Ciconia – Meraki

The approaching spring of 2016 saw Spanish instrumental outfit Ciconia confirm themselves as one fascinating and enthralling proposition with the release of the album Winterize. Now almost to the day the Valladolid hailing trio are unveiling its successor, an even richer and resourcefully riveting encounter simply demanding real and full attention.

Already hinting to the fact with their 2014 debut album, The Moon Sessions, Ciconia showed a potent craft and agility at weaving canvases of sound as visually stimulating within the imagination as they were sonically compelling for ears with Winterize. The trio of bassist/composer Jorge Fraguas, guitarist Dani Dean, and drummer Aleix Zoreda have built on its acclaimed strengths and adventure within Meraki, a collection of tracks again bred through the band’s blend of progressive/classical rock and metal. It is a mix though unafraid to embrace other styles and hues to its creative breast creating tapestries of sound and intimation proving so easy to immerse within and conjure with.

Caressing inspirations from the likes of Opeth, Anathema, Porcurpine Tree, and Liquid Tension Experiment with their own individual creative emprise, Ciconia have tapped into an even more captivating fusion of individual prowess and united dexterity let alone manipulative imagination with Meraki. Swiftly as opener Litost flexes its metallic muscles within fiery melodic exploration, the track lifts ears on a flight of sonic exploration across a landscape as dramatic and welcomingly imposing as the sounds giving it visual perception. As Dean’s guitar weaves its suggestion, the respective rhythmic snarl and drive of Fraguas and Zoreda infiltrate song and appetite. It is a rousing affair stirring spirit and thoughts alike as well as sparking the instinctive heart and quest of the release.

The following Dépaysement makes a calmer more thoughtful entrance, the melodic hints of guitar within a keys spun atmospheric mist slowly but surely conjuring an increasingly defined image of dark shadows and light drawing implications. As the first, the track swiftly got under the skin and into adventure spinning imagination as folkish hues merged with progressive and melodic disclosure before the increasingly outstanding Euonia spun its own coalescence of descriptive textures and flavours. As throughout the album, every note of the music comes with open craft, drama, and sonic insinuation; a tempting as potently matched by the forceful but no less incisive and compelling manipulation of rhythms.

Through the earthier probing and strolling trespass of the equally thrilling Lost In The Wadi and the lofty winds of Katabatic, imagination and album just came closer together. Both tracks were delicious to ears and thoughts, the first a challenge with a feral edge to its persistence and the second an ethereal laced flight brought terrestrial bound by the dark hues of rhythms and incursions of earthier creative endeavour; and together the pair cast the album’s peak in a mountainous range of success and temptation.

Classic metal strains vein the incandescent canvas of Duality straight after, another track which relentlessly captivates with moments of irresistible enterprise and invention while the closing celestial seduction of Starlight inflames its mellow lures with controlled but stirring blazes of guitar and luminous melody. As each song and Meraki as a whole, every moment is as unpredictable as it is unapologetically alluring; the track a whole mesmeric adventure for the senses and personal interpretation.

We for one were blown away by previous album Winterise but Meraki has left it in the shadows as Ciconia again announce themselves one of the world’s most spellbinding and fiercely enjoyable propositions.

Meraki is released March 11^th with pre-ordering available @ https://www.ciconia.band/web/Shop

https://www.facebook.com/ciconia666/   https://twitter.com/ciconiaband  https://www.ciconia.band

Pete RingMaster

Copyright RingMaster: MyFreeCopyright

Chasing Ghosts – These Hollow Gods

Since forming late 2014, UK outfit Chasing Ghosts has increasingly impressed year by year, release by release. Their first year brought well-received single Everything Changes, attention upon the band swiftly nudged and further stoked last year through the Fearless EP. Now we have new single These Hollow Gods, another slice of the band’s fusion of rock and metal, and another step forward in their potent songwriting and compelling sound.

Formed by bassist/keyboardist Lee Brueton, the Chasing Ghosts line-up is completed by vocalist Nelson Cancini, lead guitarist Harry Mitten, and rhythm guitarist Ashley Clark. The Milton Keynes based band draw on the influences of bands such as Paradise Lost, Anathema, and Moonspell for their sound and the past year has been a big one for it and the band, culminating in their signing with Danish label Mighty Music for the release of their first album next year but before then this new single.

These Hollow Gods is about “our role models, idols and those that we ultimately view as gods in family, religion, music and celebrity. Those that we worship and devote our lives to, but then reveal themselves to be nothing more than false hope, disappointment and betrayal”. Straight away it entangles ears in a spidery groove; it’s tempting web soon joined by Cancini’s potent emotive tones and the restrained yet powerful touch of the rhythms. It is a slow saunter of a stroll which continues to entice and captivate ears but one with a volatility which, though it never quire ignites, is a constant threat and alluring shadow to the gothic melodies which almost seep through ears into the psyche.

The track simply grows note by note, going put on a blaze of intensity leaving a lingering appetite for more.  If a sign of things to come, Chasing Ghosts’ upcoming album should feed that want and will be very much anticipated after These Hollow Gods.

These Hollow Gods is out now.

http://www.chasingghosts.co.uk/    https://www.facebook.com/Cghostsmusic   https://twitter.com/chasingghosts_

Pete RingMaster

Copyright RingMaster: MyFreeCopyright

Chasing Sanity – Anathema

Chasing Sanity is the new solo project from Erik Martin, formerly of Erik Dismembered and one half of Skin Drone; a new creative adventure born from the ashes of the first of those two when Martin decided to “start over and rebrand” himself and his music having felt “uninspired to write anything under the Erik D moniker”. In many ways, Chasing Sanity is closer in style to his work with Otto Kinzel as Skin Drone but as swiftly revealed within debut album Anathema, creating its own unique and fascinating world of imagination and sound.

Though you might primarily tag Anathema as Avant Industrial Metal, it is equally a kaleidoscope of atmospheric and cinematic textures drawn from the darkest corners and depths of the imagination. Every track is a challenge and canvas for the imagination to conjure upon and a place where intimate horrors collude with broader nightmares. Themed by “anxious depression and anger” bred in Martin’s own experienced emotional turmoil, the album opens with You Fiend. Primarily an instrumental release, the first track features the vocal prowess of Nate Exx Gradowski from Isolated Antagonist, AutomatoN, and Quo. Straight away the raw snarl of guitar stalks the senses, inserting their toxic magnetism as Gradowski adds his multi-textured presence within a similarly diverse lure of synths. Every second of the song leads to a fresh turn and unpredictable twist, Gradowski’s switches between harsh and clean vocals matched very second of the way by invasive yet captivating sound.

In many ways, the opener is a straight forward proposal to embrace compared to its successors where the imagination is as active as ears.  Cursed is next up, gliding in on the infectious throb of bass as an increasing web of sound and noise insert their suggestive glimpses into the track’s brewing landscape. Drama fuels every second, metal nurtured riffs and trespasses gripping bait but persistently interrupted by haunting atmospherics and sombre shadows to catch ears and thoughts off guard time and time again. As with all pieces, interpretation will be unique to the individual but unavoidable as the track provokes and inspires before Depths Of Euphoria immerses ears in its own disarming quiet suggestiveness. Even more cinematic than its predecessor, the song is like a flight through night clad scenery with sinister shadows and dark traps waiting to spring.

The industrial intimidation of Haunted Walls quickly has thoughts and emotions involved next; danger and innocence entangling within its guitar veined gothic body. It is a dark place though with the invasive intent of a Hostel found cell, every step within its fascination wrought with tension and ill-intent before Dismembered Thoughts brings some light to the release with its infectious waltz. Yet it too is a tenebrous dance with treachery and menacing asides, keeping ears and thoughts again wary and busy throughout its passage through to the steely net of sonic intimation cast by Orange Bottle. A blend of textures and styles unite for its metal nurtured shuffle, the track prowling the senses as it commandingly ignites physical and mental involvement.

Pills, Pain And An Autopsy creates its own travelogue through the dark tunnels and layers of psyche and suggestion where caliginous beauty and thought infesting angst breed their own unique connection. The track continues to grow and blossom, never escaping its haunting shadows but nurturing a myriad of melodic hues and evocative textures within its atmospheric immersion.

The final pair of tracks upon the EP sees Martin linking up with firstly Rockwater Pictures for Red Death and its percussive and inhuman infestation of the psyche and lastly with Chris Bollinger of Kill Point Protocol and Varicella in Salem, 1666. The final track only needs Vincent Price’s distinctive growl to be the complete cinematic nightmare, one offering extreme and industrial metal surges seemingly glimpsed through a damaged canvas slashed by the claws of the horned one. As the album, it needs numerous plays to settle on a final interpretation, if you ever can, with thick enjoyment flowing through every attempt.

There is no doubt that Anathema is a challenge, one only venturing within its dark realms will reveal whether you  will embrace or flee from it,  but as is the theme with Erik Martin’s work, it is a testing which leaves you mentally and physically alive and indeed welcomingly exhausted. Chasing Sanity pretty much sums up the sound and experience of Anathema, something we all do in varying ways through life.

Anathema is out now across most stores and @ https://chasingsanity.bandcamp.com/

https://www.facebook.com/chasingsanityband

Pete RingMaster 26/07/2017

Copyright RingMaster: MyFreeCopyright

Ciconia – Winterize

One complete movement or song split into ten standalone chapters, Winterize is one riveting adventure for ears and imagination. The new encounter from Spanish instrumentalists Ciconia, the concept album is a bold and fascinating merger of progressive rock and metal with post rock attributes aligned to a whole array of other flavours and styles from stoner to folkish enterprise. Winterize is quite superb, a mesmeric and invigorating incitement leaving pleasure and spirit eagerly aroused.

Hailing from Valladolid and drawing on inspirations from the likes of Opeth, Anathema, Distance Calling, Toundra, Mogwai, Liquid Tension Experiment, and Porcupine Tree, the 2013 formed Ciconia soon grabbed attention with debut album The Moon Sessions the following year. Its impressive body drew the band to the attention of the Independent Music Awards in Spain last year, that recognition backed by The “Z” Sessions EP, which featured a trio of tracks from the album re-mastered and remixed by Roy Z and was unveiled as the band hungrily took their live presence around Europe; the likes of France, Italy, Germany, Holland, Belgium, Slovakia, Romania, and Hungary taken in as well as extensive shows across the band’s homeland.

Now it is Winterize set to awaken new spotlights; an aim easy to see succeeding such the beauty and impressive melodic character of the album alone. The trio of bassist Jorge Fraguas, guitarist Javier Altonaga, and drummer Aleix Zoreda open the album and creative narrative up with Snowfields. From wintery winds and a solitude suggesting ambience, a single melody flickers into life and begins seducing ears and imagination. Like a flame in the cold air, it dances on the senses, painting provocative imagery in thoughts before the band cast an alluring mix of classical and Spanish like guitar. With the theme of the release from artwork to aural suggestion, expectations were that the album would provide cold and imposing soundscapes to ponder. The pure warmth and elegance revealed by track and album throughout was not predicted but swiftly devoured as it added to the inventive palette presenting the imagination with plenty to work with.

The gentle flight of the first track is replaced with the busy and bullish tenacity and energy of Eloina´s Inn. Strands of varied metal and heavy rock enterprise entangle as they descend feverishly on the senses, the track like a celebration and boisterous oasis out of the starker air of surrounding creative scenery. Rhythms are virulently dynamic and guitars a blaze of flirtatious and descriptive adventure whilst the skills of the individual members are as open and gripping as their combined endeavour.

There is no way words can present all that is going on in songs and album or of the diverse flavours lured into each dramatic piece of composing and invention but as the volatile soar of Limbus and the snarling confrontation of Scarsman proves, Ciconia create music which does not need to offer or receive any hints or clues to help the listener invest in their own adventures.  The first of the two takes thoughts through spatial hues whereas its successor creates a flesh marked protagonist in another mentally sculpted exploit which you would might be wary of yet reassured of their involvement.

As each track passes it offers a theatre of sound and rousing ingenuity; the epic serenade of The Forgotten casting a melancholic embrace and tempestuous fire of attitude and emotional turmoil all in one whilst A wolf never comes alone is as predatory as it is anthemically irresistible. A tempest of ear lashing beats and carnivorous riffs at its core, the piece is also a maze of classic rock acidity amidst antagonistic turbulence and quite thrilling. Its darker moonlit secrets and dangers midway only add to the bewitching drama of a song which leaves ears and emotions alive and ready to be ignited further by the outstanding Reel of Trevinca. Spanish folk rock meets Celtic spicery, the song has a great essence of Horslips about it at times as it whips up a jig and romp to get physically involved in.

The very brief melodic stroll of Forestwalk beside the crystal beauty of running water leads thoughts into the classical, almost vaudevillian exploits of Fiadeiro. Extreme metal textures collude with the radiance of classically spun melodies, further growling textures emerging with each twist of the song’s adventure and the sonic enterprise which colours the scene painting imagination shaping it.

The album is completed by the sixteen minute plus Towards the Valley, an emprise of craft and unpredictable incitement that seamlessly and beautifully moves though peaceful scenery into shadow drenched and in turn danger spawning challenges. Continuing to revolve and evolve through various shades of each across its long but seemingly quick in the ear such the eventful nature of its passage, the track is a striking end to a sensational release.

With Winterize, Ciconia have pushed themselves to the fore of instrumental and progressive rock; more importantly though they have given ears and the imagination one truly exciting and irresistible collection of aural pigments to go conjure with and inevitable richly enjoy.

Winterize is out now @ https://ciconia.bandcamp.com/ and http://www.ciconia.bigcartel.com/

https://www.facebook.com/ciconia666   https://twitter.com/ciconiaband

Pete Ringmaster 19/04/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com

Apherium – Embrace The Fall That Brought Us Here

Our introduction to British alternative rockers Apherium came last September with the Neoteric EP. It was a striking and attention grabbing offering if one whose major peaks left the surrounding adventure of the release seeming like it was lacking a spark or two. The potential was inescapable though, and now in full flow in new offering Embrace The Fall That Brought Us Here. The new three-track EP from the Somerset quartet blows its predecessor out of the water and though it might contain less songs each shows a band on close terms with increasing craft and tenacious invention.

Its members having met at college, Yeovil hailing Apherium emerged in 2011 and within a year had released a self-titled EP and debut album The Cycle. Drawing on inspirations from the likes of Midgar, Biffy Clyro, InMe, TesseracT, and Anathema, the band continued to evolve and hone their sound in an exploration which provided a stirring tapestry of flavours in last year’s acclaimed Neoteric EP At that point it was announced as the band’s finest moment to date, though as suggested, the foursome of vocalist/guitarist Larry Turner, bassist/vocalist Callum Shortland, guitarist/vocalist Ross Derby, and drummer Ashley Jones have burst onto a new plateau of sound, invention, and seemingly passion with Embrace The Fall That Brought Us Here.

Recorded with legendary producer and sound engineer John Mitchell (YouMeAtSix, Lower Than Atlantis, Enter Shikari), the EP opens up with Resolve, a song swiftly enticing ears with jabbing beats and a moody bassline as guitars cast a thick mesh of sonic coaxing. A moment’s relaxation sparks a bold stroll ridden by the impressive vocals of Turner. Thereafter, the song is a forceful and anthemically engaging proposal, enhancing its gripping start with potent backing vocals amidst a rhythmic intensity and melodic flames which rise up with increasing contagion. By mid-way on the first listen, it is impossible not to be fully involved with participation a given by the second and certainly third outing with the excellent encounter.

It is an attribute all three songs have, a familiarity which plays like an old, but previously unknown, friend. They also share the quality to be the lead song, the big invitation to the EP. Embrace has that pleasure and quickly has its infectious claws in ears as stabbing beats and irritable riffs collude with the emotive tones of Turner and the brewing ascent of evocative melodies. Raw vocal expulsions are amongst the unpredictable and inventively infused elements that create even greater hooks within the catchy, bordering on volatile blaze where angst powered roars are seamlessly merged with elegant calms.

Closing track Ever Present bruises and seduces from the off, the scything swings of Jones imposing drama backed by the moody tones of Shortland’s bass whilst the guitar enterprise of Derby and Turner is at times pure creative theatre and persistently an arousal of the imagination. Emotively inflamed and dynamically compelling, the song is a mighty end to the thrilling next step in the rise of Apherium.

With their last EP, comparisons to bands such as Funeral for a Friend were easy to suggest, but as the band has untapped further into the creative depths hinted at previously, Embrace The Fall That Brought Us Here emerges as something solely Apherium; with the promise of more to be discovered bringing extra intrigue in their future.

Embrace The Fall That Brought Us Here is available from February 29^th, and able to be pre-ordered @ https://apheriumofficial.bandcamp.com/album/embrace-the-fall-that-brought-us-here

Upcoming Tour dates:

Feb

29th – Leicester, Sumo

Mar

1st – Guildford, The Star Inn

2nd – London, The Garage

3rd – Bristol, Stag & Hounds

4th – Yeovil, Quicksilver Mail

5th – Wigan, The Old Courts

http://www.apherium.com/     https://www.facebook.com/apherium   https://twitter.com/apheriumband

Pete RingMaster 23/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Helfir – Still Bleeding

Dark and atmospherically emotive, imposing yet seductively immersive, Still Bleeding the debut album from Helfir, is a haunting and at times chilling embrace radiating an inescapable and persistent persuasion. It is a fascinating and more often than not bewitching proposition providing escape from the mundane of life but ironically explores just as solemnly reflective and emotionally melancholic climes. The contrast between the two though is as rich as the sounds fuelling the temptation, the album soaked in noir brewed beauty transporting ears and imagination into sublime and sorrowful realms.

Helfir is the solo project of Italian multi-instrumentalist Luca Mazzotta, the co-founder and guitarist of Silvered and guitarist of neofolk band NID. 2013 saw Mazzotta begin working on his solo project, subsequently performing alongside Antimatter, a band it is easy to suggest is an influence to Helfir alongside the likes of Anathema and Porcupine Tree,. Apart from additional drum parts from Antonio Fanizza and Francesco Politi on a few tracks, Monza hailing Mazzotta provides everything upon Still Bleeding, enveloping ears and tantalising the imagination from its very first breath.

The initial cold caress of Oracle starts off the dark flight of sound and emotion, keys with a funereal air coaxing thoughts before a spoken narrative and warm guitar enticement add to the captivating start. Apart from that early brief passage of narrative, the track is primarily an instrumental reflecting the dark words spoken with haunting elegance and poetic melodies.

     My Blood slips in as its predecessor departs, a similarly bred but individually mournful embrace of sound and emotion smothering and igniting the senses. The expressive voice of Mazzotta is as downcast as the melodic beauty around him and as compelling, his tones alluring and emotive within the web of samples, prowling rhythms, and incendiary guitar invention, and all within a tempestuous atmosphere. The track is spellbinding, sparking deep thoughts and feelings which as the whole album, inspires the imagination to run with its own dark tales alongside those of the proposition.

An even darker and disquieting hug follows in the shape of In The Circle, its initial gently shadowed kiss evolving into a rich tapestry of flavours and textures. There is a volatile heart and landscape to the track too, its blaze of progressive and alternative rock one of the flames forging the dramatic incitement. As its predecessor, it grips with immediate strength and prowess but as Still Bleeding itself and most tracks within, blossoms into an increasingly powerful and emotional impact over time.

Alone is further proof of the thick creative theatre and engrossing prowess of songs and sound, its crestfallen heart and shadow fuelled radiance as invigorating as its disconsolate smog is light sapping whilst Dresses Of Pain exposes its own grander and bolder but no less melancholically intimate and emotive depths. There is a fiery ambience and energy to the song which ebbs and flows so that personal aspect can unveil its raw palette within the more explosive textures. Both songs seduce the dark corners of thoughts and feelings to console with those of the song; a persuasion which Black Flame equally sculpts into its pungently expressive and doleful touching beauty. Again a common factor across the album, the vocal and lyrical prowess of Mazzotta is as enthralling as the almost maelstrom like weave of skilfully crafted sounds.

Arguably the darkest emotional anguish and suffocation loaded shadows on the album are revealed by Portrait Of A Son, its dour yet beaming charm fuelling one invasive trespass and mesmeric kiss. The song is gripping setting up the listener for the brief instrumental led haunting of Where Are You Now? and finally the climactic tempest of Night And Deceit, a conflagrant roar of invention, craft, and blackened emotion.

At times a proposition which could push already darkened hearts into inescapable turmoil through its open and beauteous melancholy, Still Bleeding is a feast of imagination and emotional intensity. Luca Mazzotta as Helfir might not have created the most immediately welcoming listens but as an impacting and persistently alluring incitement, he has unveiled a haunting success.

Still Bleeding is available now via My Kingdom Music @ http://mykingdommusic.bigcartel.com/product/helfir-still-bleeding-digicd

http://www.lucamazzotta.net/   https://www.facebook.com/helfirofficial

RingMaster 10/07/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Empty Yard Experiment – Kallisti

   Kallisti is an album to which you have to commit time and attention but rewards with an enthralling journey for thoughts and emotions to deeply immerse within. The new release from Empty Yard Experiment, the fourteen track encounter is a transfixing and compelling proposition which never lets you comfortably settle into its exhausting textures and climactic structures but equally never relinquishes its grip and temptation on the imagination. A riveting web of progressive and melodic rock with just as rich veins of post rock and alternative metal, the album is an expansive landscape of consuming atmospheres and provocative emotion wrapped in a craft and enterprise which pushes Empty Yard Experiment to the forefront of progressive exploration.

Formed in 2006, the Dubai based band consists of musicians from the United Arab Emirates, Serbia, Iran, and India. Taking influences from the likes of Tool, Porcupine Tree, Nine Inch Nails, and Mogwai into their own invention, Empty Yard Experiment (E.Y.E.) has certainly on the evidence of this second album, forged a unique yet almost recognisably engaging presence and sound. It comes in an ingenious tapestry though which sets it well apart from the band’s influences and others engaged in a similar weaving of multi flavoured styles into sonic experimentation. With the band already earning acclaim through shows with the likes of Evanescence, Metallica, and Anathema, their Joshua F Williams (Bruce Springsteen, Stevie Wonder) produced Kallisti has the quality and potential to thrust the band into the keenest spotlight. Named after the inscription on the ancient Greek Apple of Discord, Kallisti is a concept album themed by the threads of chaos and discord which permeate our lives and existence, its lyrical provocation as rich and intensely provocative as its sound.

The journey starts with Sunyata, an instrumental introduction which places melancholic keys from Gorgin Asadi and strings in a crystalline and slightly portentous ambience. It is an easily engaging opening cloaked in emotive shadows and swiftly has thoughts wrapped up in its restrained yet potent drama. The track builds up a sonic link between itself and the following robust and intimidating Greenflash. That threat is slightly defused with the great ragged rub of riffs which soon emerge and mellow vocals which instantly brings a whisper of Deftones or Palms to the otherwise predatory entrance of the track. As it opens up its rhythmic pressure and sonic ruggedness everything takes on a fresh, bordering on antagonistic, approach to the melodic temptation. The result is a song which flirts and melodically roars like a mix of Alice In Chains and Karnivool. As with most tracks there is so much going on that we can only give brief glimpses, each proposition within Kallisti an on-going exploration of an evolving soundscape.

The outstanding track makes way for the dystopian ambience of Red, a brief instrumental clad in an emotively sinister ambience before it in turn slips into the reflective caress of The Blue Eyes of a Dog. The track is like a stark imposing breeze, its emotional intrusion at times a wispy elegance and in others a forceful wind all sculpted by respectful rolling rhythms, melodic experimentation, and emotional turbulence. The instrumental is a beacon for ears and especially imagination to find their own scenic visions within the track and album, matched to more sinister effect by the more disturbed There Will Never Be where keys and vocals unite for a severely troubled caress.

Entropy provides the loftiest peak on the album, the track an enslaving bait of sinew stretched riffs from Bojan Preradovic and the probing beats of Josh Saldanha within an atmospheric sonic glaze courted by a gripping throaty bass temptation unveiled by Kaveh Kashani. Vocals swiftly add their smooth and evocative tension as keys swarm tenderly over the senses with a smouldering breath of seduction. The song prowls as it seduces, expelling raw abrasing flames of sonic and emotive passion throughout for a climactic and absorbing flight.

Blue is another short cinematic slither of industrial bred scene setting before the transfixing beauty of Anomie immerses ears and senses, the skilled designs of guitarist Mehdi Gr a gripping narrative alongside the increasingly mesmeric vocal qualities of Preradovic. There is a sinister almost bedlamic eruption of discord kissed sonic ingenuity within certain twists of the song which simply adds to its engrossing intrigue and unpredictability. The following Lost In a Void That I Know Far Too Well has less of the second of those two aspects but certainly a wealth of the first within its soaring melody strewn instrumental landscape. The piece again has thoughts flying their own agenda before Untitled spreads its unique but easily accessible melodic rock revelry and provocative expression. Detours into cinematic glimpses of life and festivities wrong foots at first but opens up further exploration within the constantly surprising track which over time only enhances its suasion.

The dark cavernous depths of Sama make another short but impacting twist in the narrative of Kallisti before it seamlessly evolves into the melodic enchanting of God Has His Reasons, a self-reflection driven slice of melodic and harmonic beauty. Keys and vocals steal the ears but only because the striking canvas built by restrained rhythms and an inescapable web spun by the enterprise of the guitars and bass gives them a potent background.

A final short piece called Green leads into the closing triumph of The Call, a track from its initial rhythmic trap binding ears and passions in a nine minute travelogue of gentle and tempestuous emotional climates and rugged aural terrains. It is a final emprise for thoughts and feelings, a thrilling sonic gest to lose reality within.

Though many tracks work alone superbly, Kallisti works best as a whole even though that means greater attention and effort is needed. The rewards though are enormous as Empty Yard Experiment proves themselves to be one of the truly exciting emerging forces in melodic and progressive endeavour.

The self-released Kallisti is available now @ http://emptyyardexperiment.bandcamp.com/album/kallisti

http://www.emptyyardexperiment.com/

RingMaster 29/09/2014

Copyright RingMaster: MyFreeCopyright

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

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