Synodik – A Matter Of Perception


It may only be three tracks, but by the close of A Matter Of Perception, the transfixing new release from Italian quartet Synodik, you feel like you have undertaken a journey of epic and thought provoking proportions. Merging progressive and atmospheric death metal, band and release is a sonic contemplation which immerses the senses in a compelling exploration. The successor to Sequences for a New Matrix, the band’s 2012 debut album, A Matter Of Perception is a challenging and riveting flight of discovery.

Genoa bred Synodik formed around five years ago initially under the name Asylum, and soon released the Drown In Pain EP. Live shows with bands such as Neaera, Sadist, Illogicist, Cadaveric Crematorium, Ade, Lifend, and Sideblast followed before the acclaimed Sequences For A New Matrix set down a potent marker for the band. Last year saw them sign with Imminence Records and begin the creation of A Matter of Perception, a trio of tracks which provide a new chapter in the creativity of the band; something explained further by guitarist Leandro Scotto who commented “We are using the EP to mark a new era for the band after two years have passed since the release of out self-produced full length. The concept behind the music arises from the love and enthusiasm for the contemplation of the universe and its arcane structures and paradoxes, and this concept is a true passion that really inspired the music.

The EP opens with Projections From the Edge, an imagination sparking instrumental lasting barely a minute but providing a soaring ascent of synths and melodies casting a celestial IR028grandeur. Its warmth and invitation is swiftly tossed into a maelstrom of vicious rhythmic incitement, vocal predation, and raw sonic aggression as When the Parallels Fall erupts upon the senses. Vocalist Matteo Campanini is an instant violation, an impressive scourge of vocal spite which antagonises as potently as it successfully lures thoughts and attention into the brewing tempest of invention and cosmic turbulence. With the drums of Edoardo Delucchi a persistent torrent of craft and aggression alongside the throaty bass enticing of  Jacopo Rossi (Antropofagus, Dark Lunacy) , the track accelerates into a bedlamic yet fluid and superbly sculpted storm. Scotto constantly evolves his creative narrative of keys and guitars across the ever shifting soundscape, stirring up a fury of sonic bluster as skilful as his melodic invention. The track is nothing less than unpredictable and rigorously testing, but with a multitude of excursions needed to explore all its depths and cavernous creative bodies, it is a constant reward just as the following and equally intensive The Perceived Wisdom.

The final track immediately sculpts its own cascade of inhospitable rhythms amidst a voracious climate as a tide of riff causticity roar alongside a radiant glow of clean vocals. Fury and beauty is again a raging and united front in ears, the charm and elegance of keys and voice a leading protagonist within the brawling tempest. As with its predecessor, the listener is flung and stretched from pillar to post, exhausted and violated with extreme currents of metal and intensity yet caressed by a celestial melodic balm and the increasingly gripping creative drama the song, and indeed EP conjures.

We can throw comparisons to band such as Opeth, Meshuggah, Abraham, and Black Crown Initiate to give an idea of the might and thickly flavoursome imagination of A Matter Of Perception, but it and Synodik have honed their cyclonic sound and enterprise into something uniquely in its own spotlight. This is a sonic ravaging that all extreme and progressive metal fans should embrace.

A Matter Of Perception is available via Imminence Records from January 13th @

RingMaster 13/01/2015

Copyright RingMaster: MyFreeCopyright

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Lune Palmer – The Rooster


Immersive and mesmeric, and that is underplaying its presence, the debut album from Lune Palmer is one of the most transfixing soundscapes of emotional  and sonic beauty to come along this year. The Rooster is an eight track release which resonates in thought and imagination whilst seducing with a blend of folk and melodic rock aligned to electro elegance. Vocally and musically the encounter wraps and washes the senses in ambient and atmospheric fascination, a coaxing which has the passions discovering a near on lustful greed for.

Hailing from Lausanne, Switzerland, Lune Palmer was formed in 2006 by Vladimir Skrivan (lead vocals, guitar, keyboards and machines). Alongside a guitarist friend, the band was founded  as a folk project based on Skrivan’s compositions. The sound of the band evolved as electronic elements were brought into the mix and the line-up changed across the subsequent years up to first EP Light Light of 2010. With inspirations from the likes of Blonde Redhead, Radiohead, and Portishead said to have added to the imagination adventure it is clear that here is where the majesty upon The Rooster began to blossom. The following year saw the band evolve again becoming the trio of Skrivan, Martin Perret (drums and machines), and Michael Gaio (keyboard, machines). In 2012 the band recorded their debut full-length, self-releasing it in March this year. Then August saw the band approached by Hummus Records about releasing the album, its wider release now coming via the label, and with a new line-up of guitarist Mathieu Jallut (Abraham), and drummer Antony Cohen alongside Skrivan and Gaio, Lune Palmer you suspect is poised to emerge as a major force in emotion fuelled atmospheric music.

Brutus Blume opens up the release with a dawning almost drone like slow sonic call which is soon joined by a delicious dark and 04_TheRoosterCoveremotive deep electro temptation. The shadow clad lure continues to tempt across the song as the rhythms add a lively energy but one restrained enough to compliment the emotive soak as the outstanding vocals of Skrivan seduce every syllable and note into existence which in turn work their seduction on the ears and passions of their recipients. Skrivan’s androgynous voice is sheer beauty, a spellbinding caress which like the music is pure and lean but dense and intense simultaneously. The rhythms constantly enslave attention and appetite just as impressively as the vocals whilst the melodic weave cast by keys and guitar embraces the imagination for a richly hued venture. It is a stunning entrance into the album.

The following Retracted Love does not have the bounce of its predecessor but certainly has all of the charm and craft, the vocals soaring to higher noted levels whilst the melancholic breath and touch of the keys accentuates their and the composition’s glory. With teasing enterprise from the guitar and firm rhythms framing the floating celestial toxicity of the song, Lune Palmer places the listener in an ethereal narrative of radiant magnetism, the same which can be said of the album and certainly the next up title track. Electro beats ‘niggle’ from start to finish whilst a pop air to the song shares its place with a hypnotic tango of rhythmic unpredictability. It is a track which takes a little longer to persuade but soon joins the ranks of potent peaks upon The Rooster, continuing the already clear diversity to the release. With a voice as strong and striking as here, a great many bands would slip into a similarity or formula caress across songs to maximise the delivery but Lune Palmer do not come close, every track distinct and presented in all aspects with an individual clarity which deeply impresses.

The sublime piano led ballad Meet Horselover Fat is the next tempter on the album, the song an evolving piece of emotional grandeur which intensifies and expands across its breath-taking length, and is immediately succeeded by the plainer but no less absorbing Océan Mer. Both tracks place new dark and light merged scenarios before the flight of the imagination before making way for the excellent Urban Monad 116 with its submerged beats alongside a riveting guitar persuasion. In many ways the track reminds of Young Marble Giants, the simplicity but unbridled wonderment at the heart of the song close to that of the Welsh band.

The release is completed by the smouldering Waters and finally the gripping Together; both songs quite beautiful with the last bursting with drama from every one of its notes. Also watch out for the wonderful hidden track at the end of the album, a folk sunset to bask in. They complete an astonishing release which words cannot do justice to, only direct encountering from ears and emotions can truly feel the melodic alchemy brought within The Rooster by Lune Palmer, and that is a must for all.


RingMaster 20/11/2013

Copyright RingMaster: MyFreeCopyright

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Abraham – The Serpent, The Prophet & The Whore

Bringing probably the most caustic and violent experience you are likely to be exposed to this year, the second album from Swiss metalers Abraham is malevolent beauty. Abrasive, corrosive, and at times verging on physically unbearable for sure, but at the same time it is destructively beautiful and one of the best senses stripping pleasures to be unleashed and willingly endured in a long while.

The Serpent, The Prophet & The Whore leaves one numb yet smouldering on the inside from the sheer might and force, let alone craft, at work within the violation. The band is tagged as post-hardcore/post-metal but as their second album shows there is much more at play. At times there is a sludge/doom smothering to entrap the listener, the thick oppressive weight of tracks a trap to sink into whilst the snarling and demanding rhythms donkey punch the senses and the flaming melodic sonic invention sears right through to the marrow, its acid presence fusing and extinguishing synapses. It is pure bliss with Abraham now one of the giants of extreme sounds as evidenced by the release.

From Lausanne, the band began working on short circuiting its victims from 2007. Hard work and the honing of their weaponry led to the eventual release of their debut album An Eye on the Universe in 2011, through Pelagic Records (who also release the new album), the label of Ocean guitarist Robin Staps. Critically acclaimed the band soon had Europe on its knees playing alongside bands such as Red Fang, Intronaut, Khoma, EF, Celan, Birds In Row, Mumakil, and Kruger. The Prophet, The Serpent and The Whore, an album inspired by a novel by J.G. Rawls, is the staggering successor and. The release is a tempest of emotions; despair, anger, hopelessness to merely scratch the surface, seeping from the eight songs and the lyrics freely adapted from  the story of an unnamed man falling from the sky to crawl through the lowest spheres of the world. Themes of falling from grace, primal fear, physical pain, loneliness and mystical visions stalk the release, Abraham exploring and bringing them forward to make a vivid presence and touch. Musically the sounds are as tortured and destructive as the lyrical content and intent, the combination upon this Magnus Lindberg (Cult Of Luna) mixed album, creating stark, bleak, and sonically pungent soundscapes.

First track Start With A Heartbeat immediately rips the air apart with astringent sonics and merciless beats. It is a slow salt rub upon the senses which elevates its energy to twist and crawl deep within the psyche. The vocals of Olivier Hähnel expel venom of varied shades watched over by the predator growl from the bass of Valentin Jallut. As the guitars of Jacques Viredaz and Mathieu Jallut blister flesh whilst simultaneously manipulating notes, their tight hold wringing every essence and passion from them, the song creates an abusive rapture which can only be welcomed hungrily.

Man The Serpent and The Great Dismemberment suck the light from the soul, their far reaching dark emotions and malicious sounds leaving the deepest scars and equal pleasure. The rhythms of drummer David Haldimann alone resonate through bone and when contributing to the cartilage shearing sonics and melodic thrashing elsewhere makes for the sweetest abuse. Both songs fire the imagination with their constricting breaths and scathing presences, the second of the two a cacophonous scalding which blisters the atmosphere let alone the senses. At times there is a Killing Joke flavour breaking through, predominantly in the vocals with Hähnel having a Jaz Coleman scowl, with this, the leaden bleed of This Is Not A Dead Man, Yet and the closer Dawn having the richest whisper.

The outstanding New King, Dark Prophet and the epic corruption that is Carcasses leave one grasping for a steadying surface whilst gasping for breath under their dehabilitating tempests. As mentioned the release is a challenge to thought and body but there are moments where one is taken to their limits. All the time though the musicianship and wonderful inventive craft is a raging burn to relish and draw rapture from.

The Serpent, The Prophet & The Whore is pure mordant majesty, a brutal beast which rewards time and time again giving new emerging treats with every confrontation. Abraham has taken their already impressive presence and creativity to further stunning inventive and violent heights for one of the albums of the year.

RingMaster 28/09/2012

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