Prowler – From The Shadows

Prowler_RingMaster Review

Not to be confused with seemingly a handful of metal bands with a matching name, the Prowler unleashing new album From The Shadows, hail from Myrtle Beach, South Carolina and create a rousing onslaught of horror fuelled heavy/thrash metal. Theirs is a sound which is maybe low on major surprises and high on familiarity, one unafraid to wear its inspirations on its blood soaked sleeve, but equally it only provides a compelling and thoroughly enjoyable escapade that hits the undemanding sweet spot time and time again.

Prowler began in 2010, releasing a quartet of EP’s which they subsequently brought together with an additional new track for their debut album After You in 2013. The band’s inspirations seem to stem from early Metallica and Anthrax, taking From The Shadows as an example, and indeed eighties thrash in general, essences twisted into sonic echoes and offshoots from horror movies of the same era. 2013 also saw the release of The New Blood EP, a well-received attention grabber in many ways sowing the accomplished and ravenous seeds for the Roger Lian (Slayer, Overkill, Pantera, Damageplan) mastered From The Shadows. As suggested the band’s new album does not particularly reshape the landscape or scenery of thrash metal but it does join a handful of genre releases this year which simply leave ears and appetite highly satisfied whilst uncaging anthemic fun easily luring limbs, neck muscles, and voice to get fully involved.

The album opens with R.O.T.L.D and the first of the individual film samples bookending each track within the album; here a slither of Return Of the Living Dead triggering a swiftly contagious rhythmic stroll. A riff and groove sculpted swing soon adds to the dynamic theatre and persuasion of the song, whilst vocally with a whiff of Wednesday 13 to his delivery, guitarist Patrick Best opens up the cinematic narrative. It is a raw and magnetic concoction with a horror punk scent brewing up its enmity within a thrash spawned prowl, and a rousing start to the album.

cover_RingMaster Review     The excellent track makes way for Out Of The Fog, riffs and beats encasing the opening sample just as the theme of the lyrics impose within the cinematic source. Keys soon add spicy colouring to the antagonistic prowl of sound whilst the bass of Shawn Bruce and beats of drummer Jak Sumwalt cast their own sinister and rampant cage. It is a predatory mix with plenty of enjoyable and generally unpredictable twists, and knowing the films seeding each track, as here, only adds to the theatre of it all.

I Am Wolf quickly hunts down the senses and psyche next; the throaty primal tone of the bass and the rapier like beats alone inciting ears and imagination whilst vocally Best is a protagonist with barker like appeal around the continuing samples which puncture the passage of the track. As the first pair of songs, the track is undiluted full-blooded thrash metal, easy to offer comparisons too but hard to dismiss as a pale imitation of anything.

The commanding and stirring beats of Sumwalt make an inspiring impact across the whole of the album, and at the start of the following The Thing Not Seen, simply stalking ears with a tribal come demonic stance and canter. Like the bass tempting offered continually by Bruce, which is just as potent across From The Shadows, there is a primal feel and air to the rhythmic provocation, one emulated in their own raw and spiteful fashion by vocals and searing guitar enterprise of Best.

Prowler next offer a cover of The Ramones track, Pet Sematary, the song given a heavy metal make-over fuelled by another thrash cast tempest of energy and sound. It is a more than decent and pleasing version but lacks something compared to the band’s own songs, which maybe is how it should be with any cover song, always being eclipsed by a band’s own invention as shown immediately by Return To The Lot. Another entwining rabid rapacity and a more stalker like gait to its primeval hell, the Salems Lot inspired ravishing captures ears and imagination with visceral ease, again not splintering into new domains but healthily feeding any wants from a thrash/horror punk fusion.

Death On Wheels carries a similar attack and growl to its predecessor and wears arguably the strongest Metallica/Anthrax sound of any song within the album, and through those aspects does not quite match what has already lit up From The Shadows. There is no denying though that it has ears and pleasure in full swing before leaving Creature Of The Black and its atmospheric entrance to work another enthralling tempting. Eventually the song grows into a muscular and savagely predacious offering with carnivorous rhythms and caustic grooves, and a fine end to a thoroughly enjoyable album.

From The Shadows certainly offers little new but it certainly provides a festival of eighties aural and visual devilry with an attitude and snarl as nasty as the creatures central to each and every song. As mentioned earlier, it is enormous fun and that definitely works when looking for something to simply get the blood rushing through veins and emotions primed to take on the world.

From The Shadows is available digitally and on CD now via Slaney Records and @ http://prowlerhorror.bandcamp.com/album/from-the-shadows

https://www.facebook.com/pages/Prowler-Metal/151137794901489

RingMaster 21/07/2015

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

 

Tad Morose – St. Demonius

TM_RingMaster Review

Well into their third decade, Swedish metallers Tad Morose, certainly taking their upcoming eighth album as evidence, seem to get stronger and more creatively dramatic with every passing year. St. Demonius is stocked to the brim with the sounds and kind of songs the Bolinas hailing band is renowned for. Huge and robust bellows crafted with ravenous rhythms and riffs whilst wrapped in stirring sonic imagination and driven by operatically toned vocals. The new encounter is one of Tad Morose’s biggest, heaviest, and most commanding propositions yet and with something for most metal fans, even those of us with a less than welcoming appetite for the style of vocals employed so potently by frontman Ronny Hemlin.

Well-received and generally acclaimed releases have marked the years and stoked the band’s increasing reputation since Tad Morose formed in 1991, that as well as line-up changes and a highly notable and devoured live presence which has seen them tour or share stages with bands such as Cemetary, Memento Mori, Morgana LeFay, and Demon amongst so many more. After the release of sixth album Modus Vivendi in 2003, the band stepped back, taking a time out of sorts. That period saw the line-up undertake a big change with band founder and guitarist Christer “Krunt” Andersson and drummer Peter Morén, who linked up with the band around 1995, welcoming former Steel Attack frontman Hemlin as well as ex-Morgana Lefay bassist Tommi Karppanen and ex-Torch guitarist Kenneth Jonsson into the fold. Signing with Despotz Records in 2013, the quintet released the highly praised Revenant the same year, its success easy to imagine being soon eclipsed by St. Demonius.

From its first breath St. Demonius has a presence you can only imagine heavy and classic metal fans instantly taking to, and others raising just as quickly inquisitive ears. Opener Bow to the Reaper’s Blade charges through ears with feisty beats and a growling bassline aligned to spicy grooves which just entangle the rhythmic bait perfectly. It is a potent start which gets even bolder and energetic as Hemlin uncages his soaring cries and vocal persuasion, backed by further strong vocals and harmonies. For us with a less keen attention for his accomplished style, the rhythms provide a predatory temper to devour whilst the guitars of Andersson and Jonsson weave scenery of skilled enterprise and imagination to seduce the imagination.

StDemoniusCoverRGB_RingMaster Review   It is a potent start to the album, not one loaded with major surprises but powerfully setting the listener up for the rest of the album and straight away the vibrantly melancholic roar of Forlorn. Keys and vocals add emotional shadows but also at times a rousing tempting which colludes with heavier, more rapacious riffs and a bordering on bestial bass line. By its close, the track has even the more resistant of us joining in its anthemic lure whilst both Where Ignorance Reigns and Remain straight after, bring their own musical and lyrical, not forgetting vocal, theatre to bear on ears and imagination. The first of the pair is tantalisingly adept at kicking up a sonic and energetic maelstrom or laying down a mellow caress, with the Skids like choppy riffery coming out of its calmer reflection irresistible. The second of the two songs offers a thrash seeding coaxing initially, stretching its flavouring once the vocals ooze over the imposing textures but always wrapping around one magnetically heavy and intimidating spine.

Black Fire Rising continues the enticing of ears and attention and like its predecessors has moments which just bewitch and other turns that do not quite relate to personal tastes. But it is just that, taste and already the assumption that those with a hunger for vintage and eighties metal will especially be in their element is confirmed. Day of Reckoning backs up that thought again, even if lacking the ‘something’ which has its predecessors stirring up hungrier reactions. All the same it and indeed The Shadows Play immediately after, only impress and enthral with the individual craft of the band and their tenacious exploits in songwriting and sound, the second of the pair especially with its almost brawling brand of soaring melodies and demonically growling trespasses.

Across the fiercely shimmering resonance of Darkness Prevail, the grouchier and more warlike Fear Subside, as well as the climactic Dream of Memories, the album continues to resourcefully stir ears and imagination, especially the last two of the trio, whilst The World Is Growing Old provides a power ballad of sorts with barbarous walls around the thick croon of Hemlin, and again another track to get increasingly involved with.

Closing with the full-blooded musical predation of Your Own Demise, a track where again the darkest, heaviest traits are impressively aligned with soaring and at times blistering acidity, St. Demonius is a rich and fascinating encounter. Certainly a wish for more diversity to the lead vocals might have brought further greed in our appetite but as said it is just something personal. It is fair to say with an old school bred sound which already has had fans of their chosen genre drooling in the past and now in anticipation of this thoroughly enjoyable release, Tad Morose do pretty much everything right.

St. Demonius is available through Despotz Records from August 28th @ http://despotz.bigcartel.com/product/tad-morose-st-demonius-cd-signed-poster-t-shirt

https://www.facebook.com/tadmorose

RingMaster 21/07/2015

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

 

Rusty Pacemaker – Ruins

Rusty Hessell_RingMaster Review

The first listen of Ruins, the new album from Austrian project Rusty Pacemaker, definitely caught ears and thoughts by surprise but laid the seeds to an increasing understanding and appetite for the artist and release’s particular uniqueness. It has grown with time into a compelling and fascinating proposition, one with aspects which still challenge slightly the success of the release, but an encounter which never lacks the ability to intrigue and thickly satisfy.

The band is the solo project of the Lanzenkirchen hailing Rusty Hessel, a musician who began making his own music in 2003. Heavily influenced by Quorthon of Bathory, Rusty enlisted drummer Franz Löchinger to play on his first album Blackness and White Light which was released in the October of 2010 on his own Solanum Records, a union which is repeated on the new album. Within a few months of its release, Rusty was writing new tracks for its successor and with preproduction finished in 2012, the Markus Stock mixed and mastered Ruins began emerging; its recording completed last year and release coming a few short weeks back. It is an encounter which commands attention and sparks the imagination, and even with a ‘flaw ‘or two, only leaves a contented appetite and certain captivation in its wake.

Rusty Pacemaker Ruins_RingMaster Review   Ruin’s title track is the first engagement on ears and thoughts, opening with a tantalising melodic caress of guitar. It is melancholic yet vibrant and already from that stroking of strings, a gothic air kisses the senses. That whisper only increases as sounds and invention develop, and indeed once the striking vocals of Rusty join the tempting. His delivery is as distinctive and individual as the sounds cradling his monotone stance but also more of a challenge as they conflict organically and purposefully with the dark beauty of the music. At times across the album his voice simply flows with the tide of the emotion and tone of the music but in others, as here, wrong-foot and test song and listener alike. It has to be said though when working well or even not quite agreeing with personal tastes, his vocal presence, as the album’s, is a riveting texture and incitement. The song itself continues to evolve and explore fresh strains of gothic and dark metal, its atmosphere stark and intimately provocative simultaneously.

The following Made Of Lies is a more rugged and furious blaze of metal, rhythms and riffs a swiftly enticing confrontation breeding even greater endeavour and persuasion as it embraces sonic and vocal enterprise. Though predominantly a metal and heavy rock seeded offering, the track reveals a great eighties and nineties gothic/post punk nature to its shifting character, bands like Leitmotiv and Type O Negative coming to mind. The rousing encounter departs to be replaced by the opening lapping waves of Ocean of Life, a song growing into an evocative and poetically harmonious croon within dark and predacious shadows. It also features the siren-esque vocal charm of Lady K, her alluring presence perfect company to the more dour but resonance wrapped tones of Rusty. Musically as in the previous songs, the Austrian creates an enthralling landscape of ideas and flavours skilfully woven into passages which only lure the firmest attention.

The steely air and textures of The Game come next, its imposing death seeded tones the lead into an infectious shuffle within a fiery web of classic and melodic metal. The song feistily simmers in intensity and attitude, often unveiling a raw snarl to disrupt and complement the more restrained but piercing sonic tenacity entangling ears. Vocals ebb and flow in potency and note, but their element of discord so often only aligns to a similarly striking flirtation in sound.

Both Night Angel and Candlemass push the album to another level, the first a sorrowful piano and melodic seducing which perfectly suits the slow and plain dynamic style of Rusty’s vocals whilst again welcoming the bewitching voice of Lady K. Her appearance so lights air and song that it is easy to wish she was a more regularly hue to the album, it being no coincidence that many of the pinnacles within Ruins involve her presence. The folkish hue and serene elegance of the song’s sound is as mesmeric, potency emulated in its successor for different reasons. The excellent track is a haunting and imposing proposal, its darkly clouded sky and doomy breath invading cavernous like depths whilst colluding with sinister shadows. Yet half way in, a bright light expels XTC like revelry, a wispy charm sparking a fresh turn and endeavour to the tempestuous landscape of the song.

The swift acoustic enticing of Forever reveals the strengths and weaknesses of Ruins in its one minute plus before Matter Over Mind unveils its own creative bellow of imagination and inventive sound. Again thoughts are nudged by bands of the past, March Violets and Fields of the Nephilim whispering in ears as the song takes the listener on its own diverse and absorbing journey, but equally, as across the whole of the album, there is plenty more original ideation and sound going on.

Knowing is another where Rusty’s voice takes attention away from the gentle stroll of music, yet there is no thought of tearing away from his almost mischievous presence, which is good as the song is soon breeding muscle and drama with hungry snarling riffs and quaint melodies. Fair to say it is a song taking time to persuade, winning out by the time Pillow of Silence comes forward to complete the album. It also opens with a mellower air but is persistently brewing up a raw volatile climate which never actually explodes to consume song and senses but ensures even in its closing kiss of beauty, the track has a dark and menacing edge to it.

It is probably fair to say that Ruins will split opinions, mainly when it comes to the vocals. Acclimatising to their peculiar ‘oddity’ is worth the attention though as many songs use them as bold textures to the undoubtedly skilled atmospheres and sounds woven into the album. It is a magnetic and charismatic release making another potent step in the emergence of Rusty Pacemaker. Just one request to the man though, please use Lady K more, and if we dare suggest as the lead as there feels a potential show stopper with her tones leading Rusty’s striking songwriting and sounds.

Ruins is out now via Solanum Records

https://www.facebook.com/rustypacemaker   http://www.rustypacemaker.com/

Ringmaster 21/07/2015

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

 

Officer – Myriads

officer_RingMaster Review

Whether gripping attention with a rousing energy or laying an evocative caress on the senses, Myriads, the debut album from British singer-songwriter Officer, is an emotionally mesmeric and invigoratingly compelling adventure for ears and imagination. It is an exhilarating introduction to one of the most exciting songwriters to emerge in recent times and more than shows why its creator’s fans took it upon themselves to help push the release and artist towards a national recognition.

Officer is the musical moniker of Dc Logan, a musician born into the raw council estate life of Glasgow before spending much of his early upbringing in Northern Ireland during the height of the troubles. With poetry, short stories, and illustration already blooming from his imagination, Logan turned to music from the moment he picked up his father’s old guitar on the night The Good Friday Agreement was laid down. Eventually a move to London ensued and the creation of punk band Colourcode, they releasing a pair of EPs and one album across five years. Also dedicating his time and effort to helping the homeless and poor, Logan’s music and songs continued to evolve and breed their own heart and voice, every experience and aspects of life he has owes and come across seemingly adding another rich hue lyrically and musically to his songs. It has earned Officer a cult following, loyal fans which without the knowledge of Logan united and set up a support network to raise funds for the artist to record and now take his music to the broadest attention. The result is Myriads; a kaleidoscope of life, emotion, and invention which simply enthrals.

The album opens with Laughing Rafters and a gentle, suggestive shuffle of melodic and ambient sound. The potent coaxing is soon embracing the strong tones of Logan, his voice as vibrant as it is melancholic and a captivating mix matching the similarly provocative sounds continuing to brew around his engaging presence. As quickly as the song entices musically, so it does lyrically, an intimacy and easy relatable reflection wrapping every word and syllable. It is a potency fuelling every song in their individual adventures, and here casting a thick croon of folk and melodic rock tempting. Like The National meets Jeff Buckley with a touch of Doves thrown in, the song is a fiercely magnetic start.

Officer cover_RingMaster Review   Glass Ceiling, also from an elegantly restrained start, builds its own drama of sound and intensity next, flowing twists through emotional calms and rousing crescendos colluding for an irresistible anthem for body, emotions, and simply one’s own energy. The song is wholly immersive but with a virulence which dictates body and energy to leave the listener on an inflamed high which the following Can We Talk? tempers with its warm serenade but also continues through its infectiously poetic musical and emotional presence. The song is pure bewitchment, thickening in tone and drama with every passing minute to also leave rich pleasure and fascination in its wake.

As impressive and thrilling as it and its predecessors are, Act of Survival strikes a new plateau of thrills and incitement. Straight away rapier like rhythms pierce strolling melody soaked riffs and chords as Logan’s voice paints another striking and gripping lyrical revelation. The track is glorious, at times finding hues which remind of The Cure and in other moments of bands like British Sea Power and Johnny Wore Black, whilst sculpting its own unique theatre of original songwriting and heart bred enterprise.

The gentle but increasingly tempestuous haunting kiss of One Day comes next, its emotive resonance a lingering hug which eventually makes way for the tenacious and lively roar of The Waters. Again early Cure springs to mind as guitars and rhythms unleash slim but inescapable lures, whilst melodically and vocally there is a Placebo like lilt to the breath-taking waltz. It is a track to get the mind turning and blood rushing through the body, all the better for the inspired almost hidden echo which simply adds an ingenious extra depth to the already full-blooded and rounded, and not forgetting quite brilliant encounter.

Both Ambulance and DATV ensure there is no noticeable dip after such a pinnacle. The first is a tantalising slice of dark folk with a sultry air around shadow wrapped strings and acoustic expression whilst its successor, from the same kind of template, explores an even darker heart enlivened with more of the haunting textures and imagination which Logan has already revealed being skilfully adept at brewing. The pair sublimely entices appetite and imagination before Elisabeth holds ears with a balladry which is as explosive as it is serene. As across every track on the album, resourceful unpredictability and inspired boldness shapes and guides the hypnotic proposal, and again a spellbinding proposition is the outcome.

   My Darling Defibrillator takes us next on another climatic and at times atmospherically sweltering flight of invention and emotional turmoil, the song absorbing the listener in raw and impassioned beauty whilst seducing ears through to psyche, with another major incitement within Myriads.

The album is completed by the thoughtful and provocative serenade of Burst and finally the sonic bordering on harrowing, emotionally imposing AFM. They are two tracks which may not find the heights of those before but bring the album to a hugely evocative closure. Many moons back certain tingles and pleasure was found in the Black debut album Wonderful Life, a solo release which has stayed in thoughts and an ever evolving personal soundtrack ever since with the same potency. Those same ‘chills’ arose with Myriads and it is easy to suspect Officer will become the same kind of persistent encounter for us and a great many more old and new hearts within his already impacting fan base.

Myriads is available from 31st July and can be pre-ordered now @ https://itunes.apple.com/gb/album/id1018844878

https://www.facebook.com/iamofficer     http://officer.uk.com

RingMaster 20/07/2015

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

 

Closet Disco Queen – Self Titled

photograph by Monni

photograph by Monni

There must be very few musicians who have bewitched and ignited our ears and senses more than Jona Nido and Luc Hess, and across as many projects. Seeing their names with a band or release stirs up an instant appetite to learn more, all thanks to previous triumphs and dramatic incitements from the likes of Coilguns, KUNZ, The Ocean, The Fawn, Schwarz and…well the list gets longer by the month it seems. Now the Swiss pair has unveiled another fascinating and virulent tempting under the guise of Closet Disco Queen and with a self-titled debut album. Consisting of seven instrumental progressive/psych explorations bred from a fusion of seventies blues rock, stoner and psychedelic rock, kraut and groove rock, to suggest some of the rich hues woven together, the album is an adventure which at times plays like a bedlamic dance party and in others a journey into the darkest, most haunted corners of the soul. Predominantly though it is rock ‘n’ roll to lose yourself within and another inspiring proposal from the sonic and rhythmic imagination of Nido and Hess.

The La Chaux-de-Fonds based pair open up their album with Hey Sunshine! and immediately have ears entangled in a web of melodic and sonic enterprise pierced by sinew swung rhythms. Grooves just spring from the fingers of Nido, instantly pushing away any inhibitions in the listener’s body left from trying to resist the anthemic and intensive shuffle cast by Hess. The music’s unbridled contagion is matched in impact by its smouldering seduction, both ignited further by the spatial warmth and mystery soaking the enthralling start.

The piece flows straight into the dark, haunted embrace of What’s Your 20? next, where compelling yet intimidating shadows ride a raw sonic mist. It immerses ears in a stark yet strangely alluring ambience for a flight into the hidden; a spellbinding slip into the darkest corners of the imagination preying on emotions and the psyche with every provocative breath. It is also the gateway into the instantly dramatic and rousing Caposhi, another heavy duty incitement to send the body squirming and writhing to its virulent drone and hypnotic tapestry of sultrily persuasive noise. The track is pure addiction, a consummate violation and puppeteer of flesh and greed through searing temptations around a robust spine.

    A brief sigh of frustration in its leaving escapes as the track twists into the warped rock ‘n’ roll feast Catch You On The Flip Sid, but that is soon forgotten as the new proposition reveals its own rhythmic jungle and sonic trespass sculpted by the psychotic invention of either geniuses or mad men; you will surely choose as the song creates its own asylum of sound and creative mayhem. It is jazzy and funky, avant-garde and psychedelic, all on another seriously enslaving rhythmic tango from Hess, and at nine minutes there is no complaint it has not given the fullest thrilling work-out for ears and soul.

Closet Queen Disco_RingMaster Review     The Shag Wag is soon brewing up its rich and ravenous blues rock blaze, from gentle flames bursting into a furnace of old school and modern rock ‘n’ roll. It is just as potent when slipping into gentler sighs of sound and energy too but at its best when sizzling on the senses and sparking the listener to get fully involved physically and emotionally. Rock music does not get much more incendiary and gripping than this, or frenzies as mouth-watering.

The duo stay with a blues bloomed tone and texture with next up IYD (In Your Dreams), the melancholic caress of the track spun on a sonic breeze of blistering sound and emotive theatre. Though the piece does not ignite the same intensive reactions and endeavour as other encounters within the release, it is an absorbing sea of invention to wallow in and set up the similarly but more imposing soundscape of Black Saber. The closing song expands and blossoms to greater intensity and emotion the essence of its predecessor, and fair to say that blues kiss is another highly emotive shimmer on the surf and psychedelic coloured investigation employed by the track. Across over eleven minutes, the constantly hinting and generally restrained volatile heart of the track does eventually erupt and steer the track into fresh and exhilarating tempests. Every moment sparks a new hunger in ears and appetite, and making its long length a swift passing of dramatic time.

It is probably fair to say that the first half of the Closet Disco Queen album had the biggest and fiercely lasting impact but even its latter trio of creative alchemy and dark fiery emotion alone only ensures the parting thought with every listen is give me more please. Together all tracks just confirm Nido and Hess an adventure which never stops evolving or getting bolder and more impressive.

Closet Disco Queen is available now on ltd 12” clear orange vinyl through This Charming Man Records, Division Records, and Hummus Records and as a name your price download @ https://hummusrecords.bandcamp.com/album/s-t-5

https://www.facebook.com/closetdiscoqueen

RingMaster 18/07/2015

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

 

RazorRape – Orgy In Guts

Bandphoto Studiocrew_RingMaster Review

Sure to split as many opinions as it will ear drums, the new album from Swedish metallers RazorRape is one riveting horror show of visceral intensity and sonic pestilence rapped in carnivorous grooves and a vocal delivery bred from the fiercest wildlife. A fusion of death metal and gore grind further loaded with a creative devilry best described as an aural equivalent of a Hieronymus Bosch painting, Orgy In Guts sees the Malmö duo of drummer/vocalist Martin Schönherr and guitarist David Mauritzon dripping blood, sex, and mayhem from every savaging masquerading as songs. It quite possibly is the band’s finest moment; certainly it is their most compelling, starting immediately with the outstanding Illustrious / Robert Zimmermann created cover wrapping its torturous landscape.

From opener Bonesaw Facefuck, band and album descend on ears and psyche with brakes locked off, the track unleashing a violent tirade of rabid riffs and corrosive rhythms. It is soon breeding increasingly enticing if senses searing grooves whilst vocally Schönherr spills his guts, though as hinted in the song and more inventively across the whole of the album, there is a rich and powerfully pleasing diversity to his delivery which at times even outshines the musical variety on show. Lyrically who knows, words all come out as a pestilential torrent of texture and sound. We cannot even say if it comes in Swedish, English, or Mongolian but we can testify it, as the ravenous sounds, just gets under the skin to spark ears and imagination.

The impressive start continues through both A Beast of Human Waste and Holy Gory Glory Hole, the first a predator from its first breath and growl. Staggered swings and riffs merge to share the assault with all out ferociousness across an ever developing scenery, the track inventively mixing up the carnal savaging before its successor thrusts the listener into a sense stripping, flesh devouring, sonic wind-tunnel. It too is unafraid to fling a tangy groove into the tempest as well as jumble up its gait and fury to fine effect.

RazorRape - OrgyInGuts COVER_RingMaster Review     As with numerous similar genre offerings, there is a surface similarity which often cloaks the individual character of some songs but as incitements like Spinal Cord Impalement and Vomit Drenched In Mucus reveal, let the ravishments consume, and at times numb, whilst delving deeper into the slamming turbulences only leads to the discovery of generally unique identities. Both tracks offer such proposals, they as next up Choking On Feces and indeed the album’s title track, sharing many traits within their unbridled riff driven hostility but equally uncage plenty of twists vocally and musically to set each aside of another.

To be honest at this point RazorRape have got the job done in drawing plaudits and appetite but they only dig deeper, the previously mentioned song Orgy In Guts an offal strewn bloodbath of sound raising the ante before Black Flood Of Body Fluids swings its thick bones and pus spewing animosity in a rancorous swagger complete with sonic and acidic corruption. As great as they are both have to submit to the glory of the outstanding Bitch Butcher Boogie, a song best described as Cajun grind. Throwing itself on to ears with a rockabilly groove aligned to country bred melodic flames which further erupt within its nefarious shuffle, the track provides two minutes of dirty, insidious, and mercilessly addictive primal depravity.

     It is a pinnacle few tracks can match though the likes of the breath-taking, energy eroding Grinding The Dead and the just as hellacious but even more merciless and crushing Rampage In Red give it a more than fair try whilst Rot In Excrement crawls over the remains with its scourge of sonic malevolence and cancerous devilment.

Lady Gagball comes equipped with sonically toxic but contagious grooves which wind around a leering wall of rhythms and riffs. There is great bedlam to the song, especially with the unpredictable and psychotically varied delivery of vocals, which helps provide another major moment upon Orgy In Guts before Hey Whore, Let’s Gore storms over and chews up the barricades with its addictive violation of body and soul.

The album closes with Tennis Racket God, the only track which does not quite work for these ears, RazorRape offering a classic metal spawned finale with relatively clean vocals and melodic tempting. It is a fair enough offering which is easy to go with but within its first half minute a longing for the return of the sonic bloodletting and swinish/ throat blistering squeals and growls were steering reactions.

Nevertheless it cannot derail a thoroughly punishing and enjoyable trespass on the senses from RazorRape, Orgy In Guts providing grind in any shape it comes something to get down and relentlessly boogie with.

Orgy In Guts is out now via Rotten Roll Rex @ https://rottenrollrex.bandcamp.com/album/orgy-in-guts

http://www.facebook.com/RazorRape69

RingMaster 17/07/2015

Copyright RingMaster: MyFreeCopyright

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Between the Buried and Me – Coma Ecliptic

Pic by Justin Reich

Pic by Justin Reich

 

It is tempting to call the Between the Buried and Me music a kaleidoscope of sonic and inventive hues yet that suggests a randomness which certainly does not apply to their persistently compelling and dramatic explorations. In saying that though, there is an organic unpredictability which seemingly evolves on its own so that at times you wonder if the band knows what is to emerge any more than the listener. And so it is with their seventh album Coma Ecliptic, a series of gloriously imaginative plains of roaming sounds and immersive textures which whether a BTBAM fan or not is seriously compelling, that together create an epic emprise of aural fascination which is either creative ingenuity or insanity.

It is easy to see Coma Ecliptic splitting opinions though hard to imagine many dismissing its technically immense, musically explosive, and rivetingly captivating journey out of hand. Equally the reference to it being like a rock opera does it no favours, certainly with those like us instantly cringing at the thought and term, but assumptions should be cast aside as, even though there are indeed moments of indulgences and flamboyant enterprise, the concept album is bred from the same template of musical and lyrical probing that made previous release The Parallax II: Future Sequence so bewitching and thrilling. It is a whole new beast of course bred from the similar seeding which unites all the band’s releases, but BTBAM doing what they do best, tearing up their own rulebook with zeal and tenacity.

Lyrically Coma Ecliptic follows a single protagonist who stuck in a coma travels through his past lives, each track an individual episode set in “a modern day, sort of The Twilight Zone-esque” world. In each place he can choose to stay or move on to search for a better place, ultimately being met with the ultimate question life or death. The rest is for you to find out but in true BTBAM fashion, the lyrical side of the album is as involved and time consuming to reap its full rewards as the music. There are a few things to pull Coma Ecliptic up on, if you wish to be over analytical and demanding, but like the best sci-fi/fantasy movie, run with its liberties and proposition rounding flaws, and unbridled pleasure through full-blooded adventure are the rich prize.

Cover_RingMaster Review     Opener Node cups ears in a gentle yet emotive touch of keys, Tommy Rogers’ fingers and voice swiftly stroking ears and imagination even before melodies broaden and their elegance mesmerises. The melancholic air of the song has its own ethereal light and hope, album and band immersing the listener into the realm of album and story with sublime ease, even adding Queen-esque flames of epic tones and sonic grandeur to striking effect. It is a potently enticing start which slips into the theatrical and magnetic embrace of The Coma Machine. Many have compared the album and some of its textures and flavours to bands like Dream Theater yet aside from the unavoidable uniqueness of BTBAM, here and often across the album Australian progressive metallers Voyager nudge thoughts. The track ebbs and flow in energy and rousing intensity as it explores its and the story’s depths, and is just as enthralling as it writhes with majestic imagination, whether in a gentle hug of a croon or roaring with aggression and passion.

Dim Ignition emerges from an electro bubble next, synths a lively and nagging simmer within drummer Blake Richardson’s increasingly intimidating rhythms. The song flows into the immediately darker hued Famine Wolf, portentous and ever gripping bass tempting from Dan Briggs alongside just as shadowed keys, their haunting smothering consuming the senses for the ever spellbinding craft and invention of guitarists Paul Waggoner and Dustie Waring to exploit and shape further. The track’s early predator like union grows from one relatively inviting premise to a volatile incitement, with Rogers vocally entwining his superb clean and just as impacting raw metalcore seeded deliveries to match the sounds. The track is thoroughly absorbing, even making its less than seamless slip into a jazzy, psych rock like twist work perfectly and never relenting in making every minute unique from another.

As outstanding as it is though, King Redeem / Queen Serene steals the show, growing from the departing breath of its predecessor into a tempest of pop, funk, melodic revelry, and ravenous metal ferocity; every aspect fuelled by a contagiousness which simply intensifies with every elevation of aggression and invention. Imagine spilling the essences of Periphery, Society 1, and Cardiacs into the BTBAM mix and you get something close to this exhilarating encounter.

Both the imposing Turn on the Darkness and fascinating The Ectopic Stroll keep the fires of serious enjoyment burning, the first at times bordering on the bestial as its landscape savages as siren like seduction joins in equal creative measure. Its successor explores a dance seeded gait and scenery, piano keys a punchy spark to the tenaciously evolving avant-garde landscape, and both songs, but especially the second, tempestuous weaves of expansive flavours, styles, and bold intent sculpted by musicians openly at the top of their game and imagination.

     Rapid Calm brings a spatial yet melodically and emotionally intimate proposal forward next with mellow vocals, harmonies, and keys the warm serenade to the carnivorous walls and depths soaked in challenging intensity lurking and eventually exploding from deep within. Bewitching hardly does the song justice but that is what it is as it wraps its mesmeric and often rabid charms around ears and thoughts. Coma Ecliptic is undoubtedly an album which challenges and involves both aspects with every second, it shown again with Memory Palace and after that Option Oblivion. The first of the pair is soaked in blues and funk rock resourcefulness, a folkish festivity also getting in on the persuasion as the song traverses through ten minutes of instinctive and virulent creative alchemy whilst the second is like looking into a fire, every flame of sound distinct to another yet perfectly aligned in one senses sizzling incitement.

Coma Ecliptic is completed by the emotionally rousing Life in Velvet, another fusing intimacy with grander winds to fine effect. The intoxicating Jamie King produced album leaves the richest hunger to hear and learn more, which is lucky as like their other encounters, it is a proposition which needs numerous plays to really get into its constantly revolving corners and levels, our words above barely scratching its surface let alone depths to be truthful.

The best album from Between the Buried and Me to date?…Well it has to be seriously considered and argued over but there is no denying this is another major success and thrill from the band which their fans will get lustful over and others will at least offer a thick complimentary smile or nod.

Coma Ecliptic is available now on Metal Blade Records @ http://www.metalblade.com/btbam/

http://www.betweentheburiedandme.com/   https://www.facebook.com/BTBAMofficial

RingMaster 14/07/2015

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