Shadowpath – Rumours of a Coming Dawn

Released earlier this year with a more recent and wider reboot, Rumours of a Coming Dawn is the debut album from Swizz metallers Shadowpath. It is also one of those encounters which certainly makes a strong impression first time around but grows in potency and pleasure as subsequent ventures into its depths reveals the true imagination and craft at its heart.

Originally called Wishpond, Shadowpath weave a multi-flavoured sound drawn from the attributes of power and symphonic to progressive and death metal, taking in inspirations ranging from Opeth, Dark Tranquillity, Everon, J.S. Bach, Katatonia, Lamb of God, Amon Amarth, Tesseract, Dream Theater, and Nightwish amongst many others. The band’s personnel  has changed a fair bit over time but by 2015, the line-up of vocalist Gisselle Rousseau, keyboardist/vocalist/songwriter Philipp Bohny, guitarist Stefano Riario, bassist Amos Zürcher, and drummer Samuel Baumann came together and proceeded to work on this first album across the following year.

Each of the eight tracks within Rumours of a Coming Dawn are individual slices of creative theatre in an overall play, many epic productions and all woven and cast upon the listener with an instinctive passion and imagination. Each also provides a web of layers and textures which unveils new twists and fresh aspects with every listen, a major reason why it grows in impressiveness over attentive time.

The opening introduction of Prelude to Agony is the most straight forward proposal of all within the album, its invitation an atmospheric overture to things to come. Its stormy entrance brings with it the elegant melancholy of the piano and as swiftly the vocal prowess of Rousseau. Her harmonic cries then spark the more portentous air of storm and track with rhythms imposing yet restrained and melodies funereal even in their liveliness as flames of guitar descend. It is an imagination stirring start soon spawning the tempestuous throes of Chaos Equation. Instantly guitars and keys collude in a magnetic tapestry, the grumble of the bass and senses clipping beats lining the heated union with darker almost predacious hues. Rousseau’s symphonic nurtured delivery is a glassy reflection of word and emotion and superbly contrasted by Bohny’s earthy growls; it all uniting for a captivating tempest as potent in its electronic invention as in its extreme metal bred trespass.

The following Seed of Hope makes a calmer entrance, Rousseau and piano aligning their melodic suggestiveness before a rise of dark drama erupts, settling down again to begin repeating the dramatic cycle. As its predecessor, the track has many familiar aspects to it and plenty of unique features which combine for a compelling and increasingly striking proposal. The individual craft of the band is inescapable; Bohny and Riario especially grabbing attention within the song though as it evolves everyone makes a rich impact.

Every track is an adventure never settling into one direction, perpetually unpredictable and as a result fascinating though none more so than the album’s best moment, The Impossible Chain. It easily outshines those around it, instantly stirring the passions with its outstanding start. The dark noir stroll of the bass within the dancing threat of drums is simply delicious, manna to personal tastes and things only escalate in pleasure as keys spread their suggestive wash and guitars spring their devilish almost salacious tempting. Once Bohny’s raw throated tones open with demonic intimidation, the track has an unshakeable grip. Then mellower twists and harmonic beauty comes with skittish rhythms, the climate change as beguiling as the aggressive trespasses are thrilling, as too is Rousseau varying her more expected symphonic metal delivery with more organic and grounded exploits, an excellent move hopefully she will explore further ahead as it equally stands out over the next pair of songs. A scenic break midway in the song is just a tempting breath before it returns to even more adventurous and surprising endeavours, setting a major pinnacle within the release by its conclusion.

Next up Another Inquisitor makes a thick attempt at rivalling its majesty, the song an intricately designed maze of electronic, melodic, and fierce metal dexterity with folk seeded progressiveness. Rousseau again pushes her range and adventure to fine effect whilst musically the song never gives a moment to settle in one flavour or style, again to rich success before Deny me opens like a relaxed bloom into a fiery display of sonic colour and creative magnetism. Though it does not quite match up to the previous two, the song simply enthrals from start to finish.

The album concludes through firstly For a Final Ultimatum, a cauldron of contrasting often battling textures and inescapably infectious enterprise, and finally Beta, a mercurial serenade of self-reflection and melancholic fire which ebbs and flows in volatility as it charms ears and imagination. It is a thunderous finale to the album, even in its calm flights having an instinctive power which lends to its vice like hold on attention.

Shadowpath create music which manages to be chilling and haunting as simultaneously it is warm and inviting, threatening and ravaging. The evidence is all there within Rumours of a Coming Dawn, a release which may not be perfect but has all the seeds to evoke real enjoyment and the anticipation of major things ahead.

Rumours of a Coming Dawn is available now through the band’s Facebook page and website.

http://www.shadowpath.ch    https://www.facebook.com/shadowpath.band    https://twitter.com/shadowpath_band    http://www.instagram.com/shadowpath_band

Pete RingMaster 01/12/2017

Copyright RingMaster: MyFreeCopyright

Concrete Lung – Fumes

There is no denying we have a major soft spot here for British industrial-doomer Concrete Lung though that pleasurable weakness might be as much from the concussion from listening to thementally devouring, physically punishing sounds spawn as any lustful inclinations. There is something about its dissonance soaked invention and vitriol fuelled imagination which gets under the skin and inflames our own emotive quarrels; a connection which has never been stronger than with the project’s new album Fumes. Like its title might suggest, it is a suffocating severely invasive affair, debilitating and cancerous, and oh so irresistible.

The successor to 2014 leviathan Tolerance & Dependency, the nerve shredding Fumes sees  Ed Oxime at his most sonically corrosive and emotively discordant yet but equally at his most destructively virulent to date. In their own ways, each of the seven tracks within the album stalk and hunt down the listener, devouring their light and feeding on their weaknesses but in turn sparking a cathartic release as potent as that you imagine the pair found giving birth to Fumes.

As its predecessors, Fumes does not want to be liked nor does it care the emotional waste its ruinous exploits cause but as opener The Harbinger proves, if it’s kind of raw attrition and toxic sufferance is your masochistic poison the rewards are exhilarating. It rumbles into view, like a distant portentous storm with swift sonic winds to the fore. Its cavernous air soon becomes a senses smothering cloud of mordant noise, industrial death knells clanging as the track nags and niggles its way into the psyche. Equally the vocals lay a caustic glaze on the infernal incursion, the pressure and animosity intense yet infectiously virulent.

Of course there is no respite as Spinning In The Grave prowls in straight after and it too gives no inch as it consumes the senses in sound as vocals and words unleash their antipathy. Equally though, it has its own death dealing swing, heavy rapacious grooves winding rather than swaying around ears but with a contagiousness which cannot help but infest song, vocals, and listener alike. It grinds the defences down, though admittedly a willing submission just waiting to grab the salacious manipulations on offer; they then asphyxiated by the tsunami of sonic jaundice brought by When The Blind Man Sees You. Its lumbering pestilence is equally addictive, preying on thoughts and emotions whilst seducing with its senses scarring funereal swing and though for over seven minutes it crawls over the listener, it just leaves too soon.

Dissension I is just a carnal schism uniting noise and fear in a sonic smog of dissent, softening up already wasted senses further for A Thousand Years to venomously scrutinize and erode layer by layer with its industrial acid before the wounds are further decomposed by the post punk entangled, doom spawned album title track. There is an early Killing Joke hue to the tenebrific skulk of the track’s climate and gait, its compelling echo adding to the sublimely lethal lure of a highly addictive consumption.

Ending on the starkly raw dissolution of, well everything with Dissension II, the perpetual scourge of Fumes is filthily primal, severely uncomfortable, and permanently scarring but one of the most exhilarating violations heard pretty much since Concrete Lung’s last intrusion. The band has become more creatively dangerous and sonically insightful so beware, be brave, and go enjoy.

Fumes is out now through Armalyte Industries; available @ https://concretelung.bandcamp.com/album/fumes

http://www.concretelung.com/      https://www.facebook.com/concrete.lung     https://twitter.com/concrete_lung

Pete RingMaster 01/12/2017

Copyright RingMaster: MyFreeCopyright