Arcade Messiah – Hell By Default

After two years of pretty much silence since the release of previous release, Trilogy, Irish musician John Bassett has returned with a new slice of Arcade Messiah temptation. Hell By Default is that offering, the declaration of a new captivating breath to his sound and songwriting and an ear grabbing EP making a rather potent teaser to a new album in the works.

Already renowned before Arcade Messiah as the frontman/songwriter of KingBathmat, Bassett himself says that ‘After a couple of very difficult years, I’ve finally managed to get back to making music, the new Arcade Messiah sound is more song focused with vocals…” That was the first surprise as previously the Sligo based songwriter/multi-instrumentalist/producer’s project has been an instrumental adventure and news which immediately intensified the intrigue as fruitful experiences with KingBathmat and SΔCRED ΔPE as well as an acoustic album under his own name proved vocals was another potent string to Bassett’s creative bow.

Equally there is a new hue to the Arcade Messiah sound, a lighter multi-flavoured flume of melodic imagination and contagious hookery which comes with something of a KingBathmat lining but one which colludes with and enhances rather than defuses the established progressive shadow haunted explorations of Bassett’s project. Its first three albums and their union as Trilogy in 2017 provided a cathartic venture for the imagination within a kaleidoscope of suggestive sounds for ears. Hell By Default is no different yet with its broader palette of enterprise is a bold new trail of exploration for Arcade Messiah.

The EP opens with its title track, a song taken from that new and fourth album planned for release later in the year. Hell By Default rises on a siren sonic call, a lure within which a teasing melodic hook soon beckons and the tones of Bassett coax. With every note and second, the song gently but firmly accelerates its urgency and temptation, soon hitting a keen stroll soaked in drama and fiery intensity. Rock and metal essences blend in the post rock nurtured flames which boldly consume and ignite upon the senses, dark almost rapacious tints soaking the creative trespass swiftly igniting imagination and appetite. It all unites for a thickly magnetic proposition and a greedy devouring of the return of Arcade Messiah.

The following Death X-Ray strolls in with a calmer and lighter character and touch, one fuelled by an instinctive tempting and organic catchiness which instantly gripped attention. As melodic infectiousness, vocal intimacy, and rhythmic persuasion continue to flourish, the track blossomed with greater radiance. Even so a shadowy courting to the melodic radiance and emotive heart on offer brings an edge and drama which only highlights the nagging prowess of hooks and grooved melodies, the result another track which only compelled pleasure and attention.

Hell By Default concludes with its instrumental version, a piece of creative inference which led thoughts to a different adventure to that highlighted by the words of Bassett in the opener and that is another attribute proven to its creator’s craft, songs can have a dual aspect and has the imagination constantly conjuring.

It has been a perpetual pleasure for us to engage in any Arcade Messiah encounter so far and the new EP only repeats that experience though through it there is a feeling that that new album could be the biggest thrill of all.

Hell By Default is available now @ https://arcademessiah.bandcamp.com/album/hell-by-default as a name your price download.

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Pete RingMaster 09/08/2019

Copyright RingMaster: MyFreeCopyright

KingBathmat – Dark Days

Ears and the imagination have been spoilt these past three or so years by the solo adventures of songwriter/multi-instrumentalist John Bassett. From the melancholic beauty and emotional exploration of a self-titled album to the ever evolving post/progressive metal instrumental kaleidoscope of ARCADE MESSIAH and most recently the electronic/synthwave exploits of SΔCRED ΔPE, Sligo based Bassett has enthralled with an ever broadening landscape of sound and invention. It is fair to say though that, as for so many others, there has been a yearning for something new from the band which first brought him to our attention, KingBathmat. Now that hunger has been fed with the progressive rock/metal outfit’s new mini album Dark Days; satisfied and forcibly ignited further by the band’s first outing in four years.

Now consisting of just drummer Bernie Smirnoff and Bassett, KingBathmat follow up their acclaimed and seriously compelling Overcoming The Monster with the band’s heaviest and darkest proposition yet but one still bred in the band’s instinctively melodic prowess and suggestiveness. The songs within Dark Days were conceived last year for a 2 man side project but soon found a familiar identity, Bassett admitting when talking about the release that, “It wasn’t initially in my plans to make another KingBathmat record, but these songs just had that KingBathmat feel to them.”  Having enjoyed the impressively individual characters of his other projects it is easy to agree that the songs within Dark Days are instinctual to the band from the rhythmic dexterity of Smirnoff to the unique voice and style of the songs and their writing.

The title track of Dark Days starts things off, its sonic air soon sharing a keys coloured melody and the familiar tones of Bassett. Reflection fuels his words, harmonic suggestion his voice as additional textures slowly slip into the blossoming encounter where a moodier bass aligns with dancing beats as melodic hooks continue to magnetise attention; the track simultaneously growing warmly inviting and atmospherically shadowy.

The compelling beginning is continued through the more crepuscular Tis Pity She’s A Whore, its air heavier and darker yet equally sharing the calming invitation of its predecessor. Embracing an array of rock textures in its progressive web, grunge and stoner-esque essences among them, the track rumbles and flirts with increasing imagination; at times coming over like a blend of 12 Stone Toddler and An Entire Legion within its ultimately unique proposal.

Magnet To Pain has a mellower climate yet with a boisterous energy epitomised by the funkiness of the bass and Smirnoff’s vivacious rhythms. At the same time, a more volatile element is at play in the background, prowling the shadows with moments of fiery release as Bassett’s vocals and guitar honed melodies serenade. As with every song, each second carries an adventure, a bold invention which has the imagination as eager and lively as ears and a swiftly spirited body soon hooked on the track’s swing and catchiness.

The dusky charm of Feathers follows, its emotive voice and tender melodies instantly captivating especially as both elements alone bloom in expression and depth as the song grows. Bassett’s guitar weaves a tapestry of sound and temptation, Smirnoff’s rhythms offering a controlled but earthier union to the progressively nurtured layers emerging within the compelling encounter.

Dark Days concludes with Nihilist, the darkest track emotionally on the release; its feeling of emptiness countered by hope rich melodies and a spirited catchiness which grows from initial seeds into the driving force of the increasingly animated and frisky track. Bassett gives rein to his attributes across an array of instruments, his dexterity and craft as compelling as the song and supported superbly by the lithe rhythms of Smirnoff.

It is fair to say that Overcoming The Monster is one of our intimately favourite albums and though the outstanding Dark Days did not hit that level straight away, with every rewarding listen it moves a fresh step nearer to those heights. Without doubt a hankering for a new KingBathmat encounter has been satisfied with a richness which outshines any hopes lying in wait for such an event, the greed for a lot more though has now been set ablaze; over to you Misters Bassett and Smirnoff.

Dark Days is out now and available at https://kingbathmat.bandcamp.com

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Pete RingMaster 04/07/2017

Copyright RingMaster: MyFreeCopyright

No Religion – Self Titled EP

There seem a few bands with the same moniker across the globe but the one making a really potent impression with their latest release is a British duo crafting highly enjoyable and suggestive instrumental rock as heavy as it is melodically potent. There is not a great deal we can tell you about Bradford hailing No Religion apart from it consists of guitarist Andy Ledder and drummer Darren Brearton who together made up one half of the sadly demised melodic rockers One Day Remains who grabbed attention with The Agony Is Abated EP back in 2011/12.

In sound though, the pair make a real vocal statement; the three songs making up their latest and we are assuming debut EP, an adventure for ears and imagination alike. Opening track, One Line, quickly takes the senses to a darkly intriguing place. Its opening coaxing is almost portentous, a sonic vapour from within which wiry grooves and spiny melodies collude as the swinging beats of Brearton land with purposeful intent. The hook lined surface of those grooves make for a nagging appeal, Ledder using every note as suggestive bait for ears and thoughts. The cinematic air of the piece is a mix of danger and adventure, a creative emprise which is as compelling as it is enterprising with a nice essence of Irish project Arcade Messiah to it.

Second song is Devils Grin, a thick embrace of sound more emotionally intensive than the bolder almost heroic escapade of its predecessor. Ledder again spins a web of melodic exploration as Brearton’s rhythms roam with weight and poise, punctuating every twist and turn in the sonic design of the track. The shadowy depths of the piece add to its emotive design, ears and imagination firmly and increasingly engaged before Blind brings the release to a fine conclusion.

Though it never quite matches the strengths and temptations of the previous pair, the song rises up around ears like a dawning melodic sunrise. Its bluesy air and country-rock scent are fresh hues within a piece of music hinting at dark moments and danger trespassed surrounds but keeping them at bay with its elegant melody woven poetry.

There is no obvious connecting theme to the three pieces of music making up the EP, each seemingly offering individual premises, yet they still feel like they are part of a bigger adventure; glimpses of a broader creative travelogue and emotional subterfuge. Most importantly though, they offer a first listen to the potential loaded imagination and sure craft of No Religion in a release which may not provide major surprises but has ears enthralled and an appetite for more eager with ease.

The No Religion EP is out now through iTunes and other stores.

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Pete RingMaster 23/05/2017

Copyright RingMaster: MyFreeCopyright

SΔCRED ΔPE – Self Titled

We are among many claiming Sligo based songwriter/multi-instrumentalist/producer John Bassett as one of the most inspiring and refreshingly imaginative composers/songwriters around today and the first album from his new project gives no reason to pull back on that acclaim. SΔCRED ΔPE is Bassett’s, the founder and driving force of KingBathmat and post/progressive metal solo project Arcade Messiah, exploration into electronic/synthwave bred adventures. It is a bold new avenue to pursue for artist and listener but a continuation of the kaleidoscopic sound and visually stimulating artistry within his eager imagination.

As poppy as it is progressive, as emotive as it is instinctively infectious, the SΔCRED ΔPE album needs little time to infest an eager intrigue for something new from its creator; as instantly exciting the senses and involving thoughts and more physical involvement. In many ways, it is his most accessible offering yet though attracting and gripping attention and pleasure has never seemed to be something needing a great deal of time across any of his releases to date. It has a freedom suggesting Bassett is embracing his own electronic loves seemingly with an eighties breeding; playing with inspiring sounds and textures with zeal but weaving them into pieces suggestively complex and intimate and, especially in the album’s pair of instrumental soundscapes, cinematically pregnant though all tracks have just as potent passages.

The album opens with its first instrumental, Horn and swiftly has ears and appetite entangled with its electronic coaxing equipped with virulent melodic hooks. Intrigue coats every note and their emerging collaboration, sonic shadows dancing with melodies and repetitious seduction like an aural cousin to the imagery at the start of the old British TV show Tales of the Unexpected. Spatial yet sinisterly terrestrial, bright but with an almost cold war like drama, the track is a virulent transfixing of ears and imagination and just irresistible.

Asleep At The Wheel (Part 1) follows, contrasting its predecessors light frenetic gait with a heavier almost prowling slow stroll. There is a weight to its air and emotion, a thoughtful pondering soon emulated in the vocals of Bassett. Again melodies escaping synths rise to a celestial atmosphere yet laden with those ever present shadows to temper the climate before Birds Fall From The Sky pulsates with sonic palpitations. From within the animated lightshow a glorious darkwave scented groan, for want of a better word, erupts and swaggers into the passions. With surrounding melodic revelry and an overall creative drama at play in sound and lyrical word, there is a touch of OMD to the song; a flavouring adding to a familiar Bassett design yet as ever one of singularly fresh enterprise.

As a tangy melody steers in next up I Want To Go Back To The Happy House, a Blancmange like lure teases ears continuing to attract as the song broadens its landscape and voice with more of a Kraftwerk meets Giorgio Moroder inspiration. The instrumental floats across and surrounds ears like a summer haze with electronic imagery indistinctly but evocatively flirting from within; easily sweeping the listener up in its flight if without quite igniting the same lustful reactions as those before it.

Through the reflective embrace and dark pulsations of Season Of The Damned and the compelling theatre of Walking On Ice, Bassett has enjoyment and manipulation of the imagination in the palms of his hands; both tracks individual slices of ethereal synth pop with an earthier heart and spine to their explorations with the first a warm hug of temptation. Its outstanding successor though, brings the darker suggestion of the first into a more tangible touch on ears and thoughts creating a John Carpenter like cinematic espionage of suggestion creeping upon and infesting the senses as melodic infection gathers. It is a catchiness which soon leads the way but never diminishes the darker threat alongside resulting in the kind of mouth-watering blend Frank Tovey (Fad Gadget) was so skilled at weaving.

The album concludes with the lullaby-esque Asleep At The Wheel (Part 2), an epilogue of melancholy fuelled, melody woven inference with a childlike clockwork skeleton. It is a sigh of emotion which bursts into greater weight and drama midway and again simply captivates from its first to last breath.

It is too easy to expect big things from John Bassett because of past experiences with his music and it is an instinct sure to continue with SΔCRED ΔPE adding another impressive and seriously enjoyable string to his creative bow. It is an aspect in his creativity we fiercely hope he continues to explore and we are certain in that wish we will not be alone.

The SΔCRED ΔPE album is out now and available @ https://sacredape.bandcamp.com/releases

http://www.johnbassettmusic.com   https://www.facebook.com/arcademessiah/

Pete RingMaster 02/05/2017

Copyright RingMaster: MyFreeCopyright

Arcade Messiah – III

This past week saw Arcade Messiah unveil its third album in as many years, each a November treat instantly challenging thoughts on best of year nominations.  III is a mighty continuation of that trend, a release where imagination might not be rampant in its title but in its kaleidoscope of suggestive sound and inventive flavours, it simply ignites ears and thoughts.

Arcade Messiah is the solo project of Sligo based songwriter/multi-instrumentalist/producer John Bassett, the founder and driving force of the outstanding UK band KingBathmat. It is a true solo effort with every detail the imagination, creation, and work of Bassett, all apart from the art of III which sprung from the craft of Michael Kerbow. Arcade Messiah has persistently taken ears through a myriad of sonic and powerfully evocative landscapes, pushing the union of creator and listener’s imaginations to new heights. III unsurprisingly is no different to its predecessor, exploring a new depth in textures and invention which just lights up mind and spirit.

To simplify things, Bassett weaves his music from the merger of everything from post and stoner rock to doom, sludge, and metal doom. It is still a narrow description of his sound which defies labels yet openly embraces inspirations whilst turning them into something inescapably unique to Arcade Messiah. Like a melodic siren with the growl and intensity of a bear, his instrumental endeavours to date have fascinated and consumed ears and mind alike; III as mentioned does not deviate from that success. It is though, the heaviest, most compelling and exhilarating offering from the man yet. Across six tracks, the album is creatively ravenous, melodically seductive, and often emotionally irritable and quite bewitching.

It opens up with Revolver, a prowling slice of heavy metal with an air of Sabbath to it which is soon entangling ears in a net of melodic and sonic intrigue. Rhythms barge through the maze of sound, imposing on the senses with poise and aggression as guitars weave their web. The first surprise is the sudden expulsion of vocals from Bassett, they more a texture than an attention stealer but carrying a clarity as ripe and potent as the cauldron of sounds around them. Simultaneously confrontational and welcoming, the track continues to disturb and beguile like a dramatic carousel.

It is a glorious start swiftly backed by the bestial presence of Citadel, a lumbering slab of crawling doom which looms up over the senses, submerging them in its sludgy tar before veins of melodic enterprise and emotive grace wrap around body and imagination. Dark and dangerous, alluring and captivating, the song gets under the skin and into the psyche; its aural scenery an irresistible adventure to navigate and explore.

At over ten minutes, Deliverance is an epic proposal which devours time with its craft and magnetism. From a gentle opening as warm as it is melancholic with guitars and keys entwining with earthbound celestial beauty, the piece brews a darker side. Striding rhythms are the first deceptive shadow, again a sure invitation with a portentous edge though their threat merely simmers for its first third. Eventually though there is no holding back the energy and intensity of the skirting shadows, their fiery eruption the spark to a lava flow of melody and carnivorous energy. It is impossible not to get lost in the depths and suggestiveness of the track, the imagination casting its pictures and tales as the track continues to ebb and flow in touch and creative fire, perpetually burning its presence into appetite and spirit while captivating with its variety of attack.

It is impossible to pick a best track, all providing unique aspects and characters to immerse in, but the song certainly makes a highly persuasive argument as too its successor Life Clock. Washing over the senses with its space rock like atmosphere and fertile layers courted by the dark lures of bass and beats, the track is another femme fatale resembling encounter luring ears onto its ravenous rhythmic rocks and predacious intensity which lay in wait as the track builds its apocalyptic climax.

Once consumed, the song makes way for the Hades like realm of Black Tree; another predatory piece which stalks and infests with a seductive prowess as powerful as its acrimonious side, both having their moments to make their case across the outstanding trespass. Of course this and every track will inspire a scenario and emotion unique to the individual, one of the many glorious aspects of the Arcade Messiah tapestries.

III closes with the relative calm and peace of Sanctuary, though it too has tempestuousness to its heart and touch which only fires up the senses and imagination as Bassett casts another canvas of melodic suggestion, sonic rabidity, and all that lies between.

III is glorious, a riveting slice of aural alchemy which should not surprise considering the strength and prowess of its creator and predecessors but does at every twist and turn. Time to take another look at those End Of Year lists folks.

III is out now on Stereohead Records @ https://arcademessiah.bandcamp.com

http://www.arcademessiah.com   http://www.kingbathmat.com   http://www.johnbassettmusic.com   https://www.facebook.com/arcademessiah/

Pete RingMaster 30/11/2016

Copyright RingMaster: MyFreeCopyright

New Keepers of the Water Tower – Infernal Machine

Photo by Soile Siirtola

Infernal Machine, the new encounter from Swedish “cosmic rock” band New Keepers of the Water Tower is a concept album based on the classic Joe Haldeman written sci-fi novel The Forever War, a story of an interstellar war between Man and the Taurans. Equally, it is a compelling incitement enabling the listener to invent their own dark and highly involved escapades within a musical soundscape which simply stirs the imagination and enslaves ears. It is enjoyably impossible to pin down the Stockholm band’s sound but very easy to suggest that Infernal Machine will become one of the year’s major triumphs.

Formed in 2006 as New Keepers, extending the name three years later, the band creates a proposition entwining a tapestry of varied and contrasting flavours with an epic canvas predominantly progressive and space rock bred. As shown by fourth album, Infernal Machine, even that description is a scratch on the surface. Consisting of vocalist/guitarist Rasmus Booberg, guitarist Victor Berg, bassist Björn Andersson, keyboardist Adam Forsgren, and drummer Tor Sjödén, New Keepers Of The Water Towers has the ability to transport the imagination into the focus and heart of its theme with its music alone; Infernal Machine their most devilish and sublime success yet.

The album opens with The Forever War, a track luring the listener into the centre of dark times and persistent dangers from its opening sonic pulse. Keys quickly unveil a portentous invitation, rhythms adding an intimidating drama soon after as guitars dangle evocative bait before ears. Then Booberg’s immediately impressing vocals swiftly begin unfurling the track’s rich narrative, his tones mellow and mesmeric whilst the sounds around him are predatory. It is a superbly designed blend of contrasting incitement which simply enthrals as it manipulates the psyche and imagination. At times the track is like a grungy XTC, in other moments a sonically bracing and fascinating merger of King Crimson and KingBathmat like essences, and all the time an absorbing and irresistible entrance into album.

Its dramatic presence and mighty temptation is matched and pushed further by the gripping adventure of Tracks Over Carcosa next. Initially, it is an echo of a cold and desolate place, a lonely place within whose shadows a pulse beats with increasing relish, emerging to pull the song into a contagious stroll lined with swinging surf rock grooves. Around it a sultry and tantalising atmosphere descends, stirring up even more infectious tenacity in rhythms and melodic enterprise. Hypnotic does not do the track justice; its instrumental air has a cinematic lure and intrigue which you can akin to sixties cold war/spy thrillers and only adding to an impossible to resist alchemy of persuasion.

Towards its departure, the track slips into a solemn noir tinged calm which continues in different form into the following and as thrilling Tachyon Deep. With the returning vocals casting a mist of seducing harmonies as rhythms reveal an almost shamanic nature to their shuffle, the song glides exotically over the senses. Thoughts run through its poetic glade of melodies and vocal caresses, immersing in the scenic expression and spellbinding landscape of the track. That deceptive calm and peace also has hidden dangers, progressively unveiling them with every twist and turn within eventfully its imposing jungle.

Misantropin Kallarv is a brief, relative to the tracks around it, respite to the intensive adventures before and after; like shelter in a soulless building or moment but one which holds secrets behind the turbulence and unrelenting pressure found in the likes of next up Escape Aleph Minor. Its successor also has a less incendiary and demanding nature to its sound and energy but certainly does not lack thick drama in sound and air or the collage of hooks and sonic seduction which incite body and thoughts. From the melodic seduction and discord of guitars and keys to the tribalistic potency of bass and drums, the song is a carousel of suggestiveness.

A slow piano sculpted gait with classical melancholy to its touch ends the track, wistfully floating away into the waiting melodic smoulder of Jorden and a lumbering, emotionally heavy engulfing of ears. More sludge than doom, the track is a rapacious and darkly poetic suffocation of the senses which may not match the impact of others within Infernal Machine but undoubtedly has the imagination conjuring away as eagerly as anywhere upon the album.

The Infernal Machine completes the release; the track with every passing minute growing and evolving whilst providing a kaleidoscope of cosmopolitan and tribalistic incitement. Its repetitious strands and drone like nagging is simply delicious, around them the craft of guitars and lure of sonic imagination mouth-watering as the album ends as majestically and thrillingly as it started. A bass led passage midway of post punk seeded virulence, the cream on the cake of the song.

Infernal Machine has so much for fans of every kind of rock and melodic/progressive metal. Those with the appetite for bands ranging from Pink Floyd and King Crimson to Goblin and The Ocean to Arcade Messiah, to hint at its diverse appeal, will find plenty to devour, though by the middle of its opener the only name on their mind will be New Keepers of the Water Tower.

Infernal Machine is released on 4th March via Listenable Records across most online stores.

https://www.facebook.com/NewKeepers

Pete RingMaster 04/03/2016

Copyright RingMaster: MyFreeCopyright

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Odyssey – Voids

Feeding the imagination as boldly and adventurously as it does ears, Voids is quite simply an enthralling kaleidoscope of invention and craft. The ten track encounter is the new album from US progressive instrumentalists Odyssey, a Spokane, Washington based trio who are no strangers to acclaim thanks to their striking sound and creative dexterity. This new offering though simply towers over all that came before and other like styled bands around with in its multi-faceted aural emprise.

Emerging in 2007, Odyssey has increasingly impressed through a pair of albums in Objects in Space (2009) and An Abstract Existence (2011) as well as a trio of EPs in Schematics, The Conscious Device, and The Turning Tide; the last two splitting Voids and the band’s last album with the latter igniting the senses in 2014. As no better evidenced than within their new endeavour, the threesome of guitarist Jerrick Crites, bassist Jordan Hilker, and drummer Lukas Hilker sculpt exploits and scenarios which are as melodically spellbinding as they are tenaciously imposing, at times even carnivorous in their snarl and dynamics. Excesses are also conspicuous by their absence, not something which can always be said about instrumental metal and rock, but the individual skill and invention of each member is never hidden away either. The result, taking Voids as proof, is a gripping and ravenously boisterous collection of imagination fuelled canvases for the listener’s own thoughts to play within.

Emerge. Evolve. Adapt. opens up Voids, engulfing ears in a sonic mesh around the instantly flirtatious bass and thumping beats adding inviting bait. The track is soon strolling along with a vibrant air bound in sultry tendrils of guitar though, but an easy going proposal soon evolving into a more agitated and addictively volatile passage as riffs and beats chip away at the senses as the bass offers its throatier support. Continuing to twist and turn within a landscape of intrigue, every one of the song’s five minutes is a suggestive narrative to be revealed and captivating drama to explore. It is a glorious start to the album, like a portrait of a meeting between Arcade Messiah and Chimp Spanner with Native Construct whispering amongst them.

That is a description which often applies to the release, though the Odyssey style and imagination defies any direct comparisons as shown by the sterner but no less resourceful character of Negate The Infinite. Both Hilkers create a frame around and a floor of addictiveness for the enterprise flowing from Crites’ strings; the union a virulent proposal which is as imposing as it is seductive and irresistible to the imagination as equally so in the creative nagging of Like Moths to the Flame. Darker again, the song is a frontline of cantankerously gnawing riffs and a bestial bassline tempered this time by the lighter touch of sticks on skin and the sonic persuasion of guitar. As its title suggests, there is persistence to the song which will not desist, an undeterred drive and repetitious temptation which gets under the skin as a rhythmic flickering intermittently escalates with the same successful intent.

Through the frenetic virulence of Motives and the ethereal elegance of Echoes, the band nudges thoughts into new escapades with their creative hints. Both tracks again cast a sublime mix of contrasting textures which would be at war in the hands of others but here simple embrace and revolve around each other. The latter also has a reflective lustre which charms until Before There Were Eyes To See comes from the other side of light to take over with its dark intimidating shadows and predatory wave of riffs and beats bound to another sinisterly alluring bass incitement. As expected but always unpredictable, each piece of music takes ears and thoughts through a creative gest that has both enslaved and bold in their interpretations, visions that enjoyably change with every listen such the depth to the musical narratives offered.

The Plot Thickens is a rousing slice of rock ‘n’ roll but of course one which from its anthemically invigorating first breath soon opens up into a provocative climate of hint loaded musical espionage keeping body and mind on their toes before making way for the calmer radiance and spatial yet intimate temptation of Delineation. Once more shadows crowd in close to the sonic sun of the track, making their impact as heavier and grouchier elements seeping into the dramatic and increasingly clearer psychosis of the track.

The melodic hug of Left Unspoken brings an oasis of perpetual calm to ears next, though there is still a shadowy lining through the melancholic tone of the bass, before Voids is concluded by its outstanding title track. If you want a physical clue to the album the song has it all, all the attributes and diversity summed up in its maelstrom of genre skipping, imagination igniting revelry that gives expectations no inkling of where it is going to go or the turns it is going to fluidly and infectiously take.

The album is quite superb, almost a brand new adventure with every listen such its textural and suggestive depths, and an early benchmark for progressive adventure for the year ahead.

The self-released Voids is available from February 5^th @ http://odysseyspokane.bandcamp.com/

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Pete RingMaster 05/02/2016

Copyright RingMaster: MyFreeCopyright

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