Triverse Massacre – Hades

Taking the listener by the throat down the five rivers encircling its underworld, Hades is the new EP from British metallers Triverse Massacre and the hellacious outpouring of the potential first bred in their previous releases. Back in 2014, the With Bared Teeth And Truths EP suggested that the band had the wares to make a potent impact on the British metal scene; Hades is that mighty trespass but one still hinting of greater things yet to come.

Bursting from the depths of Carlisle in 2010, Triverse Massacre quickly stirred up local support and in turn within the metal underground crowd with the release of debut EP In The Jaws Of Deceit. It was a growing reputation equally fuelled by their ferocious live presence which has gone on to see the band earn strong praise and share stages since with the likes of Skindred, Raging Speedhorn, Aliases, The Sun Explodes, The Colour Line, Reign Of Fury, and Anihilated and play Bloodstock Open Air last year alongside Slayer, Behemoth, Mastodon, and Gojira. With Bared Teeth and Truths provoked more concentrated attention and awareness of the band and their ravenous fusion of death, groove, and thrash metal; an incendiary mix now truly igniting within Hades.

The release opens up with Cocytus, an instrumental of imposing grandeur and looming shadows creating the climate you would expect surrounding the domain and god of the underworld. Guitars eventually encroach on the deceitful grace of the air creating a link to waiting venomous jaws as the track flows into the predacious animosity and corrosive depths of Styx. As the guitars of James Graham and Chris Kelsall gnaw and taunt the senses with riffs and grooves, vocalist Liam Stark descends and invades with his raw and potent mix of attacks, the frontman as the sound around him openly showing a growth in snarl and dexterity since that last EP. The guitars continue to weave a web of creative deceit, lures of infectious and seductive design woven to violate while the biting beats of Mike Collins and the tenebrific lines of bassist Jason McEwan have nothing in mind except merciless trespass.

It is a mighty and increasingly gripping track still slightly outshone though by next up Acheron. With grooves swinging from its first breath and contagious irritability coating every note and raw throated expulsion, the track unleashes the most virulent strain of toxic rock ‘n’ roll. The band’s sound has fully escaped any confines of extreme metal tagging, the third track epitomising its adventure and maturity and especially its rudely addictive quality forcing full submission to its rancor.

Lethe is simply bestial; a vicious harrying of the senses. Every element of its twisted body and intent is delicious harassment, grooves swarming through ears as rhythms advance with horde like barbarity. Within the tempest though, as across all tracks, there is a melodic prowess which accentuates rather than tempers the pernicious infestation but equally spotlights the instinctive craft breeding the envenomed imagination and onslaught on offer.

The EP closes with Phelegethon, arguably the biggest intrusive nagging of the senses of them all and quite possibly our favourite though that honour is consistently shared with its two predecessors. It is a stirring end though with the guitars a viperish incursion and rhythms a bold and numbing incitement as Stark crawls and lurches over the senses and psyche with vocal glands spilling malevolence in varying shades.

With Hades, Triverse Massacre has presented itself to the main table of extreme metal but as the EP thrills you still get the sense that the band is nowhere close to depleting its creative depths. That suggests very potent horizons for the quintet and for our beleaguered ears alongside them.

The Hades EP is released May 26th @ https://triversemassacre.bandcamp.com/ or http://triversemassacre.bigcartel.com/

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Pete RingMaster 25/05/2017

Copyright RingMaster: MyFreeCopyright

Aliases – Derangeable

Aliases_RingMasterReview

Obviously, it is too early to suggest what will be the best of 2016 but amongst album contenders we suggest you can expect to see Derangeable flirting with the top spot. The new and second album from British progressive tech-metallers Aliases is simply majestic, inescapably irresistible, and a proposition more than living up, in sound and imagination, to its title.

The brain-child of former SikTh guitarist Pin and fellow six-string maestro Leah Woodward, Aliases quickly whipped up attention and eager appetites from the first steps of its emergence in 2010. The band’s first year saw ear exciting single We Never Should Have Met create a potent buzz; an introduction quickly backed by the band making their live debut at Euroblast Festival in Germany and subsequently signing with Basick Records. Highly acclaimed debut album, Safer Than Reality, was uncaged in 2011 to swiftly make the band a potent presence and protagonist within tech metal and suggest the potential to rise to the stature of Pin’s former band. With a new vocalist and drummer bringing their prowess to events, Aliases easily live up to that promise and indeed have more than matched, and arguably surpassed, anything previous exploits have offered with Derangeable.

The album is a non-stop, often exhausting kaleidoscope of sound and invention; a release as technically beguiling as it is infectiously compelling and creatively mouth-watering. It is also an openly individual and unique proposal which at times borders on the loco in its dance of craft and imagination. It all starts with Find Where You Hide, a track which leaps at ears with a wall of imposing rhythms and spiky guitar coaxing as new vocalist Joe Rosser springs with equal attention grabbing zeal. From his initial dirty tones, he swiftly gives a glimpse of his melodic and harmonic diversity which increasingly shines across song and especially album. If ever a voice was perfect for an unpredictable and fluidly eventful sound, Rosser’s is it; his delivery and invention seeming to flow and prowl the inventive discord and flirtation lining every twist and turn in sound with their own striking adventure. The song itself continues to seduce and incite; the sultry addition of sax, antagonistic beats, and finally classical keys, just a few strands in the enthralling tapestry of the song.

art_RingMasterReviewEverything Is Upon Us is soon dazzling ears and thoughts with its instant busy weave. Entangling varied metal bred lures with funk, avant-garde, and nu-metal devilment, the track enslaves in seconds. The guitars of Pin and Woodward simply dance with almost schizophrenic invention whilst Joe Heaton’s bass prowls through it all like a predator equipped with resonating groans and salacious grooving. As with all songs, it is impossible to reflect the emprise of senses twisting and psyche captivating exploration going on, every second seemingly a new cascade of adventure as shown again in the beefier and equally melodically alluring Back To The Start. Shaped by the crafty swings and beats of Jof Walsh and coloured by the impressive vocal exploits of Rosser, the song emerges like a mix of The Kennedy Soundtrack, KingBathmat, and maybe unsurprisingly SikTh on the way to being something distinct to Aliases.

The pair of Smile All You Like and Deep Sea Avenue keeps attention tight and the imagination stirred; the first with its intricately woven exotic bedlam of guitar and rhythmic ingenuity ridden by the great vocal resources of Rosser and band. It is a fascination of sound and imagination emulated in an even more strikingly unbalanced way by its successor, a track that growls and leers at the listener whilst taking them through its sonic psychosis. It is an outstanding and virulent treat of sound and temptation pretty much matched in success by the lighter yet just as frenzied tango of Uncontrollable Desires. There is a touch of Korn and System Of A Down to the song; spices which simply add to the irresistible web of creative alchemy infesting body and spirit.

The commandingly intensive and barbarously engrossing Callous comes next; it a merger of contrasting shades of aggression and intent bound together by the band’s ever riveting casting of unhinged innovation in sound and idea. It completes a quartet of unmissable favourites at the centre of Derangeable, though through the agitated maze of Face For Lust, where the bass is instinctively flirtatious, and the similarly dynamic and left-field bearing Seen It All, the album and pleasure are locked closer together than ever.

The album comes to a mighty close with the grooved beauty and psyche bending resourcefulness of the wonderful Untangled Mind and finally the warm harmonic charm and mischievous eccentricity of Above The Sky. The pair provides a quite glorious and lingering conclusion to not only one of the year’s major triumphs so far but one of the most enjoyable and impressive adventures in the history of tech and progressive metal. Derangeable is one of those releases which are destined to become an inspiration to others and the best friend to ears and imagination; the tag of genius is already on the lips in reference to their glorious triumph.

Derangeable is out now via Basick Records with buying options @ http://www.basickrecords.com/releases/derangeable

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Pete Ringmaster 18/04/2016

Copyright RingMaster: MyFreeCopyright

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Akarusa Yami Announce New Video & Departure Of Frontman

AY Pic 1_RingMaster Review

Tech Metallers Release Heavy Climb Clip & Announce Tom Brumpton Has Left The Band

British tech metallers Akarusa Yami recently put together a clip for their new video ‘Heavy Climb’! Created by acclaimed videographer Andy Pilkington, the video for ‘Heavy Climb’ closely follows the message behind the track; despite our beginnings, we can achieve great things if we believe in ourselves and push onwards.

The video can be viewed here – https://www.youtube.com/watch?v=Q8BvZMLp0Wg

The band have also announced that frontman and co-founder Tom Brumpton will be parting ways with the band. Drummer Adam Jones had this to say on the announcement: “We’re sad to see Tom go, as we started this journey together five years ago and we’ve done some amazing stuff together in that time. That being said, we are in the process of training up a new vocalist and we’ll be making an announcement in early 2016. We have already begun work on new material, which we hope to share with all of you next year.

Brumpton has opted to step down due to other commitments, and had this to say on his recent departure: “I’m really proud of everything we as a band have achieved in the last five years. 2015 has been an excellent year for Akarusa Yami, having played some truly incredible festivals, shows and seeing the heart-warming support for “Heavy Climb”. I wish everyone the best of luck, and I’m sure the new material is going to sound great.

Formed in 2010 by Guitarist Tom Clarke (Insidious) and Vocalist Tom Brumpton, Nottingham noisinks Akarusa Yami have worked tirelessly since launching their debut EP “Ouroboros” to glowing reviews across the world in 2011. The band picked up solid coverage in Terrorizer (UK), Zero Tolerance (UK), Metal Hammer (Norway), Legacy (Germany) and many others. Their debut singles ‘Third Eye, Wide Open’ and ‘Millennium Is My Salvation’ were picked up for national airplay in 11 countries throughout Europe, alongside copious airplay on internet stations across the world.

The band went on to play a series of successful shows supporting Textures, The Ocean and Aliases. The band also played as part of Bloodstock Festival 2011. In late 2011 the band recorded ‘Life, The Venomous Way’ with prolific producer James Dunkley (Vallenfyre).

2012 saw the release of their second EP “Trace Element Rebirth”, which saw the band spreading their sound even further across the globe. Moving forward, the band busied themselves preparing their long awaited debut album “Heavy Climb”; a sprawling beast of a record that pulls together the finer elements of their first two efforts with a heap of new ideas. In early 2015, the band announced Guitarist Julia Goatly had joined the band. Akarusa Yami are presently writing new material for their fourth release, tentatively set for a late 2016 release.

Akarusa Yami – Heavy Climb

AY Pic 1_RingMaster Review

This year has seen a host of impressive and imaginative progressive/technical metal releases and joining the most compelling and thrilling is Heavy Climb, the debut album from Akarusa Yami. The UK band has uncaged a mouth-wateringly unpredictable and fascinating proposal with their first full-length, not only building on the potential of previous successes but setting out a whole new template of adventure and uniqueness to explore further ahead.

Heavy Climb is simultaneously raw and sonically elegant, imposingly fierce and seductively bewitching and as suggested earlier, a striking step forward from its creator’s previously acclaimed offerings. Formed in 2010 by guitarist Tom Clarke and vocalist Tom Brumpton, the Nottingham hailing Akarusa Yami quickly whipped up ears and support with their sound and live presence, and in turn debut EP Ouroboros the following year. The quintet’s singles Third Eye, Wide Open and Millennium Is My Salvation lured potent national airplay across Europe and online whilst the band began being featured in the likes of Terrorizer, Zero Tolerance, and Metal Hammer (Norway). Their generally well-received second EP Trace Element Rebirth arrived in 2013, following successes like the supporting of bands like Textures, The Ocean, and Aliases as well as appearing at the Bloodstock Festival also in 2011. It also saw the new emerging direction in the Akarusa Yami sound and songwriting and it is probably fair to say for some it was not an immediate persuasion. It was though a gripping sign of things to come, and an intriguing teaser for what is now Heavy Climb. With a line-up completed by bassist Jake Bennett, drummer Adam Jones, and guitarist Julia Goatly, Akarusa Yami have honed and experimented with their sound, stretched their ideation and craft and subsequently the imagination of the listener with Heavy Climb; the result being certainly for us one of the most enjoyable and enthralling encounters of 2015.

Heavy Climb - Front Art_RingMaster Review     The album opens with The Old Man By The Fjord where instantly rolling rhythms align with engaging melodies and a shadowy bassline. The song does not grab attention but coaxes it for the same success before riffs get steely with their snarl and the voice of Brumpton growls attitude and aggression. Now ears and thoughts are firmly awake and held, and it is here where expectations start to unravel as the band begins their relentless emprise of invention and unpredictable ingenuity. A slip into an infectious passage of glowing melodies alongside clean vocals and harmonies brings a progressive tempting which is almost Horslips like, its presence entwined with more technical predation amidst the pulsating lure of keys. It is an engrossing start to the album which just gets stronger and more endearing with every listen, as indeed does the album.

Second track At Last, Sunlight (Endlich, Sonnenlicht) makes its entrance on a warm jazzy field of enticement, though the track soon uncages its ire and aggression fuelled volatility in a tempest again infused with gothic keys, sonic suggestiveness, and clean vocals which again catch thoughts initially unaware. It does not quite live up to its predecessor or the following title track but feeds an already strong appetite before its successor bawls at and brawls with the listener with irritable rancor and magnetic resourcefulness spread by the atmospheric keys and perpetually shifting attack of the guitars. The rhythmic swings of Jones are a constantly addictive bait in the mix too though it is the perfect union of metal savagery and electronic charm which steals the show.

The imagination is taken on a moonlit flight with the instrumental Long Nights In The City next, its ambience and emotive climate moody and melodic body exotic. Keys and guitars virtually writhe around and alongside each other in the minimalistic but thickly evocative piece before A Monument Built To Carnal Desire comes forward with its own melodic calm in front of a predacious and inventively tenacious storm. As the song erupts and spills its antagonistic and technical prowess, synths tour a vibrant electronic palette, at times flirting with Nintendo-core teasing and more often flowing with progressively symphonic hues. It is an absorbing engagement, the song managing to combine bestial and beauteous extremes in one thrilling incitement, a fusion taken to fiercer depths by And The Night Will Take Us All. Rhythms are barbarous yet anthemic with the guitars a source of swirling sonic toxicity whilst Brumpton leaves no animosity core stone unturned, yet throughout the bruising assault, smart hooks and electronic enterprise add their alluring touch and magnetism. It is the virulent irregularity and schizophrenic rhythms which lure the biggest portion of the ardour bred for the track though, they and the glorious melodic majesty falling from jazzy/Latin kissed guitar strings midway.

     I Work In Formaldehyde sees the band again immerse in its electronic/industrial inspirations early on before spinning another grouchy and insatiable web of carnal riffs, lethal beats, and the ever compelling vocal roars of Brumpton. It is angry, dark, and sinister, a song to keep the imagination and passions involved past its departure as too the exceptional Les Mere Terribles, which after the noir lit electronic lead of the brief instrumental Loving Parents, wraps ears in a spiralling of djent spiked trespasses and senses binding melodic enterprise. Vocals and rhythms take no prisoners, their intrusive drive a bracing onslaught enhanced rather than tempered by the spellbinding caress of keys and warm melodies as well as the outstanding clean vocals, Brumpton showing his great prowess and diversity.

The album’s pinnacle is followed by its most fascinating offering. The Natasha Trade is a haunting drama of a life trapped in a stark, unforgiving, and destructively enslaving situation voiced by guest Joy Shannon from Beauty Marks. It is a strikingly cinematic proposal, like a theme within a dark visual incitement such as Sin City and though it does not quite fit in with what came before in many ways, the thought of it not being included feels even more wrong.

Akarusa Yami have made a huge leap on from the ground seeding encounters of their previous EPs and now with Heavy Climb announced themselves as one of progressive/technical metals brightest and thrilling protagonists.

Heavy Climb is released on October 5th via the Akarusa Yami Bandcamp profile as a name your own price download.

https://www.facebook.com/akarusayami

Pete RingMaster 05/10/2105

Copyright RingMaster: MyFreeCopyright

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Triverse Massacre – With Bared Teeth And Truths

Triverse Massacre Online Promo Shot There is nothing kind or merciful about With Bared Teeth And Truths, the new EP from UK extreme metallers Triverse Massacre, its title more than hinting at the ferocious and torrid tempest grasping every second of the encounter. It is a formidable and reasonably striking encounter which at times does arguably offer more potential than realised triumphs but still incites a healthy appetite for the Carlisle quintet. From a decent enough yet underwhelming start, the EP emerges as a creatively flavoursome and pleasingly hostile protagonist reinforcing the suggestion set by its predecessor that Triverse Massacre is a band with a potent horizon ahead of them. Formed in 2010, the band soon earned a strong reputation for their uncompromising sound and fierce stage performances, the sharing of stages with bands such as Aliases, The Sun Explodes, and Meta-Stasis cementing their emerging presence in the UK metal underground. The band has earned comparisons to the likes of The Black Dahlia Murder, Cannibal Corpse, and Slayer along the way whilst debut EP, In The Jaws Of Deceit set a potent base for the band to move on from. With Bared Teeth And Truths is possibly not as big a step forward from that well-received release as expected but certainly evidence of a band on the right course. The release opens with Wolves At Your Gates, a track which suggests more than it gives. From a raw and brewing tempestuous climate of distressed and pained sounds, rhythms emerge with intensive muscle and riffs with predatory Triverse Massacre Cover Artworkdesign, all ridden by the excellent insidiously venomous growls of Liam Clark. As the song settles into its purpose and stride there is an expected spark missing, hooks and acidic grooves from guitarists James Graham and Chris Kelsall imposing yet safe in their intensity whilst the rhythms of drummer Mike Collins, aligned to the sinister prowling intent of bassist Dan Fisher, are demanding but also devoid of real viciousness. Whether it is the production or the song itself, the encounter whilst still appealing potently just does not come alive as hoped. The individual craft of the band is impressive and the structure of the track as it tries to intimidate and scar the senses enticing but even with its inventive rabidity there is something amiss and lacking. The following Exhale Betrayal is instantly a more formidable and threatening proposition, swift grinding riffs rich bait to which rampaging rhythms add their mighty swings. The vocals again squall and squeal with an addictive presence, Clark’s delivery something you suspect will work for some and not others, but for those with a liking for his serpentine abrasing it is a highly pleasing asset of the band and songs. A virulent urgency drives the track as the guitars cast their unpredictable weave over ears and though there also is an incomplete air to the song, it is down to a lifeless production more than anything.      Bullets Kill Beasts opens on a melodic reflection, guitars casting an emotive hue framed by a military bred march of rhythms and a potent throaty bass suasion. Straight away the track brings a new breath and strength to the release, bringing more antagonism and potency to the vocal hostility and winding thrash fuelled grooves as well as the flurries of riffs. The track is soon charging contagiously into the imagination, its twists of ideation and sonically catchy enticements ensuring that With Bared Teeth And Truths is a completely different and now rigorously impressive proposition. The production still mutes some of the strengths of the track but compared to its predecessors it is able to throw off its restrictions to leave a lingering and fully satisfied impression. The closing Torn From The Throne takes things to another level again, the best track on the EP unleashing a greater physical and aural enmity on the senses and passions. The track simply tears at ears with a brutal predation and bestial rancor, bad blood infectiously flooding its sonic and melodic veining as oppressive weight and severity drives vocals and rhythms. In many ways the EP is one of two halves, the first appealing and full of promise but the second is where the real potential and potency of the band is on show. Triverse Massacre is gaining a fine reputation as they grow and With Bared Teeth And Truths definitely adds to that but it also seems like a missed opportunity to push the band onto a loftier step within the national metal scene. As said though they are heading in the right direction and more encounters like this, with a deserving production next time, will do nicely. The With Bared Teeth And Truths EP is available now via http://triversemassacre.bandcamp.com/album/with-bared-teeth-and-truths https://www.facebook.com/TriverseMassacre 7.5/10 RingMaster 04/08/2014 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/    

Nexilva – Eschatologies

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If Eschatologies is the portent or soundtrack to mankind’s ultimate destination as a species it is hard to know whether to be engulfed in bliss or unbridled fear. The new album from UK progressive death metallers Nexilva is a maelstrom of brutal invention and exhaustive experimentation, a tsunami of sound and vindictive intensity which is as excitingly unpredictable as it is frighteningly intrusive. It is an encounter which is almost too involved and adventurous for its own good, smothering the senses with so much imaginative mayhem and creative exploration that even after a dozen or so rampages through its hellacious depths new corners and facets are still emerging. The accompanying promo suggests the release is for fans of bands such as Born of Osiris, The Faceless, and Fleshgod Apocalypse, something you cannot disagree with and certainly it will not sit easy with every metal bred heart because of its vast experimentation but if technical violence and an unrelenting examination of senses, psyche, and imagination ignites fires for you than Eschatologies is a scintillating must.

Hailing from Sunderland and formed in 2009, Nexilva released their first demo The Viral Annihilation that same year before more dramatically stirring up attention with debut album The Trials of Mankind a year later. Followed by the Defile the Flesh of Innocence EP in 2011, the releases showed a band with not only massive potential but also the ability and bravery to cross pollinate numerous extremes of metal into one threatening yet compelling fascination. Their live presence was no less potent and exhausting either, the band gaining strong recognition as they shared stages and tours with the likes of Exist Immortal, Aliases, and The Algorithm as well as their own shows and festival appearances over time. Eighteen months in the making and mixed/produced by guitarist Andy Mallaby, Eschatologies is the next mighty step for Nexilva. It is a journey through scenery draped in technical, death, progressive, and black metal to simplify the landscape; climates of the fantastic, realistic, and portentous investigating the end/rebirth of man.

Released via Ghost, Eschatologies opens the first chapter with I: Teste Humanitatem Mori, a short piece which unveils an initial dark nexilva-coverand welcoming ambience soon lit by a wonderful caress of guitar, its classical melodic touch soothing and inviting. All the while shadows are converging adding their menace to the rising vocal harmonies and warm melodies. They eventually break through with roaring caustic growls and stabbing riffs though they still court the elegance which voiced the start. It is a respectfully dramatic piece bringing clouds and uncertainty into view ready for The Misdirection of God to erupt with seemingly insidious intent. Immediately the vocals impress; the diverse ever shifting style and delivery from Gary King, very ably backed by that of bassist Ryan Banks, magnetic within the equally revolving and evolving tempest around them. The rhythms of drummer Connor Jobes rampage with crippling sinews and ferocious agitation from their every beat whilst the guitars of Simon Atkinson, Rownan Tennet, and Mallaby cast a simultaneously vitriolic and enticing web of sound around ears and thoughts. As mentioned previously there is so much accosting and intriguing senses that you cannot at first take it all in over one song let alone the album, but as traverses of and time exploring the song unveils irresistible bait like the classically honed keys with at times stand to the fore and in others flirt from a hollowed distance, the adventure just gets stronger and more spellbinding.

Both Our Progenitor and This Is Humanity, distinct in their characters and offerings are bred from the same almost bedlamic onslaught, though it is all controlled and precisely sculpted. The first of the two again concocts a lethal and enchanted storm for the beleaguered senses to immerse within, its predacious intent as rabid as it is contagious. The keys again seduce from within the uncompromising voracity and not for the last time whilst slipping easily aside the malevolent raging they provide a wonderful discord fuelled friction which just lights the imagination and pleasure further. Its successor takes a more premeditated preying of its recipient, grooves and keys seducing whilst riffs and rhythms cause havoc within the irresistible caressing. Twisting and turning not only itself but the psyche, the song adds hardcore vocals and progressive flights to its savagery, like the album making expectations redundant.

The melancholic II: Scientaia Tenebris opens up the next movement of the album to provide a respite before the venomous Necromancer seizes control whilst still employing the emotive melodies of its predecessor within its serpentine toxicity and rapacious enslaving of ears and emotions. Like all tracks, the song leaves you gasping for breath in body and thought, every turn a new extensive exploration to be taken within its whole endeavour. The Collapse immediately proves to be the same and with equal potency and success before the outstanding title track raises a new pinnacle for the release. The track spews malice and hostility from its first vocal and rhythmic touch, aligning them to punishing sonic and rhythmic frenzies. As all tracks to describe everything within would need a page per song but needless to say Eschatologies is a nonstop bordering pestilential rampage.

Cybernetic Lucidity disorientates and lacerates the senses next, its flailing rhythms and riffs a welcome distraction to the intensive suffocating invention broiling synapses from within their cage whilst after the dark and wildly simmering peace of III: СКЕЛЕТ, the band unleash the classically walled, viciously vehement Premonitions which features a guest appearance from Ricky Lee Roper. The track parades riffs and rhythms with a horde like mentality and appetite upon ears whilst its successor Invasion, lashes and chews on the wounds with sonic invention and a combined riff and rhythmic rabidity.

The album closes with first the tremendous Evil Will Prevail featuring Exist Immortal vocalist Meyrick De La Fuente, the song a ferocious blaze of spite, antagonism, and creative imagination. The track bewitches as powerfully as it annihilates, the expressive clean vocals and melody crafted passage towards its end a seduction within the masterful turmoil that lingers long into the final instrumental IV: Non Magis Adrogantiam.

Eschatologies is a thoroughly demanding and intensive proposition which only expands and broadens its hold and depths with every listen. As said there is a multitude of inventive exploits within every twist and turn which at times makes it a difficult listen in regard to taking it all in but unrelentingly thrills and invigorates as it bewilders and exhausts. It is a glorious maze of sound and invention from Nexilva, simply a ravenous fascinating aural kaleidoscope.

https://www.facebook.com/nexilva

9/10

RingMaster 08/04/2014

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Aliases – Safer Than Reality

No doubt people will want to label and tag Aliases and all one can do is wish them luck because the Manchester quintet wonderfully step outside of any genre you want to lay at their door with a sound that is as distinct and impressive as the day is long. Call them a metal band because that is primarily what they are but with their own unique and expansive musical corner. There are a few bands that contain elements that make Aliases so impressive and some that tread a similar path without having the originality, but none spring to mind that are taking metal down the exciting and inventive avenue that this band is.

The band began in 2010 with the creative union of ex SikTh guitarist Graham “Pin” Pinney, guitarist Leah Woodward, vocalist Jay Berast, plus drummer Darren Pugh and bassist Joe Heaton. Both ex-Veils. The band immediately started work on their debut EP releasing in the interim a rough demo of ‘We Should Never Have Met’ in July this year. Met with a strongly positive response it led the band to be invited to play the prestigious Euroblast Festival in Cologne, Germany. August saw the release of Safer Than Reality via Basick Records, a label bringing more than their fair share of impressive and unique metal to the world and with this and the Circles album, two of the best releases anywhere.

The EP consists of eight varied and stunning tracks and when we say varied we mean within the songs themselves as much as the whole EP. The tracks are a riveting and intriguing array of ideas, sounds and attacks that fluctuate, resonate, and explode in a colossal portrait of expressive noise and music creation. Amongst the eight tracks there are two brief instrumentals which are delivered with emotive passion and are much more than simple momentary relief between the maelstrom of experimental and incisive sounds.  

What’s Left For Us’ opens up the EP hitting hard with djent scything guitars that explore and probe the senses over a rampaging rhythm attack from Pugh and Heaton. Vocals are a gruff growl mixed with clean, an at odds harmony that works perfectly, Berast as forceful and controlled as the exploration from Pinney and Woodward. The thing about Aliases that this first track brings and is repeated throughout the release is at times a track plays as if it is two or three separate songs playing at the same time. Not the best way to describe it but the discordant pieces that are integrated into the flow of the song are stunning and inspired.

The ‘Reality Of Beliefs’ takes over with eager fingers from the guitars dramatic play searching within the ear over a cleaner rock vocal with scrapings of growls and soulful flows. This was the one track that brought similarities with another band other than the obvious SikTh connection. The band’s rock/metal leaning and again instinctive creativity comes as easy as they do from UK band Tricore and though their sounds could not be more apart in many ways the construction and seamless meld of directions within the song is a skill that they both impressively have.

The best tracks on Safer Than Reality are the titanic ‘We Never Should Have Met’ and ‘All That Glitters Is Gold’. The first is an addictive and imposing eager clash of frantic sounds and impressive ideas. It rumbles incessantly behind a strong groove that sweetens the senses as the drums give them a firm and intrusive work over. The second of the two songs brings again the distinct sound where melodies and instruments play at extreme odds to others and the vocals, to create a track as triumphant as it is majestic. Many bands try to use discordance and the majority successfully but it is hard to think of one that does it to the extreme and brilliance that Aliases do. In an already brilliant EP these moments are a highlight of the highest level.

To know more about the EP simple go and listen, there is so much more and within the EP that we have barely covered. Safer Than Reality if not already should be on your to listen list and Aliases in your ears constantly.

RingMaster 06/10/2011

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