Shroud Eater – Face The Master

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If we are all going to burn in hell or be the playthings of the darkest forces then Shroud Eater may have come up with the perfect soundtrack with new two-track EP Face The Master. Like a demonic covenant between sludge, doom, and occult metal, the Florida hailing band’s sound is a web of ravenous melodic intent and riff laden ferocity. As evidenced on the new encounter it is also voraciously predatory, greedily devouring ears on its way to ultimately seducing the senses.

Face The Master follows the band’s acclaimed Dead Ends EP of 2013, an attention grabbing marker for Shroud Eater after the earlier exploits of a self-titled EP debut in 2009 and their well-received first album ThunderNoise two years later. Re-energised with a new line-up since that release, band and Face The Master roar from the first second never relenting until the last, easily showing why Shroud Eater has been compared to the likes of Kylesa, High on Fire, and Acid King but equally instilling another step forward in their own distinct and intensive sound.

SE_FtM_CoverFinal_Print     The EP’s title track opens with a sample from the 1979 TV movie Salem’s Lot, the voice of James Mason instantly luring in attention and imagination before riffs venomously cascade over the senses. The hellacious clutches of rhythms are similarly an inescapable onslaught, the hefty swings of drummer Davin Sosa primal bait and an uncompromising intrusion backed by the almost slavering bestiality of the basslines crafted by Janette Valentine. The riffs and rugged grooves expelled by guitarist Jean Saiz similarly show no mercy whilst both of the ladies vocals unite to savagely entrance body and emotions with hellish revelry. It is a thrilling and compelling mix, a track which is almost flirtatious with its searing melodic endeavour and danger loaded intrigue but as its sound a predator in character and intensity.

Face The Master is enough to wax lyrical about the EP but is swiftly backed by the brooding nature and consumption of House of Endings. If it is possible, the song is slightly lighter than its predecessor in that it has a more inviting swing to its gait, though that is tempered by the sonic bellows and the dark almost malevolent hearted tones of the bass. The guitar of Saiz sculpts a terrain of snarling almost rabid riffs which prowls song and the senses whilst simultaneously casting a spell of acidic and sultry melodic enterprise as intoxicating as it is piercing. The track, as the first, consumes body and thoughts, igniting and exhausting both with sonic invention and intensive energy respectively.

Shroud Eater maybe already drawing references to the metal giants already mentioned but on the evidence of the outstanding Face The Master, they will be standing by their sides very soon.

Face The Master is available from April 7th via Primitive Violence Records & Visual on regular and special-edition cassette, and digitally @ http://shroudeater.bandcamp.com/album/face-the-master

Upcoming Shroud Eater tour dates:

Wednesday April 22 – Savannah, GA @ The Jinx

Thursday April 23 – Raleigh, NC @ The Maywood

Friday April 24 – Philly, PA @ Kung Fu Necktie

Saturday April 25 – NYC, NY @ St. Vitus

Sunday April 26 – Washington DC @ TBA

Monday April 27 – Wilmington, NC @ TBA

Tuesday April 28 – Charleston, SC – “Tunnel of Lust” House Show

https://www.facebook.com/shroudeater   http://www.shroudeaterrocks.com/

RingMaster 07/04/2015

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The Lumberjack Feedback – Hand of Glory

The Lumberjack Feedback 2013 - © Mathieu Drouet

Dramatic and compelling, the Hand of Glory EP from French instrumental metallers The Lumberjack Feedback is a masterful journey through cavernous shadows and depths, a tension packed encounter of doom and sludge metal. Consisting of two tracks lasting seventeen minutes between them, the EP is a stunning debut from the Lille based quintet, a provocative apocalyptic soundscape exploring its own darkness and that of the listener.

Consisting of the twin dual attacks of guitarists Simon Herbaut and Arnaud Silvert plus drummers Nicolas Tarridec and Christopher Poirier, with bassist Sebastien Tarridec adding his terrific presence into the mix, The Lumberjack Feedback has earned strong praise for their live performances which has seen them alongside bands such as Crowbar, Gojira, Kylesa, The Oxbow, Wolf Eyes, Spacemen 3, Grey Daturas, Acid King, and Hangman’s Chair. It will be their first release though which will undoubtedly set them as a potent fixture in the acclaim and vision of the widest audience such the power and creative might of the Kaotoxin Records released and Billy Anderson (Neurosis, Cathedral, EyeHateGod, Cattle Decapitation) produced EP.

Opening track A Whisper to the Thunder takes mere seconds to entice the ear with a guitar beckoning soon joined by that 760137002529_TOX025_The-Lumberjack-Feedback_Artwork_600x600-72hypnotic twin drum assault, their craft and temptation measured yet instantly enslaving. There is an energy and hunger to the beginning of the song which makes for a contagious sludge drenched call, riffs carving out a virulent persuasion whilst rhythms and bass define their own enthralling menace to combine for a primal seduction wrapped in a fluid evolution of imaginative and evocative melodic and sonic narrative. Thoughts of bands such as Neurosis and Sunn O))) come to mind but as the piece moves through a piercing sonic tunnel into a heavily weighted and rapaciously intensive dark doom landscape the sound takes on something distinctly unique to the band and visually provocative. The skies have a villainous hue over the track at this point as it lumbers purposefully with a predatory stalking and proceeds to claim any thoughts of escape as it climaxes with a simple but intrusive and lingering sonic breath.

It is an immense start soon matched and evolved further by second track The Dreamcatcher.  Again riveting rhythms from the drums make an earlier invitation which is instinctively impossible to resist, their sinews pacing along the developing wash of guitar brewed sonic mist and the continually thrilling bass provocation. As with its predecessor there is not theatrical invention or awe inspiring technical wizardry going on but the atmospheres and imagery spawning textures as well as melodic emotional painting being created by every skilful and clear but connecting aspect given clarity by each member is scintillating and impossibly powerful. The mesmeric stroll of the first third of the song comes to a point where the brewing climate entices an unleashing of intensive sonic flames and mutually fierce rhythms before flexing even further muscle in an even paced and exhausting investigation of its deepest corners and those of the listener too. The climatic conclusion to the piece towers over the senses, first marked by a flurry of striking punches before closing on one last enriching fire of intensity and sound, and leaves thoughts and passions suddenly alone within their own stark dark world.

Hand of Glory is an outstanding debut and release, but one which in some ways even at its length does not offer enough to really get the teeth into. This is because you only feel you are getting part of a much larger and incredible story or journey. Whether these are teasers to a full length time will tell but as impressive as it is the hunger and expectations on an album will be excited and demanding. The EP is a daunting adventure which inspires without ever using demanding intimidation and as such makes itself a must investigate introduction to a band we will be hearing much more of and one suspects fawning over in the future.

http://www.thelumberjackfeedback.com/

9/10

RingMaster 04/07/2013

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