Where Giants Once Stood – Live Above EP

WhereGiantsOnceStood-Promo-LoganLights-1-HiRes

The word in the ear before making our introduction with Canadian metallers Where Giants Once Stood through their new Live Above EP was that this is a band striding the lip of major things. Having been buffeted and captivated by their new four track proposition it is easy to see why the keen buzz around the Toronto quartet. The release brawls and seduces with equal success and potency, its tracks each an unpredictable and exhaustive adventure which lingers to inspire swift and regular returns to their persuasion. The band merges a wealth of styles and flavours into their imagination igniting metal and though some tracks excel with the passions stronger than others, there is no escaping the constant magnetism and voracious enterprise of the band.

Drawing ever increasing attention and acclaim through their live shows, which has seen them share stages with bands such as Born of Osiris, Veil of Maya, Chelsea Grin, Iwrestledabearonce, and Beartooth, Where Giants Once Stood made a powerful mark with The Changing EP. It set the band out as having the potential to ignite major fires within metal and Live Above does nothing to deter that suggestion, instead pushing the band’s sound and presence to even richer heights. Produced by Jon Howard from Threat Signal, the EP roars with passion and invention from its first breath, driven by metal which is as transfixing as it is aggressively bruising.

New single Living in Security opens up the fury, its heart soon raging from within the initial sonic coaxing which starts the track off. Riffs swiftly create an imposing wall of vicious stabs aligned to the hostile beats of drummer Austin EP COVER - Where Giants Once Stood - Live Above 2014Hamilton, before exploding into a magnetic stride with a swing to the grooves and rhythms and raw passion to the vocals of Reshaun Page. It is a blistering persuasion which continues to twist and evolve with every passing stretch of chords and sonic endeavour, and increase in temptation as the impressive angst soaked squalls of Page pass over parts of the song to the outstanding clean vocal tones of guitarist Jordan Turnbull backed as potently by those of rhythm guitarist Scott Major. Entwining melodic and progressive bred metal with metalcore ferocity and antagonism, the song is as resourcefully contagious as it is dramatically sculpted, Turnball igniting its air and canvas with some delicious and exceptional creative string skills.

Every second of the track is an imaginative and startling emprise, never allowing thoughts and expectations to settle. It is as much an impressive part of the song as the sounds themselves; that ingenuity continued with Illuminate and subsequently the rest of the release. The second track makes a less hostile entrance, mellow croons casting the first tempting before Page rages impressively from within the swirling warm maelstrom of sound. Expanding with tempestuous animosity and seduction combined, the song squalls and seduces with its emotive and physical turbulence whilst engrossing ears and thoughts with the tenacious skills of each member. Maybe without the final spark which makes its predecessor so incendiary, the track still sparks another vein of hunger in appetite and emotions before drifting off for The Damaged to begin releasing its sonic lures and voracious narrative. A virulent infectiousness roams the chorus whilst a spiteful but riveting toxicity soaks every scarring riff and syllable of the vocal malevolence. As by now expected, the song moves through more revolutions and curves of sound and ideation than a swing door, again thoughts bewitched by the entwining strands of widely varied metal weaved into the masterful and irrepressible incitement.

The release ends with the exceptional Myths Lies And Crimes, a track which is mouth-watering in its tapestry of sound and invention. At its core, the track is like a meeting of August Burns Red and Trivium under the influential potency of My Chemical Romance at their early best. It is as fascinating as it is dominating, a sensational encounter which like the EP as a whole, leaves ears ringing, thoughts full, and emotions greedy for more.

Whether the Live Above EP is your introduction to Where Giants Once Stood or the next instalment on the journey already embraced, it thrusts the band to a new dramatic and impressive status within metal. Canada’s creative sons could and should be devoured by the wide metal world thanks to the EP and if it is not now, certainly it is easy to expect it at some point in the near future.

The self-released Live Above EP is available now @ https://itunes.apple.com/us/album/live-above-ep/id907144882

https://www.facebook.com/wheregiantsoncestood

9/10

RingMaster 04/09/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

 

The Slang – Self Titled

The Slang - Promo Photo 4

Creating a resourceful embrace of alternative rock with a healthy whiff of power pop to its smile, US rock band The Slang show themselves to be one flavoursome and captivating proposition with their self-titled debut EP. Bringing together five songs which bounce with infectious energy whilst casting a gentle expressive caress of warm melodies, the release is a thoroughly satisfying encounter which does not startle but certainly sparks a lingering appetite for its qualities.

Hailing out of Columbus, Ohio, The Slang has already drawn strong attention with their vibrant sound which takes inspirations from artists such as Johnny Cash, Tom Petty, Pete Yorn, Bill Frisell, Rage Against the Machine, and Muse, whilst their songs have found themselves placed in various shows and movies from the likes of HBO, USA Network, and Troma Films. The EP is their next big step into the world and it is easy to expect the release pushing the band into an even hungrier spotlight.

From the opening plucking of guitar strings from John Bobo, first song Far From Over nudges attention awake, swiftly securing its full attention with magnetic keys and inviting melodies. It is a potent start enhanced by the firm beats ofSlang_EP_Album_Cover Michael Dillon and the appealing darker tone of bass from John Newsome. The song relaxes into a masterful stride as the vocals of Bobo bring another impressive texture to the song within the interwoven colour of his keys and guitar enterprise. The track is an enchanting temptation but one with a feisty edge and attitude to its gait and passion which only increases its gripping presence. There is also a sultry twang to certainly the keys and some of the engaging melodies which kiss the imagination, a lure offered again in the next up Rule The World. The second song opens almost identically to the first, plucked strings making the initial enticing. Bobo’s vocals make a swifter entrance though, taking the ears into a more unruly eruption of sound and energy. Its opening bait though never relinquishes its coaxing, persistently underlying the blossoming melodic hues and emerging emotive beauty of the song. Maybe a slightly slower persuasion than its predecessor, the track grows into another big highlight within the highly pleasing release.

One Step At A Time comes next bringing a tender balladry of whispering suggestiveness from the keys and crystalline melodies from the guitars. As shown in the previous tracks, there is always a vein of sinew sculpted tenacity around and here provides a fiery intensity and passion to the smouldering for another increasingly persuasive proposition, its every minute and listen taking it to stronger heights and success.

Its successor Feels Like Work is another which takes a little time to wholly persuade, though from its first outing the song treats ears and thoughts to a highly agreeable exercise in accomplished songwriting and greed inspiring hooks. Newsome and Dillon craft an inventive cage to frame the song, at times jabbing eagerly and in others making a firm but less demanding suasion, whilst the keys and guitar of Bobo spin a web of melodic reflection and evocative adventure matched by his increasingly impressive vocals.

The EP is brought to a close by Find A Way, a respectful hug of sound prone to burst into a feistier swagger and expulsion of emotion. It is a fine end to the release, if lacking the spark of its predecessors, which reinforces the appetite raising introduction to The Slang. The EP as said earlier does not blow ears and emotions away but easily awakens a keen interest and want to know and hear more from a band with the potential to forge a successful future.

The self-released The Slang EP is available now @ https://itunes.apple.com/gb/album/the-slang-ep/id899245548?ign-mpt=uo%3D4

http://www.theslang.com

8/10

RingMaster 05/09/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

 

Dark fires and blazing shadows: an interview with Andrew D’Cagna of Brimstone Coven

brimstone-coven_photo01

Retro heavy rock and metal is flourishing right now through a host of inventive bands and they do not come more compelling than Brimstone Coven. Offering plenty more than just retro rock and doom in their attention grabbing sound, the dark occult rock band is a proposition which roars and seduces with songs which rigorously awaken the imagination and flirt with the passions. Their signing to Metal Blade Records has brought the release of a self-titled album which brings together the band’s earlier EP and first full-length in one richly satisfying place. We set about finding more about the West Virginian band with the kind help of bassist Andrew D’Cagna who talked origins, their link up with Metal Blade, dark influences and plenty more…

Hi Andrew and welcome to the site, thanks for taking time out to talk with us.

Can you let us in on the origins of the band and how the line-up met and linked up?

Thanks for having us! We have all known each other for years and have been in different bands of various styles over those years. Corey started this project and hand-picked us as his ideal line-up for Brimstone Coven.

Is Brimstone Coven the first adventure for you all?

Far from it. We are all in our 30s and have been involved in live music performance for our entire adult lives. We all lost count on how many musical ventures we’ve been involved in years ago.

Was there any specific intent with the band and early songs either in sound or direction?

Yes, Corey was very specific about his vision of what he wanted this band to be. He is the primary songwriter and we normally just replicate what he plays on demo songs and refine them from there

Has that ideation evolved dramatically since or is it still the core spice to Corey and the band’s writing etc.?

Not really, the vision has always remained the same. The songs have definitely matured as one would expect but our course has been steady since day one.

There is a vibrant surge of bands re-visiting retro hard rock and doom and fusing it into their own imaginative flames of sound. Have you sensed this from in the midst of the psychedelic and occult rock scene which seems to be healthily BC1emerging?

Yes, we are definitely not the only ones playing this type of music. The retro rock resurgence is in full swing and there are many great new bands playing old sounding music. I think it’s a much needed breath of fresh air in a scene of sterile music.

Your sound has been called ‘Vintage’. A tag which you feels suits?

Yes it definitely suits us. I would not classify us as Doom Rock, or Stoner/Fuzz. We call it Dark Occult Rock, but we are perfectly comfortable with being called Vintage Rock.

How do you see your sound predominantly differing and equally fitting in from the current doom rock landscape?

I think we are much more akin to the old psychedelic rock of the late 60s/early 70s. We are not quite as “heavy” as a lot of the bands out right now. It works to our advantage, because not being as heavy sounding opens us up to a wider audience than others.

You have just released your self-titled album, which brings your debut EP and first album II together for the first time via Metal Blade Records. Why, the certainly not unwelcome re-appearance of the previous releases in one package, rather than a new encounter with the label first of all? Just because of the lack of availability of the records from the first time around?

That was the label’s idea. We think all of that material is strong enough for the world to hear, and so did they. We are glad they made that decision, since a lot of people never got to hear our earliest material.

Are there swift plans for something new afoot you can reveal?

We are in the process of writing a new record, and to us it’s the best material to date. It sounds like the next logical step for Brimstone Coven. we cannot wait to let everyone hear it.

How do the impressive songs on the album differ to those you are writing nowadays? Is there any particular evolution in songwriting and sound for us to anticipate?

Expect more diversity, more evil and more psychedelia. If you like the material on our first two releases, we are sure you will love the new stuff.

995050_535639966538281_9016194066946179997_nCan you give us some background to the EP and album making up the album? What was the creation and recording like at the time and in hindsight anything you wish you could hone a little more now?

It was a fun and simple process. A lot of the recording was done live, and that’s the way we prefer it. Looking back, there isn’t anything we would change about those songs or the recordings. They came out exactly as we intended.

I assume the opportunities in the creating a release with Metal Blade’s support will be a big new step for you. What are your hopes and anticipations for that experience?

We hope to reach as many new fans as possible, and so far the label has been an immense help with that. We wouldn’t be doing this interview with you right now, had it not been for Metal Blade. We are truly thankful for this opportunity.

What have the benefits been already from linking up with the label? Has it given the band a dose of wider attention just from being in their roster?

It’s been great so far. The European press has been especially kind to us.

Back to the album, have you tweaked any of the tracks on it or is it a straight transplant of the previous records?

All we did to release the songs on Metal Blade was to re-master the songs onto one recording. We also re-packaged the layout and added new artwork and photos.

How does the songwriting come about predominantly in the band, musically and lyrically?

Corey writes 99% of all the music, and we just follow his lead. There are a few new songs we have begun to collaborate on, but the songs and the feel are still the same.

Any specific inspirations which has made the biggest impact on both those aspects of the songwriting and your creative thoughts generally across the band?

We draw influence from many things. There is no shortage of themes to draw inspiration from.

The band hails from Wheeling in West Virginia. I know little to nothing about the town/city so is there a healthy music scene around the place and of metal/ heavy rock in particular?brimstone-coven_photo02

There are a lot of great bands in our small little area. All the musicians here are very talented and bring a lot to the table. I am sure you will be hearing more great music from this area in the very near future.

How about dubious and darkly shadowed goings on there, which may have sparked some lyrical incitement?

We tend to dwell on the darker side of life when it comes to lyrics. They are mainly occult themed, but not exclusively. Anything dark and mysterious makes for good lyrical inspiration in this band.

What is next for Brimstone Coven?

Writing, recording and performing are all in the works for the future.

Once again a big thanks for bearing with our questions. Have you any last thoughts for the readers?

Thanks for having us again, it’s been a pleasure. And thanks to all our fans who support in any way they can, we love you!

Read the review of Brimstone Coven’s self-titled album @ https://ringmasterreviewintroduces.wordpress.com/2014/08/06/brimstone-coven-self-titled/

http://www.brimstonecoven.com/

Pete RingMaster

The RingMaster Review 04/09/2014

 

New Jacobin Club – Soldiers of The Mark

group2014sharp

Photo credit: Kathryn Trembach

It has been four long years since the release of the attention gripping and highly enjoyable shock rock opera This Treason but at last Canadian gothic rockers New Jacobin Club return with its successor, the equally thrilling Soldiers of The Mark. A leaner and more creatively aggressive encounter which leans arguably more to the horror punk side of the band than the band’s previous releases, it still voraciously embraces the theatrical drama and gothic elegance which is the trademark of the band and what sets them apart from the crowd. Soldiers of The Mark is overall though rock ‘n’ roll at its best, the band employing a wide range of flavours and styles in the body and musical narrative of a concept album which is sure to leave fans and newcomers even hungrier for the band’s inventive contagion.

The brainchild of vocalist/guitarist Xerxes Praetorius Horde (aka The Horde), the Saskatoon band emerged in 1995 as a trio but had expanded in sound and size to a ten-legged tempest of unique incitement and expression by the time of their self-titled debut album in 2001. Fourth full-length, This Treason saw the band as a seven-piece unit pushing their sounds to new depths and heights whilst live, and often accompanied by the performance artists known as the Angry Teeth Freakshow, New Jacobin Club became renowned as not only one of Canada’s but metal’s most startling and exhilarating live acts. Across the years their reputation has continued to grow as the band shared stages with the likes of KMFDM, Voltaire, The Groovie Ghoulies, Nashville Pussy, and The Nekromantix amongst many. As mentioned it has been a fair gap between albums but Soldiers of The Mark shows the band has lost none of its potent visual and musical temptation but with a new line-up honed it into a more diverse and seductively predatory proposition.

Themed by the riveting premise that “a Turn-of-the-Century Gentleman’s Hellfire Club holds meetings and conducts depraved rituals to help bring about the end of the world as described in the Book of Revelations”, the album opens with The Mark. Instantly intrigue drapes over firm beats and a hazy glaze of guitar and keys which themselves hang over the imagination, coaxing thoughts to swiftly play with their tempting. It is a slow and strangely intimidating atmosphere initially but soon stirred up and twisted into a hungry charge of raw riffs and thumping rhythms led by the distinctive snarling vocal charm of The Horde. There is no escaping the tracks infectious primal bait or the emotive elegance of cello from The Luminous which strokes thoughts from within the striding persuasion of the song. Not for the last time on the album, a Misfits like breath flirts with ears but as a passing whisper immersed in the exotic imagination of the band, its hints pale against the bewitching theremin skills of Poison Candi and the dark emotive shadows cast by the cello. Driven by the stomping beats of drummer Rat King and further coloured by a punk tenacity bred by the guitar, the track is a compelling start to the album and immediate declaration that New Jacobin Club are back better than ever.

A classical stroke of guitar strings brings the following Parade of Innocents potently into ears and imagination, it’s slightly Latin hue evolving into a magnetic mesh of sinew sculpted beats and reflective melodies which are soon PromoImageabsorbed in the drama laid by the keys of Mistress Nagini and the throaty bass lures of The Ruin. It is an enthralling start which expands into a mix of Type O Negative and The Damned to give some idea of the delicious presence of the song. As with any NJC track though every moment is just an individual turn in its journey and narrative, a fresh twist coming here through the vocal temptation of Poison Candi which seizes the centre stage. Musically the song turns and swings with sonic ingenuity and invention from all sides yet that slimmer feel and texture to the song talked of earlier is evident showing that the band’s songwriting has again remarkably matured between releases.

Champagne Ivy brings fifties seeds to its gothic punk presence, its bass and cello croon casting shadows which are simultaneously lit by the swagger of the guitar and the band’s vocals. Again it is just one aspect as heavy metal riffing teases ears within a theremin swoon and darkly stringed seduction, producing a Volbeat meets Mötley Crüe incitement but different again. Its masterful enticement is soon left in the shade by Angel MMXIV and even more so A Grey Day to Die. The first of the pair is led vocally by Poison Candi and also parades heavy metal flames this time on a short but pungent gothic horror punk canvas. It is raw and unfussy, pure rock ‘n’ roll to greedily devour before the bigger meal of its successor. The second of the two roars and threatens in one breath and then unleashes some of the catchiest gothic pop enticing you could wish for. King Rat punishes the senses with his venomous swings whilst riffs growl with every note as the bass prowls the senses but it is only matched and enhanced by the virulent chorus and its anthemic contagion musically and vocally. Imagine Calabrese and March Violets in league with The Creepshow and you get an idea of the addictive majesty.

From one pinnacle to another as Into the Fire steps up next, a gentle provocative caress of chords and the melancholic beauty of the cello warming thoughts straight away. It is a transfixing entrance which only grows as romantic melodies and expressive shadows grip the song and ears. Like a bridge to This Treason, the song of all upon Soldiers of The Mark draws on the resourceful gothic rock invention of previous albums whilst exploring a fascinating rock pop and progressive ideation.

The fiery sonic mystery of Garthim makes for the next compelling endeavour. Bringing a texture rather than narrative, vocals talk from a distance, submerged in the gripping and haunting instrumentation which spills menace and apocalyptic beauty. It is a track for the imagination to run with for varied exploits, every swerve of its almost hostile causticity and its persistent melodic intrigue setting up the appetite for the outstanding romp of My Smile. Folkish in its infectious charm and rockabilly like in its tenacious enterprise, the track bounces around like an offspring of The Horrorpops but tempers its revelry with the mesmeric emotional drama of the strings and gothic keys alongside the sheer inescapable seduction of the theremin.

The album ends as strikingly as it starts with firstly the exceptional Seal of Metatron igniting the passions. With sonic washes lapping senses from time to time, the song is an aggressive yet controlled storm of heavy rock and gothic passion which takes every opportunity to wrong foot and surprise ears and thoughts with its innovative exploration. Its scintillating proposition is backed up by the irresistible rock ‘n’ pop of Return to Eden. With the cello melodically sighing around the pop vocal delivery of Poison Candi, the song instantly seduces before firing up feet and emotions with its unstoppable contagion. The track is gloriously mischievous in tone and vivacity, reminding easily of The Rezillos, yet has a psychobilly edge which only pushes its drama to richer success.

Soldiers of The Mark is New Jacobin Club at a whole new level. The band is still one of gothic rock’s finest protagonists but the band has now set down firm marks in rock ‘n’ roll a whole with rewarding recognition surely set to follow.

Soldiers of The Mark is available now digitally, on CD, and as on 12″ Vinyl with a hardcover companion book @ http://www.newjacobinclub.com/webstore

http://www.newjacobinclub.com

9/10

RingMaster 03/09/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

The Black Waterside – Self Titled EP

10431485_620541601398113_6020783093786604949_n

Like a bottle of fire breathing bourbon which as soon as you take a taste you are addictively hooked, the sound of UK rockers The Black Waterside instantly grabs the balls and passions to create a lustful understanding and hunger. Fusing the richest spices of blues, psychobilly, Americana, and vintage rock ‘n’ roll then fuelling it with a modern attitude and aggression, the Kent band has created a unique and ridiculously flavoursome proposition in sound and their self-titled debut EP. It is a masterful blaze of dirt encrusted and grouchy rock ‘n’ roll with irresistible drama and pure devilry to its every note and syllable, and simply irresistible.

Formed in the latter stages of 2011, The Black Waterside draws on inspirations from the likes of Tom Waits, Sun House, Kill It Kid, The Cramps, The Clash, The Black Keys, and Led Zeppelin to create a fascinating and explosively provocative sound as evidenced by their thoroughly impressive EP. Imagination and passions drips off of every skilful chord and rhythmic swipe emulated by the great grizzled tones of vocalist Adam Bray and the riveting canvases of the songs themselves. They are dark adventures which are as unpredictable as they are imposingly dramatic and incendiary to the imagination, and all irreversibly compelling.

A ‘vintage’ radio introduction to the band sets the opening shot of Four Minute Warning! in motion, before ragged riffs and beats instantly ignites senses and appetite with their rockabilly snarl. The gravelled tones of Bray soon covercountdown the full force of the song from within its initial addictive bait, the guitars of Holly Kinnear and Dan Lucas dancing feistily across ears as the throaty lure of Joe Whalen’s bass adds another delicious texture and enticement to the swiftly enslaving song. A blues swagger and breath cloaks the bouncy stride of the song, similarly spicing up the flames of enterprise and sultry designs of the guitars. It is an anthemic treat; feet governed and urged on by the thumping beats of drummer Jim Davies whilst body and passions are led into salacious endeavours by the swinging groove of the song.

The sensational start is matched by Whorehouse Down On The Southeast, another immediately fascinating and enthralling proposition. The track makes its own captivating start, though this time there is grouchiness to the vocals and rhythmic enticing which is no less inviting than the more embracing start of its predecessor. A hungry scything of electrified riffs ignite on the senses from virtually its first breath whilst rhythms tumble relentlessly to incite another wave of hunger in the passions. There is no escaping the trap for thoughts and emotions, especially with the entrance of the increasingly potent roars of Bray backed this time by the just as potent and gripping vocals of Kinnear. It is a powerful mix matched by the increasingly thrilling blues vapours and contagious twang which breeds its own temptation within the explosive track. Like Seasick Steve meets Tom Waits at the instigation of The Reverend Horton Heat, it is another striking and virulent contagion to devour greedily.

   Brand New Cadillac has that psychobilly tang and swagger which never gets tiring, a confident rebellious stride entwined in guitar and bass grooves which flirt with every note of their wonderfully toxic tempting. There is much more to the song though, a surf wash of acidity and an imposing cloud of garage punk bringing dramatic textures and diversity to the stunning track. As hot and heavy as a vat of blazing liquor and passionately intensive, the track is pure infectiousness and wholly enthralling, especially in its closing twist where Bray shows the qualities of his clean delivery in a simmering bed of emotive seduction.

The release closes with Wrong Side Of The Track, a slow crawl of blues fire which croons as it wraps a sizzling sonic and lyrical narrative across the imagination. A real slow burner in comparison to the previous tracks, it evolves and increases its potency over its length and time, showing further creative depth and musical invention in the band which can only lead to excitement and demanding anticipation for their subsequent adventures.

A must for every fan of blues and psychobilly too quite simply rock ‘n’ roll, The Black Waterside is a lustful addiction just waiting to offer you its first inescapable lure.

The Black Waterside EP is available now @ http://www.theblackwaterside.bandcamp.com

https://www.facebook.com/theblackwaterside

9/10

RingMaster 02/09/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

 

Heboïdophrenie – Origin Of Madness

456576_353179148069194_36740449_o

It may not be healthy and it most probably will end up in physical damage of some sort or another but being ravaged by French metallers Heboïdophrenie is one of our new favourite pastimes thanks to their debut album Origin Of Madness. A mercilessly brutal and carnivorous onslaught of death metal which has been equally bred from the seeds of thrash metal whilst employing certain deathcore voracity, the release like the band’s sound, is an exhaustingly uncompromising and almost theatrically creative savagery which sets senses and imagination afire. Whether the band is carving out sonic atrocities which are as original as they could be can be argued but it is certainly one of the most demandingly satisfying and enjoyable extreme metal releases in recent years.

Erupting from out of Bordeaux in 2010, with influences from the likes of Vader, Cannibal Corpse, Ingested, The Black Dahlia Murder, Meshuggah, Cerebral Bore, Whitechapel, Carnifex, and Kataklysm raging in their own depraved invention, Heboïdophrenie were soon ignited local stages and gaining a potent reputation with their live shows, a presence pushed into a new spotlight home and further afield by Origin Of Madness.

From an Intro of hell bound human suffering, the album explodes into life with the track Heboïdophrenie. Instantly that thrash breeding shows its potency in the predatory striding of the riffs and rhythmic intensity. It is not an assault a0960544968_2with overwhelms but definitely sets the senses and imagination on edge ready for the coarse guttural growls of the vocals. They are as bestial as the sounds and unafraid to twist their delivery with varied guises. It has to be admitted we have a soft spot for porcine squeals within metal and they do not come any finer and more riveting than those offered by the song and album. The song continues to examine and test ears and senses, rewarding them with strenuous slab of extreme provocation before making way for the outstanding Feast Of Death. Irresistible grooves bind ears from its first second, intensifying with every second as their virulently nagging toxins work on the senses and passions. The track snarls and grinds vocally and sonically with irresistible hostility and merciless rhythmic provocation but it is that deliciously nagging of grooves which seduces and enslaves the passions.

Both Decay and The Butcher keep that ferocious tempting going, the first another stalking incitement which sizes up the listener whilst preying on their senses and psyche. As all songs though, it is not happy settling for one form of attack, expelling urgent bursts of destructive intent and dirty energy within its slower ear crowding incitement. The second of the two is an even more intensively intrusive stalker, its heavy footed gait coming with a rhythmic swagger and jagged riffery which belies its predacious intent. Returning swinish vocal squalls interrupt and enhance the intimidation whilst again the song agreeably shuffles the charge of its violation.

Rotten drives forward with its own predominately thrash seeded fury, merging it with heavy tempestuous stabs of riffs and beats throughout. A mouth-watering surge of sonic invention spears the track too, it’s solo moment a seductive lance in the pestilence of the track whilst the vocals continue to impress in their strength and varied persuasion. It is a masterful malefaction straight away matched by the unrelenting demands of Bonnet M. The drums mix up a stride of pack like military inspired strength with a brawl of dervish bred swipes to provide an insatiable and infectious spine to the inhospitable emprise. Across this guitars weave blistering sonic netting which sears and entices dramatically. Every song on the album is a bane to expectations but this is to the fore of thrilling unpredictability.

Heavy metal grooves bring their potent expression to the warlike character of Death To All, adding contagious colour to the voracious malevolence and intensity of the track. It is another skilled and irrepressible blend which flirts with the imagination whilst devouring the senses, as emulated in the anthemic Morbid Satyriasis. Old school metal spawned grooves also frequent the scintillating and gloriously barbarous track. Vocals and riffs chew the senses whilst hooks and grooves spill malice soaked seduction with every note. It is a brilliant hunting of the psyche, the listener the quarry to its creative and jaundiced vendetta.

The album closes firstly with Cadaver, a final impressive trespass where vocals worm virulently under the skin and adversarial rhythms conduct the sonic tempest of rage and flesh scorching enterprise. It is another contagion which never relinquishes its tight grip, and a last reminder of how infectious extreme metal can be in the right inventive hands and creative attitude. It is followed by the expressive instrumental Outro, an evocative close to an exhilarating encounter.

   Origin Of Madness is a provocation which turns existing essences and inventiveness into something belonging solely to Heboïdophrenie, and is mercilessly exciting not forgetting powerfully compelling.

Origin of Madness is available now @ http://heboidophrenie.bandcamp.com/album/origin-of-madness

http://heboidophrenie.wix.com/heboidophrenie

9/10

RingMaster 02/09/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

 

Unswabbed – Tales From The Nightmare Vol.1

1891605_10152494368502806_6496044105900304820_o

Not breaking the banks of originality but brewing up a rousing storm of metal and rock, Tales From The Nightmare Vol.1, the new EP from Unswabbed, is an encounter which easily inspires a very healthy appetite for more. Unveiling a new twist in sound and its direction from the French veterans, the five track release binds thick strains of melodic and nu metal with a harder rock voracity resulting in a proposition which holds no real surprises but has ears and attention fired up and greedy for the band’s fascinating adventure.

Hailing from Lille, Unswabbed began in 1995 with a harder and more voracious rock and metal fusion than found on the new EP. A couple of early demos bred an attentive fan base for the band which their 2004 self-titled debut album pushed to a wider spotlight. Two years later its successor Instinct was uncaged with a third full-length in the shape of In Situ coming a year later, both to critical acclaim. Across the years the band has also earned a potent live reputation and found responses for shows alongside the likes of Cavalera Conspiracy, (Hed)P.E. , Caliban, Senser, Empyr, Pleymo, Mass Hysteria and many more. The album Intact was unveiled in 2011, and following a decision  in 2013 to explore new musical landscapes and inventions, the quartet set about creating Tales from the Nightmares Vol. 1. Themed by individual stories spawned by nightmarish incitements, and written and sung in English, a first for the band, the self-released EP is a stirring slab of metal fusion. Not dramatically overwhelming or as mentioned casting brand new explorations it easily ties up senses and emotions in a thoroughly captivating and thrilling temptation.

The release opens with the excellent Come to me, a dynamic and gripping encounter which takes little time to ignite thoughts and emotions. A sonic coaxing is soon rife with magnetic riffs and thumping rhythms as the track bursts into life, to which an additional almost punkish coaxing aligns itself. The start alone has body and imagination involved which is only accentuated by the sturdier beats and rugged riffs which accompany the excellent clean vocal suasion. Essences remind of bands like Mudvayne and Nonpoint as the song continues to flare up and cast tight melodic lures across its invigorating and emotionally charged body. It might not be offering something new but boy the song is exhilarating.a2298760115_2

The following Wake me up employs a chorus of children chants initially which return throughout the release though maybe to a less convincing success compared to its opening pitch. The song itself is soon commanding thoughts and attention, keys brewing up a haunting ambience as guitars and bass carve out another magnetic web of persuasion. It is like a mix of (Hed) PE and Korn fed through the metal contagion of Fear Factory, and just as riveting as its predecessor even if taking longer to convince. Its potent enticement makes way for the darker croon of Hold the line. Expelling angst and drama with every note and vocal expression, the song slowly expands across the senses with thick exhales of caustic energy blended with gentle melodic caresses. Lacking the spark of the first two songs, it still leaves an inescapable enslavement over ears and emotions, luring both back time and time again.

Dead end zone is a hard rock romp with an open vein of rock pop to its joyful swing and anthemic beats. It is impossibly catchy from its first touch, hooks and grooves as irresistible as the continually impressing vocals and unpredictable invention which ensures no song is anything less than an event. It also shows another side to the heart of the release and the evolving sound of the band, and though it is probably fair to say the song is less adventurous than the other tracks in its character, when it sounds and feels so addictively good there is little to complain about.

The EP is brought to a scintillating end by Pull the trigger again, a track like the first which leaves the strongest bait to stalk the release time and time again. Cloaked in emotional shadows from its first enticing chord, the song is the dark to the light of the last song. Riffs from guitar and bass weave a brooding canvas over which expression drenched vocals and sonic suggestiveness brings intimidating yet simultaneously welcoming hues. It is an emotionally pungent and rigorously captivating track which at times stalks the imagination as it scorches the senses with its poetic melodies and sonic colour. It is a might end to a similarly impressing release.

Unswabbed is not carving out truly original ideation with their new direction but they are unleashing a highly rewarding and persistently thrilling proposal which leaves any familiarity to others redundant.

Tales From The Nightmare Vol.1 is available now @ http://unswabbed.bandcamp.com/album/tales-from-the-nightmares-vol-1

http://unswabbed.com/

https://www.facebook.com/unswabbed

8.5/10

RingMaster 02/09/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/