Black Space Riders – Amoretum Vol. 1

It has been well over two years since German heavy rockers Black Space Riders gripped the imagination with the acclaimed Refugeeum, just short of a couple from the release of its even more experimental and equally striking extension, the Beyond Refugeeum EP. Now the Münster hailing outfit has unveiled a new quest in their atmospheric space rock adventure through Amoretum Vol. 1, a release as mesmeric and seductive as it is invasively provocative and emotionally raw.

Since the release of their self-titled debut album in 2010, Black Space Riders has persistently pushed and evolved their sound hitting an attention grabbing plateau with third album D​:​REI four years after the first. With Refugeeum the following year, Black Space Riders exposed new boldness and imagination in their enterprise, a more atmospherically evocative and fascinating tapestry of sound and craft which took their creativity towards a whole new landscape of exploration and suggestion. Amoretum Vol. 1, with Vol. 2 marked for release later this year, entangles all the attributes of the band’s already individual sound with a fresh breath of imagination. It is often startling, insistently captivating, and occasionally physically ravenous but throughout perpetually compelling.

Consisting of JE (lead vocals, guitars, keys, piano, electronics), SEB (lead vocals, keys, percussion, electronics), C.RIP (drums, percussion), SLI (guitars), and bassists SAQ (until Sept 2017)and MEI (since June 2017), Black Space Riders walks a world where “War, terror, displacement, destruction, rejection and nationalism dominate the headlines” with Amoretum Vol. 1, taking the listener into their darkest corners whilst enveloping them with the thickest trespass of shadows. The melancholy that lines each song is so thick you can almost peal it like skin but everything in word and sound comes wrapped in degrees of hope and solution, their suggested resolutions of compassion and peace as rich and inescapable as the dark they counter; the album’s made up title symbolizing “a protective garden and a germ seed of love.”

It opens up with Lovely lovelie, raw riffs and imposing rhythms in league from the first second surrounding the subsequent vocal agitation. Acidic melodies emerge to line the intensive trespass, a rhythmically driven groove invading body and appetite in no time too as the song stands over ears with almost bearish provocation while undulating spirals of cosmic light simmer and burn. There is a primal edge and urgency to the encounter too, a waking up of the senses and thoughts which by its final repetitive shimmer has attention firmly hooked.

The song slips into the waiting embrace of Another sort of homecoming, a calmer but no less dramatic climate of enterprise and adventure with its own undercurrent of volatility. As melodies soar and the song’s instinctive rock ‘n’ roll rumbles with ear gripping hooks embroiled in the theatre, vocals match their stirring unpredictability and adventure. Again ears and attention was baited and trapped, a hold soon intensified by the outstanding Soul shelter (Inside of me).With its post punk nurtured heart, like a mix of Joy Division and The Sound encased in the dark throes of the rhythms, the song is sheer captivation. Its air and touch is low-key but with that ever present tempestuousness which subsequently boils up into a blaze of emotion, intensity, and creative drama.

Its rich triumph is soon matched by the hypnotic lure and magnetism of Movements. With ripples of crystaline beauty in a well of melancholy, the song glistens in its dark; vocals again managing to echo the musical web. Menacingly meditative with a dark brooding to its rumination, the atmospheric tone of the encounter builds and builds until escaping in a composed avalanche of intensity and virulently catchy urgency. The track is superb and with its predecessor the pinnacle of Amoretum.

Not that the dramatic and volatile squall of Come and follow lingers in their shadow, the track a cyclone of rock ‘n’ roll which ebbs and flows through dissident calms and corrosive quakes within a brew of caustic punk, voracious rock, and searing psych rabidity. It all colludes in another lofty peak before Friends are falling creates its own tempest of dirty riffs, corruptive rhythms, and psyche infesting grooves. It maybe misses the spark of the previous trio for personal tastes yet nagged and insisted on greedy attention willingly given to its almost convulsive saunter.

Fire! Fire! (death of a giant) surrounds ears with psychedelic temptation within a funk kissed stroll next, an infestation of hips and feet as inevitable as that of ears and imagination as it builds up into fiery crescendos and combative expulsions of defiance. As throughout the release, the guitars cast a web of threat and seductive temptation while rhythms prowl and launch with inventively infectious antipathy; traits similarly involved in the great vocal union and balance of JE and SEB.

The album closes with Fellow peacemakers, a song which we will admit slowly burned in the psyche and passions compared to its companions but seeded real temptation from its first journey from a shadow bound reflective croon to a ferocious deluge of energy and attitude. Melancholy bred keys and vocals initially lure ears and thoughts, lively rhythms courting their company until a whisper of peace seeds an impending tempestuous stomp of incendiary rock ‘n’ roll as addictive as it is acerbic. As mentioned it took time to get under the skin but that it did with real voracity to match every other moment of potency in the exceptional encounter.

Amoretum Vol. 1 leaves a real hunger for more and an impatient anticipation for its successor whilst Black Space Riders once again leaves ears and imagination basking in adventure which just gets bolder, bigger, and better.

Amoretum Vol. 1 is out now @ http://www.blackspaceriders.com/shop or https://blackspaceriders.bandcamp.com/album/amoretum-vol-1

http://www.blackspaceriders.com/    https://www.facebook.com/BlackSpaceRiders     https://twitter.com/BlackSpaceRider

Pete RingMaster 08/03/2018

Copyright RingMaster: MyFreeCopyright

Animosity Kills – Severance

Pic: Tom Robert Wold

Well over two years ago, Norwegian outfit Animosity Kills stole attention with their first EP, Manipulative. It offered up a rousing mix of heavy and thrash metal, a fusion nurtured in the influence of bands such as Metallica, Iron Maiden, Pantera, and Testament but as fresh and bold as it was familiar. It was fuelled by inescapable potential and suggestion of bigger, bolder, and more individual things to come; a suggestion more than partly realised by the band’s debut album, Severance.

It is probably fair to say that the Bergen hailing quintet still has some way to go to find their truly unique sound and character but with releases like Severance there will be no irritation at the wait. The eight track release is a magnetic beast of a roar with songs which just glue to the memory as greedily as they do ears. Formed in 2013, Animosity Kills boasts a three-pronged guitar attack all geared to stir up the listener in body and spirit; an intent as forcibly and inventively matched by the band’s rhythmic enterprise. Manipulative was an ear catching introduction to Animosity Kills; Severance evidence of a band destined to be further widely embraced.

The album opens with Black Death, gently luring in the listener with an opening melody. It is soon backed by a towering wall of riff and rhythm, one still controlled but swiftly springing a ravenous charge of raw riffs and rhythmic biting. Its thrash instincts are to the fore, driving through ears as eagerly as the swinging incitement of drummer Eirik Nilsen and the brooding tone of lead vocalist Erik Lindelid’s bass. With an underlying rabidity to its charge and a predacious restraint to the invasive bait of guitarists Stephan Høgtun, Rupert Notøy Rødland, and Mats Bruland, the song tempts and teases in between ravaging the senses, promising more ferocity than it unleashes but benefitting in that manipulative suggestion.

It is a potent and enticing start Dead On Arrival continues with its bristling and irritable but fiercely infectious attack. Leading up to its virulent chorus, the song commands eager attention but grabs it like a puppeteer with a focal point which has neck muscles and fists as involved as vocal chords. Around that beast of a chorus, the guitars weave a web of enticement as rhythms again prowl and pounce with anthemic prowess, the track real evidence of the band’s growing and evolving sound whilst stirring up the senses and attitude with prime thrash volatility.

The following Lord Of Darkness looms over ears from its first breath, riffs and grooves colluding in thick enticement as rhythms firmly rap the senses beside Lindelid’s vocal growl. As it grows, the song twists and turns, the guitars weaving individual and united resourcefulness with almost lusty appetite as beats and bass continue to bring threat and intensity to the inescapably catchy challenge.

Its success is swiftly matched and eclipsed by that of Thermic Vision, a track which instantly gripped personal appetites with its snarling opening riffs and a gnarly carnivorous bassline to drool over. Captivating grooves entwine the dark intent and temptation, the rapacious edge to Lindelid’s vocals adding to the alluring menace of the song. Its thick thrash nurtured riffs are an equally predatory incursion aided by the thick slaps of Nilsen’s beats, it all together creating a track as sonically stylish as it is barbarously intrusive around a volatile heart.

The album’s title track is next, instantly pulling ears into its torrents of compelling riffery and pummelling rhythms with an addictive touch which seeps into the following Pantera scented prowl of voice and song. It is a predacious trespass broken by Metallica-esque twists and flames of metal varied rock ‘n’ roll, groove and alternative traits among many. With a mouth-watering hook which infests the psyche, the song grabs a thick urge of participation before Revolutionary Suicide saunters in with a feisty and imposing swagger. From its first breath it swings as it harries the senses, its contagious instincts complimented by a more composed but just as tempting exploration which leads to a mercurial passage of melodic and progressively scented enterprise.

The mighty Ballistic was a major treat on the band’s first EP and again hits the spot with its grooved entangled rock ‘n’ roll. With something of Grumpynators to its virulent swagger and ravenous swing, the track is a quickly addictive incitement which only escalates its individual lures and united contagion by the groove, rhythmic swipe, and vocal snarl.

Invictus completes the release, its opening riffs preying on ears and appetite with a predatory intent before taking it into its blossoming prowl of thrash discontent and heavy metal fire which in turn expands into melodically cast suggestion amid bolder adventure. Though the song did not grab as vigorously as others, its enjoyable individual endeavour suggests a sound already evolving with an imagination to really anticipate ahead.

Certainly Animosity Kills has a sound which is not the most unique but as Severance declares in a roar which leaves ears richly pleasured, it has freshness and potential which is only heading in one direction.

Severance is available now @ https://animositykills.bandcamp.com/album/severance

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

Pete RingMaster 08/03/2018

Copyright RingMaster: MyFreeCopyright