Naberus – Hollow

Around seven years after emerging upon the Australian Metal scene, Naberus released their debut album, The Lost Reveries. It was a well-received offering earning critical praise and confirming the Melbourne outfit’s potent presence within their national metal landscape. Now the quintet has unleashed its successor in the shape of the ravenously resourceful and compelling Hollow and it is fair to say the band has hit a whole new level.

The Lost Reveries was the band’s sound at the time at a pinnacle, one which was heavily influenced by melodic death and thrash metal, a mix honed over previous tracks and EPs since day one. Whilst Hollow also revels in those hues it reveals an embracing of a far broader template including essences of groove, nu, and technical metal. Everything about the new album is a growth from its predecessor, one which maybe will be a step too far for some original fans but will surely recruit a whole new tide of fresh appetites. At fourteen tracks it is a bulky proposal for sure which flirts with overstaying its time but one which pretty much constantly holds its strength and lure throughout before leaving with a bang.

Mixed by Henrik Udd (Bring Me the Horizon, Architects, A Breach of Silence) and mastered by Ermin Hamidovic (Architects, Periphery, Devin Townsend), Hollow launches at the listener with the outstanding Slaves. Immediately the guitars of Dan Ralph and Dante Thompson entangle ears with their sonic wires as the vocal snarl of James Ash harries ears. Djent spices infest the intensive blaze as other flavours collude in its rapacious web around the scything beats of Chris Sheppard and the predatory growl of Jordan Mitchell’s bass. Familiarity and individuality merge in its intensive roar, they all going to make a savagely raucous yet skilfully woven captivation.

The following Space To Breathe is just as swiftly imposing but inviting, taking a less invasive stance initially as its elements settle before uniting in its own ferocious trespass. Ash’s vocals again impress with their not vast but strong diversity within the emerging rich tapestry of sound. There are essences of bands like Spineshank and Static X to the track at times but equally it lusts after death and extreme metal textures with the same fervour and invention before the superb Split In Two uncages its own similarly but individually woven tempest. Harsh and melodic strains in both vocals and music make an easy union as the imagination in songwriting incites their drama, the track continuing the explosive success of the first pair ensuring that Hollow is already a riveting proposal.

Both Shadows and Webs nag the senses whilst seducing attention; the first a sonic harassment as adventurous as it is predatory with its successor, deceitfully calm at its start, a subsequent cauldron of fiercely simmering intensity with scalding eruptions and a persistently bubbling enterprise. True uniqueness could be said to be less potent within the two yet everything about them and all songs is as fresh and inventive as you could wish, the album’s title track further evidence. Its enmity is a harsh fury from the start, searing trespass and rhythmic lashing entangled in the sonic imagination of the guitars and the collage of vocal incitement. It makes for a dramatic and dynamic assault which just hits the spot like a sledge hammer.

Through the likes of the belligerently tenacious I Disappear, the corrosive reflection of The End and Seas Of Red with its almost feral tides and melodic fire, the album continues to delve into malice, aggression, and different degrees of variety in their individual characters. It is fair to say that the latter two of the three did not ignite the same energy of passion and acclaim as those previously within Hollow yet all easily enticed and pleasured before The Maze had ears lost to its creative course. Living up to its name, the thrilling song is a tangle of grooves and melodic vines within a formidable confrontation, each tunnelling through song and psyche alike.

My Favorite Memory similarly springs a spiralling union of endeavour within its dark catacomb but its mercurial exploration of emotion and sound quickly develops its own individual presence while Fading with far more savage jaws challenges and erupts upon the senses with enterprise and inventive dexterity, every member of the band creating a simultaneous threat and temptation within the track.

The album is closed up by firstly The Burrow and finally The Depths, both tracks leaving thick enticements in their wake for a swift return with the closing incitement within Hollow a labyrinth of irrepressible grooves and sonic wires through a lusty trespass of vocal and rhythmic animation. The track is another major moment within the release possibly its greatest following so many lofty peaks.

As a whole Hollow is a refreshing and rousing offering from a band deserving thick attention hereon in. Yes with so many tracks it might be a stretch in one go; a couple of times songs almost merging into each other in certain ways but each is an imagination and pleasure sparking assault in their own right and proving Naberus one exciting proposition.

Hollow is out now through Eclipse Records.

https://www.facebook.com/naberusband   https://twitter.com/NaberusOfficial

Pete RingMaster 10/07/2018

Copyright RingMaster: MyFreeCopyright

A Breach of Silence – The Darkest Road

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Though the tightness of its grip fluctuates across its fourteen roars, The Darkest Road is a creative fury easy to breed a greedy appetite for. Unleashed by Australian metallers A Breach of Silence, it is a tempestuous slab of varied styles and flavours which has been labelled as “powercore”. Melding the potent flavours of metalcore through to post hardcore, heavy metal on to melodic death metal, and we are missing out many more spices, it is a compelling proposition which never gives ears and imagination time to settle or spawn expectations.

The Darkest Road follows the successful and acclaimed debut album Dead or Alive which was released a year ago. With having Australia’s prestigious Q Music Award in the Best Heavy Song category (2012) under their belt, which helped lead the band to signing with Eclipse Records, their first full-length pushed A Breach Of Silence into a new intensive and global spotlight, backed potently by the band’s live presence which has seen them share stages with the likes of Born of Osiris, Adept, The Amity Affliction, and Upon a Burning Body. Earlier this year the band released their controversial Night Rider ‘first-person shooter’ music video which took inspiration from their obsession with FPS video games and 1960’s classic westerns such as Hang ‘em High and The Good, the Bad, and the Ugly. Now The Darkest Road is upon us to stir up ears and thoughts whilst making another impressive step in the ascent of the Brisbane quintet.

Recorded with producers Fredrik Nordstrom and Henrik Udd (Bring Me the Horizon, Arch Enemy, In Flames), The Darkest Road as suggested ebbs and follows in the strength of its certainly unrelenting captivation, sometimes throwing a spanner in the works of getting a handle on songs and the release, but it only adds to the welcome and inventive unpredictability and constantly intriguing nature of the encounter. The album certainly starts with furious gusto and anthemic irresistibility, opener T.P.N.E shoving group shouts through ears before wiry grooves and heavy rumbling rhythms join the emerging storm. The raw and caustic vocal squalls of Rhys Flannery swiftly more in with antagonistic and skilled intent which in turn seems to light a fire in the creative swings of drummer Andrew Cotterell and the similarly vivacious motion of the grooves conjured up by Mat Cosgrove and Kerrod Dabelstein. It is a gripping and incendiary blend which is capped off by the throaty lure of bassist Blair Layt and more so by his outstanding clean vocal delivery. The song offers richly flavoursome and agitated metal of the highest order and an inescapable lure into the creative lair of A Breach of Silence, an entrance backed powerfully by the following title track.

The second song caresses ears with the impressive tones of Layt right away, evocative keys coaxing the invitation before riffs and acidic grooves erupt to trap and steal the passions all over again. As its predecessor, the track is a formidable Printencounter which is unafraid to bewitch and bewilder, seduce and rile, with a unique character seeded in the likes of All That Remains and In Flames. Its stature and temptation is matched by Vultures which strides confidently in next. Another certain anthem with its group calls and raging rhythmic confrontation, the song blazes sonically and vocally from the start, the extremes of voices a perfect union within the similarly blended canvas of predatory and melodically smouldering sounds.

Through the intensive yet warming examination of Silhouette, as the others songs upon The Darkest Road, a hope rich and potent roar against life’s obstacles, the band reveals more of their technical and imagination driven resourcefulness. A scent of Bullet For My Valentine hints throughout the evolving and inventive offering before Hang ‘em High sets its own individual fire within the release. Riffs and rhythms spew anger with their intensive and physical intent whilst Flannery almost brawls with ears through his uncompromising and pleasing vocal antagonism. It is a potent and engrossing song if without the spark of those before it, a comment which can be placed before In Reality We Trust also, though as always with the album it is mostly down to personal taste. The song storms and bleeds spite over the senses with skill and enterprise but it is mainly the vocals from both men which steal the plaudits.

From here the album does not have an identity crisis but definitely wrong-foots with persistence. Though all the tracks so far employed a diverse and varied spicing, they were bred from a fierce extreme metal canvas. The excellent Lost at Sea brings a new bloom of sound, immediately expelling a ‘folkish’ tinge to its air as well as a glorious melodic croon across its potent harmonies and sonic narrative. It is a loud whisper of something different in some ways but helps seed a new hostile and captivating breath to the album, and makes for an enthrallingly textured and majestic slice of persuasion.

   This is the End comes next and instantly spins an engaging sonic and rhythmic web around ears. It is a contagiously compelling weave, guitars and bass a simultaneously welcoming and menacing enticement over which the vocals merge hostile and catchy elements with a classic metal spiced attack. Every chord and rhythmic swipe brings a surprise and unexpected twist, the song emerging as another pinnacle and treat for the album, something Immortal is not. To be fair again it is just a personal thing but its heavy/power metal balladry complete with the genre’s trademark vocals warbles and squeals, just does not find a welcome in these ears though it is easy to hear its qualities and know it will be a favourite with classic metal fans. The song is another unique identity within the character of the album, though to call The Darkest Road schizophrenic would be going too far.

The excellent Hannibal is more from the template of earlier songs, its metalcore voracity and melodic tenacity an infectious and voracious treat which parts for the even heavier and harsher A Place I Know. The song also expels fiery melodic endeavour, again with a more classic spicing, before exploring slimmer post hardcore scenery punctuated with probably the most intensive beats and riffs on the album. It is a song which sets a fire in the belly at times but also lowers its temperature in others, but for intrigue and bold invention it is another notable moment.

Dead and Destroyed is simply brutal, a wall of angst and viciousness which still makes room for vocal croons whilst Krazy Bitch seems to pull in all the things which excites and personally frustrates in the album for a still rather pleasing encounter. The pair leaves the piano and voice sculpted ballad Time Still Remains to close the album, the song a more than decent piece of melodic metal but easy to skip by to get back to the pungent heights the album started on all over again.

The Darkest Road is a striking release, with to be honest any issues found coming from just the individual likes and dislikes we all have in our metal. It is easy to see A Breach of Silence becoming a big player in world metal if this thrilling tempest is anything to go by.

The Darkest Road is available now on Eclipse Records @ http://www.eclipserecords.biz/a-breach-of-silence-the-darkest-road-cd/

https://www.facebook.com/abreachofsilenceband

RingMaster 10/10/2014

Copyright RingMaster: MyFreeCopyright

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