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.

https://www.facebook.com/scarnival        http://www.scarnival.de/

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 @ http://youngstates.co.uk/

https://www.facebook.com/youngstatesband

RingMaster 04/08/2015

Copyright RingMaster: MyFreeCopyright

 

Synapses – Devoutness

band_RingMaster Review

Making our first acquaintance with Italian death metallers Synapses through their new album Devoutness, it is fair to say that ears and psyche were bewitched, certainly brutalised and twisted this way and that too by their hellacious sound, but ultimately mesmerised by the maelstrom they conjure. Twelve tracks of unrelenting technical death metal, the album is pure bedlam, an ordered and finely crafted mayhem, but invigorating bedlam all the same and quite irresistible. Discord and off-kilter ingenuity is as rampant in the tapestry of sound fuelling each track as fierce imagination and rabid aggression, with Devoutness overall, one insatiable and thrilling erosion of the senses.

Hailing from Brescia, Synapses was formed in 2008 by guitarist Alessio “Ciulaz” Fassoli, vocalist Giovanni “Kane” Canedoli, and bassist Giordano “Sez” Savoldi after the demise of their previous band Underhate. Quickly enlisting drummer Riccardo “Cannibale” Fanara, the quartet set about creating “modern, violent and frenetic death metal, which has its roots in the 90’s, but with the awareness of a more modern sound.” A promo appeared in 2009 to stir up attention, with the band debuting their presence and fury on the live scene soon after to increasing success. Debut album Expiation was unleashed in 2012 to swift and generally acclaimed attention, its arrival backed by a tour around Europe and shows within their homeland. Last year Synapses set about writing and creating Devoutness, a release in our humble opinion destined to put the band on the most intensive extreme metal maps.

SYNAPSES_DEVOUTNESS_COVER_RingMaster Review   The provocative Intro starts things off, its chilling atmosphere and dystopian ambience invasive as it sets up an expulsion of enthralling sound and craft. Once into its instrumental stride, the piece lays the technical foundation for the album musically with that still immersive stark air setting the lyrical tone, both quickly taken to new levels by Spiral of Devoutness. Another dose of haunted scenery grips ears before quickly erupting in ferocious artillery of rhythmic venom and similarly malevolent riffery. At its centre there is also a magnetically tenacious swing, the track for all its brutality ridiculously contagious as guitar and bass groove like pole dancers around the toxic spine of the assault. Quickly imagination comes into play too, the song, and not for the last time in its body, seemingly slipping away before starting up the whole creative ball game all over again, with even more destructive tendencies and hardcore bred belligerence joining every fresh twist in the design.

The scintillating trespass of body and emotions continues and escalates within the following Legates Of Tyranny. From its first breath the track is darker, more malicious, and uncompromising than the last, soon devouring ears and scoring the senses whilst also carrying its own intensely catchy weaponry of temptation. The flesh scarring tones of Canedoli almost wear the blood of the vocalist’s surely torn throat such his raw and caustic delivery, and initially against the cleaner but no less intrusive sounds, it took a while to get on with his attack. By the second and definitely the third listen though, everything slips into place and as the third track shows, sparks a real appetite for what is on offer.

Force-Fed With Gore is a torrent of searing and sudden twists aligned to concussive rhythms and predatory grooves, and the most unpredictable and exploratory track so far upon Devoutness. It is still driven by a primal intensity and want, but shaped by captivating guitar ideation and splintered with unexpected detours which, even if for mere seconds, wrong-foot and enthral. It is a template which is stretched further across the rest of the album, the next up A Place Will Be Forgotten craving a whirlwind of sonic tendrils around rhythmic hostility and after another momentary pause, spewing a rabidity of carnal viciousness infused with melodic acidity. As you can already surmise, things constantly are in a state of change and the song continues to cast a salaciously punishing but compelling dance impossible to turn your back on.

A climatic detour into a sonically blistered and melodically provocative soundscape comes next in Hybrid Soul, before Phoenix Condemned spills its animus of sound and intent, vocals an inhospitable and dirty scourge against the imposing tang of the guitars’ enterprise and ruinous creative spite. It is a rancor though rippling with contagious toxins and fiercely addictive virulence, a brutalising which simultaneously seduces.

Day Of The Pest steps forward to grab a favourite position within Devoutness, the track cancerous in heart and tone but set spinning by delicious discord caked slithers of guitar and spikily cantankerous rhythms matched by ravenously jagged riffery. As all tracks in their individual ways, it is a kaleidoscope of invention and malice, relentlessly fascinating and uncompromising but, even as mighty as it is, quickly outshone by the psychotic imagination and craft of Expiation. The instrumental overwhelms ears and immerses the imagination in a carnal look at a busy and selfish world; the track sure to inspire different journeys and thoughts in each of those coursing through its evocative landscape but sure to inspire.

Both Sacrilegious and Sickening Runes inflame ears and incite greedier hunger for their pestilential ingenuity. The first has poisonous mystique flowing through the sonic veins of its grooves and barbarous animosity soaking vocals and intensity, every minute of the song a searing and bruising threat whilst its successor is a furnace of crippling bad blooded craft bred by the skills of Savoldi and Fanara and bound in the jaundiced and exhausting energy and imagination of Fassoli. Both tracks leave the senses disorientated and pleasure full before The End brings the outstanding release to an exhilarating conclusion. It is apocalyptic, haunting, and overwhelming in its immersive qualities; another instrumental that simply and impressively isolates the listener from the real world.

Devoutness is one of the extreme metal highlights of 2015 so far. There is very little to temper enthused words for its cruel and thrilling alchemy, only the small drop out of sound as tracks turn in on themselves and the band swings in potent breakdowns a niggle, but as our promo was digital we will put it down to that, and if not it is nothing to diminish the craft, temptation, and adventure Synapses set free throughout. Quite simply Devoutness is a must check out for all death and technical extreme metal fans.

Devoutness is available from August 4th @ http://synapses.bigcartel.com/

https://www.facebook.com/Synapses.official

RingMaster 03/08/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Elasea – Where I Belong EP

Elasea-Common-3_RingMaster Review

Creating a rousing proposal with their new EP Where I Belong, UK quartet Elasea quickly show themselves to be a band with all the attributes to become a potently impacting proposition on the British rock scene, now and far more so ahead. The attention grabbing encounter brings five compelling tracks of inventive and impassioned alternative rock for ears and imagination to feast upon. The fact that you can still hear areas where the band is only just discovering depths and unique invention, whilst impressing throughout, it only increases anticipation that the potential shown here has all the possibilities of leading to major things for the band.

Hailing from Hungerford in Berkshire, Elasea initially emerged as a cover band and under the name Highly Personal. The band’s first EP was released in 2013 after which a subsequent line-up change and last year the switch to new moniker Elasea occurred. With that change in the band came a shift in sound too and a reputation earning live presence which has seen the band play with the likes of WeCaughtTheCastle, Funeral For A Friend, and Idiom over time. Now the foursome is primed to nudge upon national awareness with Where I Belong; vocalist/rhythm guitarist Andy Bradford, lead guitarist Calum Radmore, bassist Olivia Jones, and drummer Jevon Smith, who recently announced his departure from the band, following up a clutch of successful videos with a roar of a tempting.

Elasea - Where I Belong (Artwork)_RingMaster Review     The EP opens up with Glass Heart, rhythms and heavy resonating riffs instantly engulfing ears as the just as swift magnetic tones of Bradford uncage the song’s evocative narrative. The thumping beats of Smith shudder on impact, alongside the bass snarl tempering the more fiery exploits of guitar and captivating vocals from Bradford and across the band. Drama constantly stalks the song, hooks and riffs frequently twisting into imaginative incitement before re-igniting the initial and potent creative persuasion brewing the song.

It is a superb start backed just as strongly by the EP’s contagious title track. Immediately it has a breezier energy and flirtation to its pop fuelled rock ‘n’ roll, all the attributes of its predecessor returning to great but lighter and catchier effect. With a touch of bands like Mallory Knox and Lower Than Atlantis to it, the track arguably feeds expectations a touch but such its punkish ferocity and virulent adventure, it barely matters as ears again are fed a healthy temptation.

Lost In The Dark which features Simon Jackman steps up next, cradling ears in a melodic caress straight away before expanding into a reflective croon of sonic enterprise and again tenaciously delivered rhythms. The song constantly expands its body of sound and imagination throughout, though for personal tastes it is missing the particular spark of its predecessors. It is fair to say that it revels in accomplished songwriting and thoughtful invention nevertheless to provide a thickly enjoyable proposal with the mellow twist with great backing harmonies from Jones and an atmospheric weaving from Radmore’s guitar especially riveting deep into the song.

A harsher growl is offered by Time Is Against Us, vocally and musically the song feeding off an aggressive nature to create a mix of rich contrasts and intensive emotions. The bass of Jones is almost bestial in tone at times whilst Smith creates a tsunami like rumble across the ever shifting landscape of the enthralling proposition. Increasingly impressing and growing in strength with every listen, the song sets up the EP’s finale masterfully, its heavyweight presence the gripping shadow to the acoustically lit On The Line. The closing song is sultry radiance but with an earthy texture cast through the persistently impressive voice of Bradford. Alongside him guest vocalist Alex Gale of the band Paper Houses, which Bradford also plays in, lays down absorbing melodic beauty, the two shades of their voices an alluring union which only ignites further when entwining as the song erupts into a flaming crescendo of sound and energy.

The song is an engrossing end to a thoroughly enjoyable introduction to Elasea. This is a band at the start of its ascent and yet to find it’s truly original presence and voice. In saying that Where I Belong shows they already have the invention and craft to command attention, and songs which leave an appetite for more the lasting reaction.

The Where I Belong EP is available from 3rd August 2015

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

RingMaster 02/08/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

The Decline – Resister

The decline_RingMaster Review

Third album in and Australian skate punksters, The Decline, continue to offer contagion fuelled stomps that simply rouse up the spirit. Resister is packed to the rafters with imagination crafted and wholly magnetic propositions, tracks which only want to offer a good time whilst uncaging a lyrical substance easy to get involved with. Pop/skate punk boundaries are certainly not worried too forcibly by the thirteen track adventure but any resistance to its unstoppable virulence is swiftly dead in its invigorating waters.

Formed in 2006, the Perth hailing quartet made its first strong attention grabbing mark with debut album I’m Not Gonna Lie to You in 2010, an encounter straight away pushing the band towards international awareness. Its acclaimed successor of the following year, Are You Going To Eat That, helped spark the opportunity for The Decline to undertake a headlining tour of Europe as well as a Japanese tour with Israeli pop-punkers Useless ID and So-Cal 90’s super band Implants. Across the years the band has continued to share stages with the likes of Descendents, Unwritten Law, Frenzal Rhomb, Propagandhi, Bodyjar, Bouncing Souls, Anti-Flag, Lagwagon, No Use For A Name, No Fun At All, Guttermouth, and The Flatliners, they amongst a great many others. 2014 saw the release of the crowd-funded Can I Borrow A Feeling EP as well as another hectic tour schedule whilst after a line-up shuffle earlier this year, The Decline set about recording Resister, its immediate unveiling coming just before the band hits the festivals Punk Rock Holiday in Slovenia, Munich’s Free and Easy Fest, and Rebellion, the latter one part of a UK tour running through August. With further global shows in the offing too, Resister provides the most potent incentive to check the band out and make this a summer of insatiable romping.

Resister Artwork_RingMaster ReviewThe release opens with New Again, a short, punchy encounter which quickly sets the creative scene for the album. Jangling melodies flirt with muscular rhythms whilst the potent vocals of guitarists Pat Decline and Ben Elliott unite and entwine across the tenacious start to the album. There are no surprises but plenty of fiercely flavoursome sounds setting up ears and appetite for the following Giving Up is a Gateway Drug, the first single from Resister. With the thumping beats of Harry steering the song into view, his drums a blur of activity, the song twists and turns with emotion and energy. Every second is a tempestuous and easy persuasion for ears, vocals again slightly outshining the sounds, but all aspects crafted with inventive and unpredictable elements.

As strong as its start is, Resister kicks up another gear or two from I Don’t Believe onwards. Featuring guest vocals from Cameron Baines of Bodyjar, the third track boldly enters on rolling anthemic rhythms, they in turn laced with sonic spicing from the guitars before it all colludes in one seriously infectious incitement. A whiff of older schooled punk embraces poppier exploits resulting in a rigorous and pungent anthem swinging punches at the music scene and stirring up new hunger for the release. It is an appetite fed just as healthily and fully by Almost Never Met You, a song littered with tangy riffs, sparkling hooks, and the ever impressing vocal combination. The throaty bass twang of Ray Ray as good as steals the show but is matched all the way by the spices just mentioned and a Green Day meets Bodyjar essence coating the excellent encounter.

Both The Blurst of Times and You Call This A Holiday? keep the album’s new levels roaring in ears and thoughts, the first with fiery atmosphere and attitude to body and voice, and the second through its seamless and magnetic passage from a riveting acoustic/vocal lure into another throttle to the floor ball of creative and physical energy. Each, but especially the former, has an air of The Living End to the full-blooded tempting whilst Camberwell Street straight after, explodes with a richer hardcore but melody drenched escapade. It does not quite live up to its predecessors, but again with skilled endeavour and ideation spicing every aspect the song, hits the spot nicely before making way for the similarly successful Broken Bones.

The thickly pleasing Wrecking Ball fires up the passions, even with its opening barbershop skit. Subsequently into an unbridled bellow of aggression and explosive energy, the track is an easy persuasion of rippling rhythms, inescapable hooks, and more potent vocal combinations. But as good as it is though, it gets over shadowed by the outstanding You’re Not The Waitress, another pop infused punk tempest which is pure contagion.

The thirty second Little Voices is more of the same, revealing a similarity to the previous track and others around it without losing its individual potency during a short tenure of ears. It stirs the emotions nicely which Underworld Tour takes on a thrilling ride straight after with its NOFX/Motion City Soundtrack/ Set Your Goals like fusion of sound and imagination. Again rousing is the best word to describe its heavy satisfaction breeding character as it leaves the listener on a high ready for the closing catchy onslaught of Start Again. The song sums up The Decline sound perfectly, melodically hot, energetically sizzling, and creatively lively in a gripping finish to a fine album.

As suggested earlier, major surprises come in rare batches across Resister yet few moments truly feed expectations and every song is a galvanic exploit hard to turn away from. That certainly works for us!

Resister is available now through Pee Records (Australia) @ https://peerecords.bandcamp.com/album/resister, Bird Attack (USA) @ https://birdattackrecords.bandcamp.com/album/resister-4, and Cargo Records (Europe/UK).

The Decline UK tour dates:

Sat 8th – The Maze, Nottingham

Sun 9th – Rebellion Festival, Blackpool

Mon 10th – New Cross Inn, London w/ MDC (Millions of Dead Cops)

Wed 12th – Brudenell, Leeds w/ MDC (Millions of Dead Cops)

Thu 13th – The Hope And Ruin, Brighton

Fri 14th – Owl Sanctuary, Norwich w/War On Women

Sat 15th – Nice N Sleazy, Glasgow

Sun 16th – Exchange, Bristol w/ Teenage Bottlerocket

Mon 17th – The Fighting Cocks, Kingston

https://www.facebook.com/TheDeclineMusic   http://www.thedeclinemusic.com/

RingMaster 03/08/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Fallen Angels – World In Decay

Fallen Angels Band Photo 1_RingMaster Review - Left2Right Steve-Brad-Erik-Carl-Matt - cropped

Creating a compelling maelstrom of energy and familiarity, US thrashers Fallen Angels back up their acclaimed second album Engines of Oppression, with another tempest of aggression and craft in the masterful shape of World In Decay. The Seattle based quintet once more openly weave the inspiration of genre masters and originators such as early Metallica, Testament, Slayer, and Megadeth into their equally classic metal hued sound, and again the band uncages a proposition which only excites ears and appetite. It is fair to say that in many ways you know what you are going to get with a Fallen Angles encounter, but not in what shape or gripping design it comes in. The same applies to World In Decay, an album with few major surprises but a torrent of things to drool over.

With their 80’s thrash and 70/80’s heavy metal influenced sound, Fallen Angels has increasingly and persistently lured strong attention, establishing themselves with fans and media as a proposition ripe with contagious and aggression driven adventure. Equally the band is a dab hand at entangling it all with a modern take on melodic and imagination sculpted textures, as first shown through 2008 debut album Rise From Ashes and even more so in Engines of Oppression three years later. World In Decay is more of the same but also equipped with an even fresher breath of craft and maturity equating to Fallen Angel’s finest moment yet.

Produced by Grammy award winning producer Michael Rosen (Forbidden, Testament, Death Angel, Flotsam and Jetsam, Tesla, Vicious Rumors), World In Decay erupts into life with The Hammer’s Blow and an instant onslaught of spicy guitar and rampant riffs from Erik Hanson and Matt Be Rot. They coax from amidst intensive rhythms led by the swings of drummer Steve Spitzbart, the track an uncompromising lure before brewing into a more welcoming creative blaze of flying grooves and hooks over the magnetically growling bass of Carl Larsson and around the vocal roar of Bradzilla which quickly emerges as the ringmaster to the rampage in furious motion. Thoughts of Exodus and Annihilator spring up from the growing tapestry of fierce enterprise engulfing ears, whilst the melody toned side of the song dabbles with folkish/Celtic flirtation at times, the whole thing ensuring the album gets off to a stirring start.

Album Cover - Fallen Angels - World In Decay_RingMaster Review   The first single from the album, Nightmare comes next, its darker and more predatory character swiftly igniting the imagination whilst discord lined sonic enticement has ears seduced before it all momentarily halts for riffs and rhythms to collude and unleash a ravenous charge. That Metallica whiff is a rosy hue within the raw and incendiary landscape of the song, but as everywhere it gets honed into something maybe enjoyably familiar but leaves expectations scrambling for success. The song potently backs up the might of its predecessor before Forsaken Existence kicks things up another gear with its inventive and melodically emotive presence. From the opening breath, the track is a maze of twists and provocative craft before settling into a leaner surge of bruising enticement, though it in turn is soon wrapped in more sparkling invention and sonic colour which go on to entwine for the remaining length of the fascinating offering. The track is irresistible, at its heights when exploring a diversity of styles and pure contagion when just bullying air and ears.

Leading the Blind is another proposal prowling the listener from its first touch, riffs and rhythms as good as stalking the senses as an intoxicating seducing from Hanson spreads tantalising beauty around the bestial heart of the song. As in the last, it simply grows in weight, creative strength, and addictive resourcefulness with every passing chord and rhythmic swipe. The vocals alone enthral and within the gripping drama of sound, it all results in one of the pinnacles of World In Decay, through a triumph superbly supported by Fire At Eden’s Gate. Whereas the last song was beast like, its successor is a caress of classical hued melodies and mesmeric string craft from the guitarists, only the firm rhythms providing any hint of the dark intent of the song within its impressive entrance. They soon get their way though and spark an uncompromising confrontation led by the great grouchy tones of the bass and the ever ready to grapple delivery of Bradzilla. The track never uncages its fullest fury or violence though which only adds to its commanding air, but once in full stride, it never allows an easy or unrewarding time to brew either.

The weighty stance and sound of Into The Abyss keeps things burning brightly though it lacks the same spark as the songs before it. Its body is almost subdued in energy at times in comparison, saving it for the sizzling crescendos which do escape across its evocative length. The individual skills and united craft of the band again only impress though so that the song is only ever pleasing, a quality also applying to The Hour of the Time, another which does not impact as firmly as others, certainly initially but only grows into ears and in stature through every excursion through its web of flavours and tenacious execution.

The album ends on a lofty high with Mortis Ex Machina, the song a rousing anthem from its opening roar and with a volatile nature casts a thoroughly bewitching instrumental landscape punctured by recurring and ferocious vocal incitement aligned to skilfully rabid rhythms and riff driven fury. Talking of instrumentals, the album actually finishes on a mesmeric untitled offering which like an epilogue to what came before leaves ears and thoughts enraptured and eager to experience the release all over again.

World In Decay brings the best of familiarity and fresh endeavour together like an old friend carrying a whole new persona, whilst Fallen Angels as reinforced themselves with the album as a band not yet able to turn the trash/metal scene on its head, but one easy to get a bit greedy over.

World In Decay is available from August 4th via Cyberdyne Records.

http://fallenangelsthrashband.com/     https://www.facebook.com/pages/Fallen-Angels-Thrash-Band/336737539688752

RingMaster 03/08/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

False Flag – Nest of Vipers EP

Promo photo - false flag_RingMaster Review

As Nest of Vipers, the new EP from Canadian metallers False Flag ravages air and ears you can almost feel the body’s sinews being stretched to their limited and the psyche being devoured by the fierce enterprise fuelling the incitement. The release is an attention grabber, a confrontation unleashing a mix of sonic invention and fearsome physical confrontation, and ultimately one thoroughly satisfying adventure.

False Flag was formed in 2012 by vocalist/guitarist Russ Gauthier (Lordosis, Meggido, We Found The Body) and drummer Nick Purdy (Meggido) as a side project to their other projects. Bassist Garrett McElroy (AfterEarth) soon joined the band with first EP Orobas being recorded not long after. Once Dan Ishak (Meggido, Stinger) subsequently linked up with the band on bass, McElroy leaving to concentrate on AfterEarth , the band set about recording their eventually well-received debut album Suffer In Silence in 2014. Alongside all this, the band live has equally been earning a rich reputation for their hellacious assault on the senses and stirring stage craft, a potency which seemingly has been translated into their new release, such its live like fury. With a line-up of guitarist Mike Harach and drummer John Byskal now alongside Gauthier and Ishak, False Flag are setting a new benchmark for themselves with their four-track incitement, the Garrett recorded and Sacha Alan Laskow (Every Hour Kills) mastered Nest Of Vipers, a thick poke at broader spotlights.

FRONT_RingMaster Review     False Flag is frequently compared to Meshuggah and in the past that was probably a more relevant comparison but as opener Sacrifice Of Solitude shows alone, any likeness is a mere passing spice in a recipe which entwines varied flavours of extreme and groove lit metal. The first song emerges from a stark landscape blown over by a desolate sonic wind. It is an evocative entrance which is quickly immersed in rabid riffs, vicious rhythms, and already toxic grooving. With the rapacious vocal scowling of Gauthier spewing antagonism with every raw syllable, the track is soon a venomous trespass of the senses but in turn speared by melodic tendrils of searing guitar and a bruising but inescapable swing sculpted by those ever inviting grooves and the throaty bass of Ishak. It is simply a predator and one compelling and thrilling start to the release.

The sonic tapestry of Perfidious squeals and leers over the senses next, its initial acidity swiftly joined by infectiously groaning grooves and vocal antagonism. There is a definite Pantera grizzle to the song, the half clean/half raw tones of Gauthier a bear hug in the tempest of sound and becoming even more impressive when exploring an almost completely clean delivery later on to add further captivating texture. All the time riffs and rhythms constantly gnaw away at ears whilst the guitars spin an intoxicating liquor of melodic imagination to capture that of the listener.

Another venture into an imposing ambience brings Reversion Of Sin into view, this time a cavernous immersion of heavy shadows which subsequently give birth to a bestial stroll of malevolent riffs and piercing beats. Vocals also bring a savage intent with their guttural intimidation whilst the brutal body of the track savages whilst wrapped in classic/heavy metal and progressive seeded endeavour. The mercilessly heavy corruption from the song is delicious but personal tastes failed to find the same appetite for its melodic side and its fusion into the barbarous body of the still enjoyable track. It really is just taste dictating reactions as once again there is no escaping that band and song spew craft and adventure.

Nest Of Vipers has body and emotions back rocking with its title track, a mighty closer with crushing rhythms, insatiable riffs, and grooves which simply flirt with primal instincts. The best track on the EP, it is a maelstrom of physical predation, and sonic bedlam cultured into something superbly designed and as virulently enticing as the great varied vocals frequenting the song. A mixture of Bloodsimple and Lamb of God, Down to The Faceless rear their suggestions across the song but as in all tracks within Nest Of Vipers, what emerges is something not solely original but far more False Flag than anything else.

False Flag is a band knocking on metal’s global door with Nest Of Vipers it is fair to say; if it succeeds in unlocking that door time will tell but if not it is one enjoyable step towards that easy to suspect destiny.

The self-released Nest Of Vipers EP is available from August 4th @ http://falseflagmusic.bandcamp.com/album/nest-of-vipers

https://www.facebook.com/falseflagmusic

Ringmaster 02/08/2015

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