As if one Zedi Forder album was not enough to be excited over, the trio has a second to grip attention in the shape of Judgement; though this is an entirely different proposition to explore, a twin project going by the name of Zedi Forder Superium. Self-described as “The sledgehammer to Zedi Forder’s scalpel; two sides of the same coin,” this openly unique alter-ego is a far fiercer trespass on the senses and imagination, a fury of sound and thought which soon proved just as striking and compelling as its counterpart.
Whereas the second Zedi Forder album, Isolation, exposed and explored “a sense of feeling separate and apart from the various communities and industry elements that dominate most of the music world”, Zedi Forder Superium takes on the whole world and its corruptions and toxicity which the Woking, UK hailing trio of drummer/vocalist and primary song writer Chris Kerley, guitarist Wayne Clifford, and bassist Rich Tomsett describe as “a fury from the voice of a calculating arbiter that looks to right the wrongs of the world, of all scopes and sizes, one at a time”.
As a mechanical toned voice casts accusations and lyrical reprisals across Judgement, there is something of The Day the Earth Stood Still meets V for Vendetta to the character of the album while musically it is bred in the varied metal and raw rock instincts of the band. As the opening Anthem Of Justice reveals it is an inclination which does not deter melodic enterprise and bold imagination. Instantly the track is buzzing around ears, its hornet like riffs harrying the senses and a quickly formed appetite as beats jab and its bassline weaves. That machine-like vocal incitement is swiftly in the centre of the creative dispute, staggering its potent challenge as Kerley’s predacious rhythms dance. Equally bass and guitar share certain rapacity in their touch and enterprise, the combination as varied in flavour as it is barbarous in touch.
Wherefore Art Thou follows, its initial attack Skindred like but soon stalking the listener with its own bold intensity, style, and a swing which had us bouncing. Alongside the mechanical proclamation, Kerley aligns his own distinctive melodic tones; that seemingly the spark to increased imagination and diversity within the song which by now bears at times a bit of an Anti-Clone like hue.
Next up is Knock Knock and immediately it nags ears with riff wired temptation, an accompanying trespass tempered by floating harmonies and melody bred grooves though they in turn are preyed upon by a virulence of voracious rhythms and the sonic toxicity of the guitar. The track is as irresistible as those before it, proving even easier to be greedy over while Fight Evil With Intolerance is almost sermon like in its rise and injurious in its intent yet, as within all tracks, proves a supportive and rousing incitement physically and provocatively.
As Slippery Slope entangles ears and imagination in its remorseless intimation and implacable dynamics, only tightening its grip across striking twists and devious turns, and Noisy pushes all the right buttons with barbarous and ruthless prowess, Judgement only confirmed its impressive and addictive presence, Awake backing both up in creative kind. It too prowls and stalks the listener, a sonic predator embroiled in the voracious instincts of groove and alternative metal but wrapped in a progressive veil of fertility.
Completed by the melodic melancholy and shadow escaping sure hand of Quell My Beating Heart, beauty shimmering off every surface it bears, Judgement was total captivation. Easily fans will know its source from the craft and songwriting behind it and Kerley’s distinct tones yet the album and indeed Zedi Forder Superium itself has risen to find uniqueness amidst inescapable dominance.
Judgement exclusively released May 11th @ https://tricore.bandcamp.com/ with a “PAY WHAT YOU LIKE” pricing.
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Pete RingMaster 14/05/2020
Copyright RingMasterReview: MyFreeCopyright
It is quickly eclipsed though by the following Wake Up which from its first breath is seducing and ravaging the senses; djent and death nurtured enterprise colluding with sonic and melodic taunts as vocals again bring a great fusion of attacks to the feral trespass. No prisoners are taken in word and sound with every syllable and note a virulent incitement before Damage Everything jabs and swings at the listener with its own individually contagiousness enmity. It too outshone the song before for personal appetites, an Anti-Clone-esque essence adding to its voracious character and grippingly unpredictable tempest.
It is a stunning start to the EP, essences of early Mudvayne, Spineshank, and indeed Anti-Clone coming to mind as it ignites body and spirit before passing its willing victim over to the waiting infectious animus of Last Ones. With a seriously catchy chorus breaking up yet managing to inflame or at least accentuate its ferocious confrontation, the song similarly impresses while recruiting eager involvement in its contagious tempest.
The following Six Feet is just as diverse in its attack and simply imperious, its volatile climate and grievous intensity skilfully contrasted by the melodic and harmonic swoops upon ears; the two colluding in bewitching espionage before the track is back devouring all before. As much death metal seeded as any of the flavours previously suggested, the track is a carnal incitement igniting an already keen appetite with the album’s title track reinforcing its increasing hold. The Violent Sound roars with sonic spittle lying upon vocal ire as rhythms pounce with animalistic predation, a vicious stalking leading to the calmer melodic and cleaner vocal enterprise of the band which is as virulently infectious as anything escaping the crushingly relentless ferocity.
Formed in 2011 but really finding its creative mojo once the current line-up was in place a couple or so years later, the Lincolnshire band soon sparked a hungry and swiftly growing fan base for their dramatically addictive sound which reached its first pinnacle in the Hands Sewn Together EP. Live too, the band has grown to be one of Britain’s prime incitements, sharing stages with the likes of American Head Charge, Kindred, ESO, Breed 77, Sworn Amongst, Maplerun, Evil Scarecrow, and Bloodshot Dawn amongst many along the way. Linking up with EP producer Matt Hyde (Machine Head, Trivium, Fightstar, As I Lay Dying and Slipknot) again for The Root Of Man, the quintet of brothers Drew (drums/ programming) and Peter ‘Mr Clone’ Moore (vocals), Conor (guitar) and Liam Richardson (guitar), and Mike Bradbury (bass) are seemingly poised to set their place at the head table of the UK and indeed European metal scene.
The successor to last year’s Kill The Power, the album opens up with Under Attack, a song instantly smelling of Skindred from its warning tones and Webbe’s vocal prowess alone. In no time song and sound is into a recognisable swagger and intimidating prowl, riffs and rhythms a battlefront of contagion and muscle led by the expectantly gripping vocals. Just as you think you have a hold on it though, the track slips into an atmospheric croon and seventies funk twisting, returning to its tenacious canter for a dynamic and fiery finale.
The band’s sound fuses essences of post-punk, industrial, Synth-pop and post-rock to really simplify its tapestry, with influences arising from bands such as NIN, Interpol, Rammstein, Sonic Youth, and Smashing Pumpkins. It is a fusion which potently gripped attention through the first pair of releases in the four EP project. Both Supplication and Devotion revealed an evolution in the band’s sound with a fresh thick web of textures to that within the band’s album, whilst exploring the theme of love and sex in their destructive form across their songs. That growth has continued with Desolation, its tracks inspired by a look at death and the human condition. As to the timeline of songwriting between the EPs we cannot say but there feels a new maturity to the band’s latest EP which not only seriously ignites ears but offers the potential of even bolder and deeper things ahead.
touch a rough rub before scythes of sonic enticement sears the senses through the guitars. With controlled yet punchy rhythms punctuating the initial lure to equally appealing success, Peter unveils his outstanding vocal expression, his deliver subsequently shown to be as inventive and varied as the sounds around him. The track continues to twist and flirt with the imagination and passions, elements of Korn making strong hints though maybe more so the song plays like a mix of Mudvayne and Fuckshovel with a rich dose of Drowning Pool incitement. That too is only a spice as Anti Clone proceeds to sculpt an antagonistic seduction which oozes originality and mouth-watering invention.