Gianluca Magri – Reborn

Reborn is the debut EP from Italian guitarist Gianluca Magri; five tracks of instrumental rock which courts and runs with the imagination. Never showing off but proudly sharing the craft and enterprise of its creator, it is a record which just dances on the ear.

Teaching himself guitar at the age of 17, Magri subsequently studied at Cortina d’Ampezzo music school and at the MMI in San Biagio di Callalta. The years since has seen him as well as teach at the Music Area Academy in Belluno and at the Music and Soul school of Venas di Cadore play live with his solo band and with a couple of covers bands and from 2011 to 2016 play in metal outfit Phaith who released the well-received album Redrumorder. The autumn of 2017 saw Magri record Reborn, uniting since with Red Cat Records Inst Fringe for its recent release.

With its songs inspired by the likes of Gary Moore, Joe Satriani, Leslie West, Led Zeppelin, and Whitesnake, Reborn begins with its title track. Instantly its boisterous gait and infectious invitation had feet tapping and ears attentive, Magri entwining the latter with spicy grooves and tenacious melodies brought with a deft touch on his strings. Across the songs on the release, Magri is joined by bassist Diego Maioni and drummer Raffaele Fiori, their rhythms skilfully grounding the adventure of the guitar and egging on the listener’s physical participation with the growling tone of the bass adding a nice dark contrast to further grip attention. Just as Magri never over indulges his swiftly obvious ability, his songs never dally or linger, the opener just stirring up the senses and appetite, feeding both, and leaving with as enterprising punch.

The following Cloudbreaker brings a calmer climate though soon shows a lining of volatility which never quite erupts but adds drama and colour to the imagination nurturing encounter. Magri again weaves a magnet picture of sound, hips eagerly swaying to his composition as the imagination plays with rhythms adding earthier texture to his lofty and often fiery but always composed enterprise.

Snowballed is next up, the piece a fresh and boisterous affair with mischief in its smile and energy in its stroll while A.D.R. has a thicker body and touch but still one with a spirit warming brightness to its melody and air. Both songs spark ears and thoughts, thoughts easily conjuring alongside the sonic intimations as enjoyment of Reborn only thickened.

The EP closes with acoustic track Atlas Bound, Magri’s fingers gliding over his ‘canvas’ with suggestive craft and firm magnetism. It is a captivating end to a fine debut encounter with the guitarist. It is fair to say that we are quite fussy in our enjoyment of instrumental music and maybe have not yet defined what it is that lights our personal fires. We thoroughly enjoyed Reborn though across its every note and second so maybe the answer lies within; certainly pleasure does.

Reborn is out now via Red Cat Records Inst Fringe and available @ https://gianlucamagri.bandcamp.com/releases

https://www.facebook.com/gianlucamagriguitar

Pete RingMaster 29/03/2018

Copyright RingMaster: MyFreeCopyright

Ophe – Litteras Ad Tristia Maestrum Solitude

Ophe is the solo project of Bargnatt XIX, guitarist/vocalist with French outfit Område. His main band is a proposition which entangles an array of styles and experimentation into avant-garde soundscapes and has grabbed our imaginations since the release of their 2015 album Edari and even more so with its startling successor Nåde two years later. So you can imagine we were only too pleased to take a look at Litteras Ad Tristia Maestrum Solitude, the debut Ophe album when Bargnatt (Christophe Denhez of Nerv, Mur, and In The Guise Of Men) got in touch. Despite having embraced the ambience hued climates of post rock, industrial, electronica, and avant-garde metal merged by Område though, ears were not prepared for Litteras Ad Tristia Maestrum Solitude.

Certainly living up to its tag of experimental avant-garde black metal, Ophe’s sound is much more expansive than that. It is a ravenous maze of sound and adventure set in a tempest of emotion and atmospheric dissonance. Whether it is something you can say you physically enjoy is still up for debate but as one fiercely captivating and relentlessly tempting challenge it is inescapable.

From opener Somnum Sempiternum the senses are taken on a turbulent sonic flight; a buffeting of winds around perpetual rallies of rhythmic antipathy the initial engagement. Bargnatt’s vocal currents are just as harsh within the intensive but controlled cyclone, rasping breath on sonic causticity and melody flirting with discord and dissonance. As invasive and toxic as it is an infectious hue merges within the emotional and aural trespass adding to the imagination sparking incitement that has already brewed. The track continues to grate and tempt across it’s almost nine minutes, never giving enough to mercilessly seduce but never coming close to leaving ears searching for alternative calms. Though a one man project, the album features the sax borne craft of Val Dorr; it too an almost schizophrenic, to use the press release’s description, protagonist in the midst of the blackened ambient storm.

Decem Vicibus is a calmer but no less dark investigation. Its tenebrific air wraps around mellow bordering on whispered vocals whilst alongside a hellacious scene unfurls hue by hue, cry by cry until the listener feels like they are trapped experiencing the visceral drama of a Hieronymus Bosch painting. The solemn chimes of church bells only add to the track’s deceitful incantation before XVIIII provides its own individual portentous peace complete with sax squeaks but only leading to a rabid smog of emotional disharmony clad in a web of musical unpredictability.

Whereas its air is thick almost acrid, the following Missive Amphibologique D’Une Adynamie A La Solitude has a clearer atmosphere but one just as sinister as guitars, bass, and sax host a dance of emotive dissidence. The best track within the album, it is a weave of rhythmic temptation and melodic seduction but each a welcoming vice flush with the animus of torment the vocals openly share. The track is superb, the moment the imagination ignited feverishly and even with an arguably over long presence enthrals from start to finish.

The album closes with Cadent, an elegant melody woven piece with clean vocals and harmonic reflections. All the while though, darkness lurks providing a threatening undercurrent which does not have its day but adds dark intensity to the beauty.

It is a fine end to an album which might have to fight to be called actually enjoyable yet we did indeed enjoy every moment of its tempest filled bitter atmosphere if some moments more lustily than others. For something to turn your calm, emotions, and thoughts into captivated turmoil Litteras Ad Tristia Maestrum Solitude is a certain quest to explore.

Litteras Ad Tristia Maestrum Solitude is out now via My Kingdom Music; available @ https://ophe.bandcamp.com/

https://www.facebook.com/OPHEBM/

Pete RingMaster 28/03/2018

Copyright RingMaster: MyFreeCopyright

Crisix – Against The Odds

 

With its title representing its creators’ “hard work, dedication and friendship”, Against The Odds is the fourth album from Spanish thrashers Crisix and one of those releases which revels in all the best attributes of thrash metal whilst adding its own individual adventure. It is a mix of the familiar and the boldly fresh, an inescapably rousing old school inspired modern fired romp of an encounter and a very tasty offering indeed.

Formed in 2008, the Barcelona hailing outfit has honed their sound across a trio of increasingly well-received albums beginning with The Menace in 2011. Both the following Rise…Then Rest of 2013 and From Blue to Black three years later established the band on their homeland’s metal scene while fuelling their reputation around Europe backed by an acclaim gathering live presence. Against The Odds just might be the moment when Crisix becomes a worldly known name, certainly it will awaken a horde of new hungry fans such its accomplished and impassioned roar.

Mastered by Jens Bogren (Arch Enemy, Kreator, At The Gates, Opeth) the album rips from the speakers with opener Get Out Of My Head. Riffs and rhythms surge through ears, their recognisable hues ridden by the gruff tones of Juli Bazooka. Backing band hollers and grooved incitement add to the growing virulence, its hooks flirting with the inane cheap tricks of the pop songs it takes a swipe at but always a dexterous intimation. It is vintage and individual thrash in one spirit, chest thumping stomp and a glorious start to the album.

The following Leech Breeder has a darker more intensive character and again the guitars of B.B. Plaza and Albert Requena unleash a tide of ravenous riffs to get things going. The bone shaking beats of drummer Javi Carry resonate on impact and song throughout, his anthemic prowess matched by the great bass grumble cast by Dani Ramis. Its irritability is echoed across the song from voice to tone, an aggressive trespass which only accentuates the infectious instincts of the track before Technophiliac matches its urgency and muscle with its own challenging contemplation. Weaving textures as addictive to ears as the source of its theme is to modern society, the song embraces extreme metal brutality and melodic enterprise in its imaginative web of flavours.

Three tracks in and it is fair to say that Against The Odds had us hooked and even more so as the atmospheric opening of Perseverance glides over the imagination. Its progressively hued suggestiveness subsequently parts way for a harsher climate to surround the senses but Crisix continue to experiment and weave an imaginative adventure as metalcore and other varied metallic hues entangle. Arguably the boldest track on the album for stretching their thrash instincts it is a wholly magnetic affair suggesting exciting new exploits ahead with the band.

Not that pleasure is lacking with Against All Odds, the Alien inspired Xenomorph Blood bursting out to consume attention and inflame an already greedy appetite with its murderous throes while Prince Of Saiyans floods the senses with its thunderous thrash ferocity. Dragon Ball themed, it is also another hungrily catchy escapade as eager to have the listener bouncing as dangling on the end of its lung depleting charge. With heavy metal spicing adding rich flames to its blaze, the track is rock ‘n’ roll at its grievous captivating best.

Leave Your God Behind is technical death thrash bred pillaging which did not inflame our senses as much as those before it but only kept the forceful persuasion of the album in top gear before Cut The Shit had all and sundry around defiantly roaring at the world with fists raised along with its rabid crossover thrash incitement. There are some tracks which have you throwing yourself around like a dervish, this more than most.

With also an open passion for Game Of Thrones, Crisix venture into its world with The North Remembers, a warrior roar of a homage with no intent of hiding the band’s love of its inspiration. With the guitars weaving skilled lures and devious riffs as rhythms impose and vocals unite in raucous enthusiasm, it is a fine finale to the album if not quite challenging for best moment as other songs more acutely do. You just know though that it is going to be a fan favourite and have venues roaring in unity.

As the years pass we find ourselves becoming more entangled and enamoured with the various shades and adventures emerging within thrash metal, bands like Crisix and records such as Against The Odds give all the reasons why.

Against The Odds is available now via Listenable Records @ https://www.shop-listenable.net/fr/186_crisix

http://www.crisixband.com/    https://www.facebook.com/CrisixOfficial/    https://twitter.com/crisixofficial/

Pete RingMaster 28/03/2018

Copyright RingMaster: MyFreeCopyright

Coilguns – Millennials

For all their striking projects and releases, of which there have been numerous, it is as Coilguns that the trio of vocalist/guitarist Louis Jucker, guitarist Jona Nido, and drummer Luc Hess has most lit our personal fires and inspired further our love for instinctive sounds and creativity. Their new album Millennials, with synth player Donatien Thiévent in the fold shows exactly why; the ten track exploration of manipulative noise and physical intimation a beautiful predacious trespass.

Written and recorded at the beginning of 2016, the self-engineered sonic invasion instantly overwhelms with the senses ravishing Anchorite. Guitars entwine ears in a devious, corrosive web as the rhythmic ingenuity of Hess stirs and ignites body and spirit. As arousing as his boldly thrown beats are the Jucker and Nido spawned grooves and noise bleeding tendrils are corrosive, all uniting in a hellacious virulence which strings the imagination and senses like a feral puppeteer; a manipulator simultaneously venting through the vocal squalls of Jucker. The track is immense, a visceral seduction which had us cowering as much as we were welcoming its abuse with greedy open arms.

The following Deletionism manages to breed an even more carnal tone and air; its carnivorous jaws littered with biting beats and caustic toxicity but just as infectiously persuasive as its predecessor in temptation and energy. The throaty bassline echoes in the senses as it courts the mercurial but ever invasive stroll of guitar; it all coming together with concussive majesty alongside the rapier swings of Hess and the throat and word scaring roar of Jucker.

The album’s title track is next, a sense charring blaze of rock ‘n’ roll with sonic lava in its breath and inescapable virulence in its rhythms. Hess is simply superb, stirring the track’s intent with ravenous dexterity allowing the calm in its midst to challenge before stirring up a confrontation as violent as it is invigorating. From pure infection the track leaves as a toxic raping of ears and wow did it excite. From start to finish, there are compelling suggestions of best track on the album, and maybe that from Coilguns in general, this one of the most persuasive.

Spectrogram takes the listener into a sonically incinerated landscape, its shadows and scenery a lure of white noise-esque suggestion before a suffocating wave of sound and intensity thickens the drama and the increasingly haunting and haunted climate. Thiévent’s synth flows over the incitement like melancholic mist but with a surf like teasing which captivates, ears moths to its flame in the oppressively infectious dark of the track.

For one minute and a handful of imposing seconds, Music Circus Clown Care has the senses harassed and swinging as if on a barb lined trapeze before cavernous jaws drag them into the torturously arousing grip of Ménière’s. Once again, Hess had us bouncing as the sonic trespass of his companions infested ears and psyche, the track a murderous swagger of craft and contemplation borne of the darkest deeds and times and moulded into one irresistible breathless incursion.

The brief, inhospitable and again inescapably addictive blast of Wind Machines For Company emulates its title in a typhoon of sonic voracity while Self Employment Scheme is an investigation cynical in tone and air niggling at and sucking on the senses like an argumentative tick; never relenting in its harassment but ebbing and flowing in its severity. Both tracks simply brought our lust levels higher as too the grievously writhing antics of Blackboxing, the glorious track ducking and diving with quick footed rhythms and tenaciously swerving noise until delivering a brutally blistering concussion.

The release ends with The Screening, a fascination examination carrying intrigue, captivation, and threat in every note, syllable, and rhythm cast over the senses. Its initial temptation loaded coaxing with Hess once more shaping the bait, grows and intensifies by the moment, simultaneously becoming a harsher imposition and addiction to leave by its departure its victim on their knees breathless and lusting for more.

There is no one like Coilguns and nothing in even their own repertoire to match the noise alchemy of Millennials. It is far too early to declare an album of the year but believe us when we say it will not be straying from those most vocal nominations come late December.

Millennials is available now via Hummus Records and through https://coilguns.bandcamp.com/

https://www.facebook.com/coilguns    https://twitter.com/COILGUNS

Pete RingMaster 27/03/2018

Copyright RingMaster: MyFreeCopyright

Starsha Lee – Post-God Metaphysics

You venture into the dark dusty corners of a previously unexplored attic and within find the predictable, almost dauntingly alluring yet sinister looking dolls house long told tales and visually evocative movies often portray. You peer through its small enticing windows and wonder what goes on within their plastic panes, what adventures play out within the surrounding walls in the darkness. The imagination conjures, thoughts tease…then as their distinct sounds search out both from speakers below, the possibility is obvious; they just might house the unique world of Starsha Lee.

Not that the sound of Starsha Lee is nursery room fit, unless it is those lurking within the distorted lines between reality and nightmares. As in evidence within the band’s debut album, Post-God Metaphysics, it is a rapacious psyche trespassing endeavour spawning songs borne of discontented snarls with characters bred in demon haunted mania. It is also one fiercely addictive treat which may find itself a challenge too far for some but fingered our passions from start to finish within an album that just demands attention.

Though undoubtedly highly individual, the Starsha Lee sound also has a side to it which is akin to a fusion of the rebellious punk rock of In Evil Hour, the noise bred catchiness of Melt Banana, and the mischievous alternative rock of Daisy Chainsaw. The latter is no surprise as they and Starsha Lee are inflamed by the distinct senses scathing, spirit rousing guitar enterprise of Crispin Gray, also formerly of Queen Adreena, and Dogbones. Beside him, the quartet consists of the rhythmic adventure of Lenny Verallis (Dumbjaw/You) and, headed by the vocal devilment and lyrical incitement of Portuguese singer/ visual artist Sofia de Oliveira Martins. Epitomising the uniqueness of the band tenfold, she can best be described as having the vocal prowess of Lene Lovich twisted and distorted through the hands of Jigsaw as the juices of KatieJane Garside (Daisy Chainsaw/Ruby Throat) and Dawn Lintern (Das Fluff) are squeezed into their high pitched results. It all adds up to anarchic beauty in a release which had us drooling with lust rather quickly.

Post-God Metaphysics opens up with Love Is Superficial and immediately Gray is teasing ears with sonic intrigue, coaxing them and the imagination with infectious rhythms in close quarters. As swiftly the richly enticing tones of Martins flirt and dance on the blossoming landscape of the song, it all as infectious as it is musically and emotionally predacious. The track is superb and just the beginning of one exhilarating creative emprise.

The punk rock throes of People Are Horrible follows, its rhythmic raps and sonic writhing spinning a web of stop go virility entangled with Martin’s vocal rascality. In its far too short a stomp, the song, as all, embraces an array of flavours in one devious recipe, all spicing up ears and an already greedy appetite here for the album’s loco lined exploits.

With the guitar again laying the first line of bait, next up Holy Hatred seduces and feverishly ignites within its opening breaths; growing from a gentle caress into a metal infused blaze of incendiary rock ‘n’ roll with venom in its voice and sounds before Life Is Suicidal shares its own sonic pyre with virulent contagion to its bold vocal blend and bounce. The nihilistic tone of word and heart floods the proposal, another constant menacing allure across the album, and bonds perfectly with the raucous bounce and captivating discord conjured.

Post Modern is an electric scowl, the guitar almost grimacing with acidity as Martin’s skilfully and heartily delivered intimation are again aligned to the harmonic breath of Gray’s backing vocals. Verallis and Zahra-Hall stamp rhythmic authority on the temptation, working on hips and neck muscles as the song serenades with open causticity while within the more hard rock nurtured Used To The Bruise, their rhythmic arousal comes wrapped in melancholic harmonics and emotive suggestion. Both tracks simply captivate with ease, the latter an inescapable lure to participation before Even God Doesn’t Know Your Name ensnares the senses with its addiction sharing punk ‘n’ roll canter. With a Cauldronated like hue to its tenacious body as Martins vocally writhes around, the song matches, at times eclipses, the temptation of its predecessors as another major highlight within the album drew further lust.

Through the scuzzy climes of Sterile Girl and the similarly raw discordance of Uncle Nietzsche, Starsha Lee just increase their grip; the first with a gentle twist and the excellent latter with a tug like one induced within an inflamed sexual endeavour. It stomps through ears with a hunger which veers on the rabid but with a controlled predatory nature matched in the following swagger lined march of Glass Diamonds. Its Marilyn Manson-esque swing underpins a senses scorching flame of sonic toxicity, an aural drug which   bewitches and bewilders with craft and imagination.

Laugh Of God and (I Am) High And Divine bring things to a close, the first a cauldron of punk, metal, and garage rock which scars and seduces by the second, Martins once again a vocal Harley Quinn centre stage. Though not quite living up to other songs, it simply grabbed eager attention but was in turn overshadowed by the closing track’s acerbic croon. A song epitomising every aspect of the Starsha Lee sound if without continuing the line of springing essential hooks on the imagination, it brings Post-God Metaphysics to a glorious conclusion.

It is fair to say that Crispin Gray has been behind and involved in numerous bands which have unerringly hit the spot and instincts of us and a horde of others, but few if any striking dead centre the same way Starsha Lee has with Post-God Metaphysics.

Post-God Metaphysics is out now on digital download, streaming, CD and vinyl via Syndicol Music; available @ https://www.syndicolmusic.com/store

http://starshalee.wixsite.com/starsha-lee    https://www.facebook.com/OFFICIALStarshaLee/

Pete RingMaster 27/03/2018

Copyright RingMaster: MyFreeCopyright

Hampered – Asylum

Formed in 2013, French metallers Hampered have just uncaged their debut album and one attention grabbing beast it is. Maybe not the most unique in sound Asylum more than makes up for any familiarity with creative imagination and suggestive drama, attributes blossoming into one richly alluring and enjoyable proposal.

The Toulon quintet consists of vocalist Germinal “Germi” Leullier, guitarists Romain Sanchez and Guillaume Frendo, bassist Fares “Fafa” Petit, and drummer Stephane “Stef” Kokot, though upon Asylum Satanus is listed as swinging the rhythmic sticks. Nurtured in metalcore, their sound embraces an array of other flavours and metal bred textures in its roar and a first full length which takes a firm hold from its first breath.

Asylum is inspired by movies such as One Flew over the Cuckoo’s Nest and Shutter Island and relating a complex tale of a disillusioned hero finding himself plunged into the den of a psychiatric hospital, looking at “the grip of man by man, the mind on the body, for the conscience of our own freedom” where “the only “barriers” are the choices we make that make us believe we don’t have any

Opening with its French language spoken, scene setting Intro, the album soon has ears and appetite aroused as the following I’m Alive teases both with its opening initial sonic lure; rich bait soon spawning a rousing incitement of richly enticing grooves and rhythmic predation. Germi is soon in its midst with his similarly potent growls, captivation brewing by the second. The track mellows a touch as a great blend of his and Frendo’s calmer backing vocals collude but still retains its threatening character in sound and tone. Every hook and groove intensified the power and addictiveness of the track, each rhythmic swipe and grumble increasing its sonic paranoia superbly.

The excellent start only continues as The Project follows, its electronically hued entrance easily stirring keen attention before opening up into a rapacious almost carnivorous prowl. Metalcore meets groove metal as things intensify, many more strains of sound adding to the menace and imagination seizing trespass. Something akin to a fusion of Poison The Well, As I Lay Dying and Devildriver, the track gnaws and increasingly pleasures the senses, a success only escalating as the funkier throes of In My Jail tease and invade next. A beguiling web of styles and flavours, the track alone reveals the bold invention at the heart of Hampered and the expansive hunger in their sound which does not always get the chance to blossom as it might across the release. Here it is in full bloom, plaintive vocals and hungry sounds uniting in a ravenous assault of irritable yet severely infectious and predatory enterprise.

Stop That follows with a raw and cantankerous proposal but one just as adept at embracing melodic and harmonic twists as it questions and challenges while successor Conspiracy Theory launches a similarly choleric confrontation infused with citric melodic veins and driven by rhythmic rock ‘n’ roll. Both tracks hit the spot, the second especially sparking tenacious responses as the album continued to impress.

Through the bullish defiance of Each Other, where grooves just infest the psyche, and the raw emotional blaze of Avenge Your Memory, Hampered continue to explore their invention. Neither song quite matched the potency of those before them yet each created a tapestry of lyrical and musical drama which firmly held attention and richly satisfied before Blast (Bridge Refrain) entangled some tinges of heavy metal and strains of Avenged Sevenfold-esque catchiness into its lively swing. Again personal tastes were not quite as ignited as by the albums earlier tracks but were thickly involved in satisfaction from start to finish and especially in its great bedlamic finale.

Asylum concludes with The End, a track featuring Maxime Keller, vocalist with fellow countrymen Smash Hit Combo and Boars. The track is superb, a jungle of metal bred punk infused antagonism with tantalising melodic scenery bringing the album to a mighty close matching its tremendous start.

Asylum is a proposition which will inflame the passions of many and lure the attention of hordes more as it announces Hampered as another very promising and already rather striking proposition on the metal landscape.

Asylum is out now @ http://hampered.bigcartel.com/

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

Pete RingMaster 21/03/2018

Copyright RingMaster: MyFreeCopyright

AdvenA – Realität

While the band set about writing their second album, a look at the debut full length from German metallers AdvenA does not go amiss, especially if like us you missed it upon its release a while back. Offering eleven slabs of progressive death metal with a craft and imagination unafraid to add other styles and flavours, Realität is a potent introduction to the Bad Griesbach in Bavaria hailing quintet. It is not overtly unique but has certain moments of real invention which made it stand out and an inescapable potential which made anticipation of its successor almost inevitable.

Formed in 2012 by Chris Kolias and Florian Havemann, the band’s initial instincts and sound was metalcore based but has evolved to embrace the progressive and more intensively weighted extreme metal textures as evidenced by Realität. With a line-up of vocalist Daniel Esterbauer, bassist Florian Gumpoldsberger, and drummer Dennis Stirner alongside guitarists Dominik Jagenteufel and Kolias, AdvenA nudged strong attention with the release of their first album, and is still doing so as we can attest to.

The album opens with its title track, wintery winds bringing in the scenic lures and stormy breath of Realität which soon entices the melodic coaxing of keys before fiercer more imposing textures descend with Esterbauer throat gravelled tones leading the way. In no time, the progressive imagination of the band is steering the roar, guitars weaving a tempting web as rhythms entice and pounce. It is a fascinating beginning which is as seductive as it is barbarous, unpredictability lending a weighty lure to the track’s  often familiar but boldly fresh textures,

The following Herztod immediately aligns melodic intrigue and suggestion with irritable intensity, guitars casting a magnetic drape around the bestial toned vocals as the song rises to its creative feet. Lyrically song and release has a conceptual theme but with each track sung in the band’s home language we cannot share their individual focus, yet it matters little as the sounds paint a potent enough tale as this and the following Lass es regnen! prove with their individual adventures. Whereas the first has a smouldering soundscape for the main, its successor has a far more volatile climate but one boiling with thrash nurtured intent around clean vocals, presumably provided by Jagenteufel, as well as Esterbauer’s enjoyably abrasive snarls.

Best track honours are seized by Splitter next, the rhythmic entrapment of Gumpoldsberger and Stirner inescapable from its opening strains and only intensified by the rolling attacks and belligerent grumble of drums and bass thereon in. Spice loaded grooves and a general rock ‘n’ roll swing only add to the track’s might with only the clean vocals for some reason and for once not quite connecting. Nevertheless it is a storming encounter which alone could have sparked an appetite for the band’s sound but is more than backed by the likes of Aurora and Phoenix. The first is an atmospheric tempting with alluringly portentous shadows around a rhythmic resonance, a union beguiling ears and imagination before its dark side rises up in invasive riffs and sonic trespass. That also brings a melodic and electronic enterprise which suggestive mystique setting up the adventurous rock ‘n’ roll of the second with the added attraction of female vocals and melody encased endeavours.

Am siebten Tag unleashes a blistering charge next, thrash and death instincts driving its cantankerous rock ‘n’ roll to mark another highlight within Realität before FFA matches its hellacious dexterity with its own senses withering, appetite stoking assault. Heavy metal tendrils vine the imposing roar, enticingly uniting with atmospheric winds and progressive intricacies; a stylish weave then emulated in its own individual way by Der Wille, electronic imagination lining and occasionally nurturing new twists in its design.

The album closes up with the two instrumentals in firstly the thought rousing, body firing rock ‘n’ roll of Alles was glänzt and lastly the melody rich and suggestive Wasser zu Wein. It too is a contender for best song, keys and guitars casting a beguiling tapestry of intimation and beauty with an underbelly of darker intent and volatility. Both tracks hit the spot whilst highlighting the music and creative prowess of AdvenA and though we might have questioned the success of having two instrumentals closing things up it works a treat.

Realität made a potent ear pleasing proposition from the first listen but it is an album which grows and impresses further by the listen. Ahead of its successor, it makes a timely gateway into the AdvenA sound for newcomers and a highly enjoyable reminder of their strengths and potential for all.

Realität is available now @ https://advena1.bandcamp.com/releases

https://www.advenaband.de/     https://www.facebook.com/officialadvena/   https://www.twitter.com/AdvenaBand

Pete RingMaster 21/03/2018

Copyright RingMaster: MyFreeCopyright