodies and hooks; an infectious trait matched in the swing of the punk/black metal scarred vocals. Within moments bodies are bouncing and hips swinging, something we have seen in close attention, as thoughts are twisted and stretched by the corrosive vocal and lyrical intrusion. Addiction appears inevitable so be warned as indeed in regard to Enter Black Fire which though not quite having the body as firmly in its puppeteer grip keeps things feverishly pulsing as thoughts are taken on a tour of ascending oppressive power and its escape.

Psygnosis has everything lustfully involved and enslaved next too, its musical psychosis the fuel for more unstoppable infectiousness and lyrical humour honed drama. Physically exhaustive and imaginatively tenacious refusing to leave the listener alone with its creative bordering psychotic enterprise, the track is superb, a new major highlight though instantly eclipsed by Sex Magick. Stomping over the senses with every beat a haymaker and each synth nurtured sortie of ears a rebelliously sexual coaxing, the outstanding track grows into a relentless and licentious tide of industrial/ EBM contamination adding J-Pop like ingenuity with the vocals of Boss glorious and a devilry akin to something Mindless Self Indulgence might expel.

The predatory instincts of Satanized course ears next, its infectious electro canter a bold niggling of the senses around the raw air and tone of vocals and word before Of Internal, Eternal & Spiritual War, with its haunting Cimmerian crawl through an ominous atmosphere woven around darkly whispered vocals and harmonic siren cries, envelops the senses.

Recalcitrant causticity gets its head in the electro punk epidemic of Spiritual Anarchy straight after; defiance and vocal antagonism a potent contrast to the quenchless dance and devious endeavour of synths and guitars while Destroy the World is a calmer but cancerous embrace of the senses. Suggestive melodies vein an invasive smog of sound and intent which dowses the listener in emotional and sonic malignancy.

The album closes with a similarly toxic climate and reflection, though Kali Yuga Algorithm has a thicker sinuous texture to its layers and black industrial, rancor coated wake-up call. The track leaves a lingering imprint on the senses as pretty much all within King Fucking Satan, a release which enthrals on the verge of rapture and provokes to the point of brutality for seriously one of the most rousing and enjoyable stomps this year so far.

King Fucking Satan is out now via Saturnal Records and available @ https://saturnalrecs.bandcamp.com/album/king-fucking-satan

http://www.kingsatan.net/    https://www.facebook.com/kingsatan616/

Pete RingMaster 20/06/2017

Copyright RingMaster: MyFreeCopyright

One Last Shot – Even Cowboys Have Sundays

Pretty much three years after impressing with their debut EP, French rockers One Last Shot have unleashed their first album to once again have ears and plaudits aroused by their dirt encrusted sound. Even Cowboys Have Sundays is a roar of thrash nurtured ferocity and sonic southern rock liquor but an incitement as punk as it is metal as it is unbridled rock ‘n’ roll.

With their musical instincts and passions raised on nineties thrash metal, the Paris quintet soon stirred local support after emerging with a sound soon drawing comparisons to the likes of Lynyrd Skynyrd, Motörhead, and Guns N’ Roses. It was the First Gear EP in 2014 which sparked broader attention at home and further afield; its bold character and bruising sound as contagious as it was aggressive. Even Cowboys Have Sundays follows in the same vein; bringing a host of flavours, familiar yet forcibly fresh, in a strain of rock ‘n’ roll self-termed as dust metal. Equally though, the album reveals a richer vein of individualism in sound and imaginative songwriting as maturity and adventure collude in a clutch of tracks which feel like old friends in some ways but a voracious new adventure in many more aspects.

Opening with The Gambler, One Last Shot swiftly has appetite and imagination caught, its opening sultry lure of guitar an intoxication soon swallowed by a wall of wiry riffs and robust rhythms. Yet there is a control to the assault which seamlessly embraces more of a prowling than demanding gait as vocals add their own raw but captivating texture to the mix. An unpredictable nature to its overall attack is just as appetising though the song never releases its full aggressive venom, preferring to seduce with melodic and sonic enterprise with its own persuasive toxicity.

One Last Shot – Even Cowboys Have Sundays

A great start is quickly matched and pushed on by One Night Stand, a blaze of classic rock and punk ‘n’ roll with a touch of UK band The Senton Bombs to its irritable contagion. As with its predecessor, and indeed most tracks, involving the listener in body and voice is swift; the encounter another lustfully catchy proposal with a slew of rapacious hooks and swinging energy across its dirty holler before Embrace The Fire draws on old school rock ‘n’ roll for its particular rousing romp. Like a blend of Volbeat and Grumpynators, the song harasses and seduces the instincts to beat one’s rock ‘n’ roll chest; the senses entangled in the melodic rapacity of the guitars as bass and drums drive things with matching zeal. The track is superb, rock from the fifties through to modern day seemingly bullied into one compelling stomp.

The variety of sound and ideation within the album is already apparent by the fourth song and continued as Thou Shall Be Drunk creates a proposition part melodic metal and part grunge punk, all with a nineties toning while Join The Club offers a merger of punk metal and sinuous heavy rock. Both songs are twisted and moulded into seriously enticing temptations with the first especially anthemic and irresistible.

The excellent Hell Mariachi (A Mexican Interlude) takes the imagination into the heart of the desert heat, the two sides of The Bronx mixed with East Coast trash for another mouth-watering and seriously compelling exploit within Even Cowboys Have Sundays; that new maturity and bold imagination within One Last Shot united in an eager charge.

That thrash breeding within the band is in full voracity within Live Fast And Die Young and indeed It’s All About Speed straight after. The first of the two is a chug fest of nagging riffs bound in lustful grooves as vocals, single and mob handed, arouse the spirit even further with an anthemic roar as lustful and unapologetic as the sounds around them. With the guitars weaving a glorious web of melodic dexterity, the song simply rocks before its successor uncages its grubby rock ‘n’ roll to continue the manipulation of the listener’s body and spirit; the track a potent persuasion  even if missing some of the vital and unique sparks of earlier tracks.

Closing up with the fiery fusion of predatory metal and imposing heavy rock of We Don’t Call 911 and lastly the groove entangled bellow of I Feel Alright, the song a tenacious web of resourceful and eventful enterprise, Even Cowboys Have Sundays leaves the spirit alive and just a little over excited. The album is a charge of commanding adventure built with recognisable and original textures and bound in a fresh and striking imagination. Their First Gear EP, stirred up a form appetite for their sound, now the album has unlocked a lust which will surely infest many others and deservedly install One Last Shot as someone to heartily recommend to all.

Even Cowboys Have Sundays is out now via JFF Records and available @ https://onelastshotofficial.bandcamp.com/album/even-cowboys-have-sundays

http://olsband.com/    https://www.facebook.com/onelastshotofficial    https://twitter.com/OLSBANDOFFICIAL

Pete RingMaster 20/06/2017

Copyright RingMaster: MyFreeCopyright

Worselder – Paradigms Lost

As French metal continues to prove itself a hot bed for adventurous new bands and voraciously tempting sounds, quintet Worselder add their stock to the brew with new album Paradigms Lost. A web of flavours and styles fused into ear pleasing, imagination catching encounters, the ten track release is a quick and easy to devour proposition revelling in additional time offered to blossom into something even more impressive.

Hailing from the foothills of the Pyrénées mountains, Worselder emerged in 2008. Quickly they tempted local and in turn national attention with a sound drawing on each individual member’s influences and experiences in previous outfits alongside nineties inspired thrash and power metal; an instantly rich mix only blossoming in depth and adventure across the years and releases. Debut album Where we come from was released in 2010 to strong responses though it was the MMXIV EP four years later which especially sparked critical acclaim and led to the band sharing stages with the likes of Firewind, Dagoba, Black Bomb A, and Huntress among many. Recorded across 2016 with Elise Aranguren and mixed and mastered by Bruno Varea (Dagoba, Satyricon, Lenny Kravitz), Paradigms Lost sees the Worselder sound and invention at a new level of maturity and imagination. It is a release which as suggested makes a potent impact straight away but shows greater strength upon subsequent listens as its layers and less open complexities are increasingly revealed.

Infighting gets things going, the opener luring ears with a brooding bassline before rapacious riffs and bone rattling rhythms courted by toxic grooves erupt. Equally rapacious vocals from Guillaume Granier and the band soon join the surge before things settle down a touch with the vocalist quickly showing his potent range and dexterity. There is a whiff of industrial metal to the track initially, Society 1 coming to mind as the track jabs with spiky discontent, but soon its melodic and grooved instincts are entangling and stretching its thrash fuelled charge.

It is a great start hinting at the wealth of flavours ready to embrace ears across Paradigms Lost and its next up title track. From the crackle of fire and portentous rhythms within a similar atmosphere, the song strides forth with melodic vocals and harmonies lying keenly on more rapacious and aggressive sounds. The guitars of Yoric Oliveras and Jérémie Delattre cast another instinctive incitement, a mix of predacious trespass and sonic imagination to be hooked on whilst the scything beats of drummer Michel Marcq rousingly pierce the heavy prowl of Yannick Fernandez’s bass. The track’s twists and turns are as fluid as the array of sounds woven together within the excellent proposal but carry an unpredictability which has the imagination firmly enthralled within the first listen.

The instinctive rock ‘n’ roll prowess of next up Seeds of Rebellion has ears won just as quickly; the similarly striking and irresistible song proceeding to instil that core with anthemic dexterity and spicy grooves. All is delivered with lust but control amidst expectations spoiling imagination loaded with a bold unpredictability before Idols unveils its classic/heavy metal attributes within an aggressively tenacious air. Though the track does not quite ignite personal tastes as forcibly as its formidable predecessors, it only grows and pleases more and more with every listen.

Through the melodically calmer waters of The Sickening and the old school spiced Severed, the album has total attention. The first is a tantalising mix of warm melodic temptation and more bullish volatility as vocal and lyrical insight explores ears and thoughts. At times sultry and exotic, in other moments a more rapacious challenge, the track captivates from start to finish, giving neck muscles and hips a workout with its emerging thrash inspired grooving. Its successor similarly casts a net of ear entwining grooves this time fuelled and coloured by that power/classic metal essence with Granier’s croons and roars on melodic fire.

My Consuming Grief has a darker edge and deceitful volatility to its heart; a shadowy emotive power skirting and courting the drama and adventure of the melodic power metal seeded exploits. It too has ears and imagination swiftly gripped before Home of the Grave dances on the senses with its opening melodic flirtation. It is a glorious enticement only increasing its invitation as darker heavier hues from guitar and rhythms join in. Managing to become more primal and charming with each passing minute, the track provides another addictive highlight to the release.

Worselder toy with the imagination through The Haven next, a song exploring dark hues more akin to the likes of Dommin and Rise To Remain though its instinctive classic metal attributes shape the excellent encounter before the album closes with the shadow clouded, atmospherically apocalyptic Land of Plenty. In its imposing darkness there is hope and elegant melodies bring that light as the song rises from its solemn beginnings to challenge and inflame the senses. More of a slow burner than other tracks within Paradigms Lost, it almost festers in ears and imagination as it makes a potent impact and striking moment to eagerly point out.

Inspirations to the band apparently include the likes of Coroner, Testament, and Pantera; a trio which across the whole of an album but especially in the final song alone you can appreciate in a release which simply draws attention back time and time again as we can attest to. Paradigms Lost has all the qualities and impressiveness to push Worselder into global attention, now it is up to the world to embrace them.

Paradigms Lost is available now through Sliptrick Records on Amazon and other stores.

http://www.worselder.com/    https://www.facebook.com/worselder/    http://worselder.bandcamp.com/

Pete RingMaster 20/06/2017

Copyright RingMaster: MyFreeCopyright