STUNNING NEW VIDEO SINGLE FROM IMMENSION RELEASED

Immension Online Press Shot

Steel City metallers ‘Immension’ continue their climb with the brand new video single for ‘In Vain’ which is taken from their debut album of the same name and out in stores now.

Watch ‘In Vain’ right here – https://www.youtube.com/watch?v=9poeYC-qeXY

By pulling from a host of sources, but namely the layered webbing of ‘In Flames’ and the accessibility of ‘Trivium’ and ‘Arch Enemy’, Immension have carefully crafted a sound that cunningly blends the fundamentals of contemporary and metal; the end result is absolutely exhilarating.

Immension were originally formed in 2008 in Sheffield by founding members Jake Kearsley and Tim Dolan. Drummer Jonni Sowter entered the fray in 2011, and the aspiring riff beasts soon set to work on honing their sound. It wasn’t long before the Steel City crew hit the road and toured throughout the whole of the UK. The band then went on to record and self-release two EPs. Both records sparked extensive praise and support from Kerrang!, Rock Sound, Total Rock Radio, Terrorizer and Powerplay Magazine, all helping to catapult the band to a national level.

Immension’s debut album, ‘In Vain’, has just been nationally released and it sets a clear marker, drawing a definitive line in the sand for the trio. The riff slingers now lift the album’s namesake as a new video single and are set to charge forward. The single is an energetic assault on the senses that will undoubtedly pull you in, while highlighting the band’s maturity and careful texturing through perfectly woven guitar work and thoughtful arrangements. The Yorkshire metallers are here and are poised to reach new heights.

– IMMENSION’S VIDEO FOR ‘IN VAIN’–

https://www.youtube.com/watch?v=9poeYC-qeXY

https://www.facebook.com/immension https://twitter.com/immension

Titans Eve – Chasing The Devil

Titans Finals print-1_Reputation Radio/RingMaster Review

Photo Credit : Shimon Karmel

Not only reinforcing an already potent reputation, Chasing The Devil from Canadian metallers Titans Eve pushes their presence and sound powerfully forward whilst sharing the open declaration of this is who we are, this is what we have for you, enjoy! Fusing a broad flavouring of metal with a thrash bred heart, sure enough it is a hard to resist offer but also a proposition which ignites the imagination and emotions to giving modern metal a very good name.

Hailing from Vancouver, Titan’s Eve emerged in 2008 having been formed by lead vocalist/guitarist Brian Gamblin and his guitarist/vocalist brother Kyle; drummer Casey Ory joining them straight away and bassist Jesse Hord subsequently completing the line-up. Taking their time honing their sound and lighting up a local fan base, the quartet really began waking up the Canadian metal scene around 2009/2010 with a tour across Western Canada followed by debut album The Divine Equal. Extremely well-received and acclaimed, the release also led the band to recognition further afield and a two month tour across North America in 2011. Their strong emergence continued the following year, starting with supporting Korn and the creation and release of second album Life Apocalypse, which in turn was followed by playing with Anvil, touring with Kill Devil Hill, and supporting Arch Enemy on their European Khaos tour. The album followed its predecessor in luring strong praise and attention upon Titans Eve, something Chasing The Devil now will definitely replicate and most likely take to new levels. Recorded with producer and engineer Eric Mosher, and mastered by Jeff Waters of Annihilator, Chasing The Devil takes the expected aggressive and uncompromising sound of the band and ignites it with arguably their most melodic and creative spicing yet…the result one gripping and thoroughly enjoyable tempest.

Titans Eve-Chasing The Devil_Reputation Radio/RingMaster Review     Opener We Defy drives in from a distance first, healthily brewing riffs closing in before upon arrival triggering punchy rhythms and a highly flavoursome guitar enterprise. Once united it all settles into a muscular stride driven by crisply landed beats and a dark hearted bassline, the guitars spinning a web of thrash riffery bound in melodic and groove metal imagination. It is a pungent blend with the final potent ingredient being the snarling delivery of Brian’s vocals, his tones more sandy than gravelly but a great texture and attack for this and all songs. The album starter continues to grow and expand in invention and sound as its proceeds, never relinquishing its core anthemic contagion and blatant aggressiveness but filling ears with potent persuasion.

The immense start is continued by War Path. The second track is similar in style initially but soon unloading uncompromising beats and a surge of hungry torrential riffs, though they both pale against the excellent predatory bassline which really begins stalking ears after an early blaze of band vocals. There are essences of bands like Exodus and Testament to the song, as in many, but equally a weave of nu, groove, and heavy metal which only helps turn the encounter into one of the pinnacles of the album. The song is a benchmark for the release emulated with regularity starting with the following No Kingdom. A melodic caress draws in ears and appetite first before things get intensive and antagonistic, the drums unleashing a barrage of thunderous bait as the guitars drive ferociously and seduce melodically through another persistently shifting design. It is a fascinating proposition though it never goes far enough in its hostile voracity or sonic ingenuity for personal tastes, something which could be said of the whole album. It is as if the band is trying too hard to balance the opposites instead of giving them their reins, but nevertheless the song just hits the sweet spot as its successor.

Another Day is the most bestial song on the album yet, vocals and its sonic nature a barbarous confronting of the senses in turn coloured by the raw and bracing alignment of caustic riffing and imposing rhythms. A fiery solo sows seeds for further melodic endeavour as well as the tenacious, almost punk metal like surge of incitement which flares up. It is a song ensuring ears and appetite only get greedier for sound and album, a hunger equally inspired by the title track and in turn The Grind. The song Chasing The Devil brews a rich old school character from its tantalising and evocative melodic opening, the track weaving a tapestry of classic and heavy metal strands into a canvas of darker bred and fuelled flavouring. Thoughts of Judas Priest meets Machine Head are prompted as the track continues to ignite ears and imagination, through its more modern enterprise hints of Mudvayne too. They are all alluring hues colluding for another peak of the release instantly equalled by the second of the pair which from the initial carnivorous tone of bass, is simply a primal tempting sparking lustful attention. With its prowling voracious persuasion of sound, the song easily lives up to its name, its riffs a ravenous persistence on the senses and the swings of Ory an unrelenting intimidation. There is no lack of addictive grooves and sonic colour either, each lining the incitement with irresistible hooks as the encounter steals the whole show.

The album is completed by firstly the bewitching instrumental Stranded, where harsh cold and melancholic emotions are lit and conjured by a seduction of acoustic expression, melodic reflection, and stringed beauty. Dark shadows and keys crafted elegance only add to the mesmeric narrative before The Endless Light steps forward to bring the album to a fine close. The track is a maelstrom of sounds and skilled resourcefulness as raw and magnetic metal collude in a thrash powered and diversely cultured storm of dark hearted and captivating fury.

Chasing The Devil is a treat of a proposal, further evidence of the exciting craft and might of Titans Eve with only the suggestion that it was not as bold as it could or at times suggested it might have been a passing thought. It certainly provides a seriously enjoyable adventure for metal in 2015 and that in our book is a big success all should take a punt on.

Chasing The Devil is available from June 12th @ https://titanseve.bandcamp.com/album/chasing-the-devil-2

http://www.titanseve.com/   https://www.facebook.com/pages/Titans-Eve/53568260495?fref=ts

RingMaster 12/06/2015

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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

Arbitrator – Indoctrination of Sacrilege

ARB_COVER

If you speak to the right people there are always good, often great things said about any new and emerging band. The confirmation is always only in the music of course and just as often as words are proven, anticipation is left in unintended deceit. Arbitrator since the release of The Consummate Ascendancy EP in 2011 has been a band often talked up and recommended from certainly Canadian and North American sources. Their debut album Indoctrination of Sacrilege is our introduction to the quartet and all promise and suggestions of their growing might have been convincingly proven.

Indoctrination of Sacrilege is a beast of a release, an intensively atmospherically soaked death metal bred proposition which from making an impressive first impression grows into one striking and fascinating theatre of imagination. Fusing in textures and essences from electro and industrial climates to progressive and ambient flavouring, the six track release engulfs and stirs ears and thoughts with skilled and increasingly rewarding adventure. The band itself is the brainchild of Robert Kuklaand, its emergence starting in 2010 and announced by the release of The Consummate Ascendancy the following year. It was an acclaimed proposal from the band but just a tester in many ways for the exploratory might of Indoctrination of Sacrilege. With a line-up of Myles Malloy (lead guitar), Connor ORT Linning (programming), and Soilwork drummer Dirk Verbeuren (ex-Devin Townsend Project, ex-Aborted) alongside Kuklaand (rhythm guitar, bass, vocals), Arbitrator put themselves forward now as one of the more intriguing and exciting progressive death metal prospects. They also still feel like they are still only just scratching the first few layers of their potential despite the weight and success of their album, a potential and prospect of even greater things ahead quite exciting.

The Sacha Laskow (ex-Divinity, Every Hour Kills) produced and Jens Bogren (Opeth, Katatonia, Amon Amarth, Arch Enemy) mastered album, swiftly has the imagination engaged as the entrance of opener They Will Worship This Fire of Agony comes through scenery of portentous bells and death feasting flies as church seeded chants seemingly offering final guidance as a dark pestilential cloud looms nearer and nearer. That sonic threat is realised a muscular wall of riffs and punchy rhythms veined by enchanting keys. It is an immediately incendiary and compelling persuasion enhanced by the guttural growls of Kuklaand and spicy persistent grooves. Samples are soon briefly mingling with the cavernous presence and intimidation of the song too but it is the infectious hooks and melodic winery which most captivates against the evolving and enlarging drama of the keys. It is an imposing and enthralling encounter, and as the album subsequently shows itself to be, a pleasingly unpredictable one.

The potent start to the album is solidly continued by Stillborn Bastard of The Nazarene, it straight away binding the appetite with intensive riffs and rhythmic swings whilst thoughts are provoked by its atmospheric colouring. Kuklaand again impresses as he binds words and syllables with a gripping impassioned tenacity which provides additional potent focal points amidst many on release and track. Samples and keys again paint additional inciting scenes in the ferocious and threatening landscape of the song, though it is the superb melodic enterprise of Malloy which steals more of the glory.

Through each song the album just gets better and creatively bigger, the next up For That Which May Appease Lions unleashing black hearted rock ‘n’ roll in a hellacious offering of grooved and addictive contagion aligned to corrosive and oppressive malevolence. The track transfixes from its first moments, the predatory nature and sound of the bass a delicious stalking within the maelstrom of rancor whilst clean vocals add a different shade of temptation to the voracious soundscape. Keys and guitar endeavour similarly vein the tempest with their own unique and engrossing narratives, everything seamlessly flowing and combining together to enslave ears and imagination. Unpredictability is rife across the track, and reveals more twists and subtle ideation with every listen, an exciting trait just as potent in Serpent of The Styx. The song’s electronic opening is a melodic drift of keys and radiant melodies yet it all comes with a solemn and melancholic charm courted by a slowly brewing dark side. An eruption of that heavy menace is eventually unleashed yet the song still continues to radiate melodic expression within a web of carnivorous grooves and enjoyably volatile rhythms. There is also a cinematic ambience to the track, its ‘warmer’ and calmer moments apocalyptic in suggestion as the track’s muscular and rabid side trespasses and challenges the senses. As its predecessor, the track is a mouth-watering incitement which just gets more addictive and anthemic with every passing minute, hook, and barbarous swing from Verbeuren.

       Profaned and Perfected whilst not quite matching the heights of the previous two tracks, has its own persuasive agenda of spiny grooves and spiky beats to contemplate, and an anthemic swing to drool profusely over. It is an out and out death metal ravishment but also one unafraid to explore warmer climes through the often spellbinding invention of the industrial spiced keys and climactic guitar. The song is still a bruising and commanding predator keeping body and emotions invigorated and fearful before the ‘epilogue’ like instrumental adventure of The Burning Sands of His Kingdom brings the album to a fine close. The electronically driven piece draws a cold and stark wasteland yet equally suggests hope with its melodically epic and intimately expressive tones within rugged scenery.

Over a handful of listens in and there is still more revelations coming forward within songs as Indoctrination of Sacrilege continues to reward, that in itself a strong reason with the diversity of sound and invention to check the album out. Wrapped in the excellent artwork of Colin Marks (Exodus, Scar Symmetry, Jeff Loomis), the release has been suggested for fans of Bloodbath, Dismember, and The Project Hate but also it is easy to suggest that those with a taste for bands such as Opeth, Mercyful Fate, and Escapethecult could do far worse than taking a plunge into Arbitrator and their first album.

Indoctrination of Sacrilege is available from February 13th @ http://arbitratorofficial.bandcamp.com/album/indoctrination-of-sacrilege

https://www.facebook.com/Arbitratorband

RingMaster 12/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

A Breach of Silence – The Darkest Road

ABOS - 2013 promopic 1200x1200

Though the tightness of its grip fluctuates across its fourteen roars, The Darkest Road is a creative fury easy to breed a greedy appetite for. Unleashed by Australian metallers A Breach of Silence, it is a tempestuous slab of varied styles and flavours which has been labelled as “powercore”. Melding the potent flavours of metalcore through to post hardcore, heavy metal on to melodic death metal, and we are missing out many more spices, it is a compelling proposition which never gives ears and imagination time to settle or spawn expectations.

The Darkest Road follows the successful and acclaimed debut album Dead or Alive which was released a year ago. With having Australia’s prestigious Q Music Award in the Best Heavy Song category (2012) under their belt, which helped lead the band to signing with Eclipse Records, their first full-length pushed A Breach Of Silence into a new intensive and global spotlight, backed potently by the band’s live presence which has seen them share stages with the likes of Born of Osiris, Adept, The Amity Affliction, and Upon a Burning Body. Earlier this year the band released their controversial Night Rider ‘first-person shooter’ music video which took inspiration from their obsession with FPS video games and 1960’s classic westerns such as Hang ‘em High and The Good, the Bad, and the Ugly. Now The Darkest Road is upon us to stir up ears and thoughts whilst making another impressive step in the ascent of the Brisbane quintet.

Recorded with producers Fredrik Nordstrom and Henrik Udd (Bring Me the Horizon, Arch Enemy, In Flames), The Darkest Road as suggested ebbs and follows in the strength of its certainly unrelenting captivation, sometimes throwing a spanner in the works of getting a handle on songs and the release, but it only adds to the welcome and inventive unpredictability and constantly intriguing nature of the encounter. The album certainly starts with furious gusto and anthemic irresistibility, opener T.P.N.E shoving group shouts through ears before wiry grooves and heavy rumbling rhythms join the emerging storm. The raw and caustic vocal squalls of Rhys Flannery swiftly more in with antagonistic and skilled intent which in turn seems to light a fire in the creative swings of drummer Andrew Cotterell and the similarly vivacious motion of the grooves conjured up by Mat Cosgrove and Kerrod Dabelstein. It is a gripping and incendiary blend which is capped off by the throaty lure of bassist Blair Layt and more so by his outstanding clean vocal delivery. The song offers richly flavoursome and agitated metal of the highest order and an inescapable lure into the creative lair of A Breach of Silence, an entrance backed powerfully by the following title track.

The second song caresses ears with the impressive tones of Layt right away, evocative keys coaxing the invitation before riffs and acidic grooves erupt to trap and steal the passions all over again. As its predecessor, the track is a formidable Printencounter which is unafraid to bewitch and bewilder, seduce and rile, with a unique character seeded in the likes of All That Remains and In Flames. Its stature and temptation is matched by Vultures which strides confidently in next. Another certain anthem with its group calls and raging rhythmic confrontation, the song blazes sonically and vocally from the start, the extremes of voices a perfect union within the similarly blended canvas of predatory and melodically smouldering sounds.

Through the intensive yet warming examination of Silhouette, as the others songs upon The Darkest Road, a hope rich and potent roar against life’s obstacles, the band reveals more of their technical and imagination driven resourcefulness. A scent of Bullet For My Valentine hints throughout the evolving and inventive offering before Hang ‘em High sets its own individual fire within the release. Riffs and rhythms spew anger with their intensive and physical intent whilst Flannery almost brawls with ears through his uncompromising and pleasing vocal antagonism. It is a potent and engrossing song if without the spark of those before it, a comment which can be placed before In Reality We Trust also, though as always with the album it is mostly down to personal taste. The song storms and bleeds spite over the senses with skill and enterprise but it is mainly the vocals from both men which steal the plaudits.

From here the album does not have an identity crisis but definitely wrong-foots with persistence. Though all the tracks so far employed a diverse and varied spicing, they were bred from a fierce extreme metal canvas. The excellent Lost at Sea brings a new bloom of sound, immediately expelling a ‘folkish’ tinge to its air as well as a glorious melodic croon across its potent harmonies and sonic narrative. It is a loud whisper of something different in some ways but helps seed a new hostile and captivating breath to the album, and makes for an enthrallingly textured and majestic slice of persuasion.

   This is the End comes next and instantly spins an engaging sonic and rhythmic web around ears. It is a contagiously compelling weave, guitars and bass a simultaneously welcoming and menacing enticement over which the vocals merge hostile and catchy elements with a classic metal spiced attack. Every chord and rhythmic swipe brings a surprise and unexpected twist, the song emerging as another pinnacle and treat for the album, something Immortal is not. To be fair again it is just a personal thing but its heavy/power metal balladry complete with the genre’s trademark vocals warbles and squeals, just does not find a welcome in these ears though it is easy to hear its qualities and know it will be a favourite with classic metal fans. The song is another unique identity within the character of the album, though to call The Darkest Road schizophrenic would be going too far.

The excellent Hannibal is more from the template of earlier songs, its metalcore voracity and melodic tenacity an infectious and voracious treat which parts for the even heavier and harsher A Place I Know. The song also expels fiery melodic endeavour, again with a more classic spicing, before exploring slimmer post hardcore scenery punctuated with probably the most intensive beats and riffs on the album. It is a song which sets a fire in the belly at times but also lowers its temperature in others, but for intrigue and bold invention it is another notable moment.

Dead and Destroyed is simply brutal, a wall of angst and viciousness which still makes room for vocal croons whilst Krazy Bitch seems to pull in all the things which excites and personally frustrates in the album for a still rather pleasing encounter. The pair leaves the piano and voice sculpted ballad Time Still Remains to close the album, the song a more than decent piece of melodic metal but easy to skip by to get back to the pungent heights the album started on all over again.

The Darkest Road is a striking release, with to be honest any issues found coming from just the individual likes and dislikes we all have in our metal. It is easy to see A Breach of Silence becoming a big player in world metal if this thrilling tempest is anything to go by.

The Darkest Road is available now on Eclipse Records @ http://www.eclipserecords.biz/a-breach-of-silence-the-darkest-road-cd/

https://www.facebook.com/abreachofsilenceband

RingMaster 10/10/2014

Copyright RingMaster: MyFreeCopyright

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Amon Amarth – Deceiver of the Gods

AMON AMARTH by JOHN McMURTRIE

Continuing their ever impressive and powerful stance within melodic death metal, Amon Amarth unleash ninth album Deceiver of the Gods, a thunderous expanse of aggressive energy, dynamic enterprise, and melodic flames. Bursting with the prime essences and sounds the band has become legendary for, the release also sees the Swedish quintet pushing those elements into newer intensive imagination and adventure. It is being hailed as the band’s finest moment, something which can be debated long into the night considering the might of some of their previous releases but it is certainly an album that leaves a potent satisfaction and pleasure in its wake. The downside to the album is that despite all its strengths it is fair to say that there are few tracks or moments which linger in thoughts and memory when away from its undoubtedly impressive presence. It is hard to say why this is so when it is an openly thrilling companion when facing its immense stature eye to eye and certainly in its muscular embrace it is a richly enjoyable confrontation and that is in many ways all that matters.

The Metal Blade Records released album has been recorded with legendary producer Andy Sneap (Cathedral, Arch Enemy, Cradle Of Filth) and comes with a definite live feel which the band was seemingly looking for, vocalist Johan Hegg saying “We wanted more of a live feeling to the recording and we felt that Andy’s style of producing could definitely help us with that. At the same time, knowing the records he worked on previously we felt he could probably help develop our sound so it became a little bit more angry and dangerous, without that polished sheen of our recent records.” It is a fiery encounter with an abrasive edge to its ravenous  exploits, a rampant raw and explosive persuasion of classic and melodic death spun enterprise around an expected narrative seeded in Norse mythology.

The title track opens up the release with warm winds of sonic and melodic tempting, its initial embrace soon squashed under Amon Amarth - Deceiver of the Godsrolling sinews from drummer Fredrik Andersson and a tirade of ravenous riffs. The rhythmic intimidation gallops into deeper provocation as the vocals of Hegg, as impressive as ever, squall and add caustic animosity to the now charging sounds. Into its heart the melodic craft of guitarists Johan Söderberg and  Olavi Mikkonen sculpt a colour emblazoned temptation before handing over to another rabid burst of urgent and predatory intensity. It is an impressive start which awakens sure appetite for the album ahead, a hunger duly satisfied in varying degrees by all tracks.

The following As Loke Falls is an open contagion of rapacious riffing and equally inciting rhythms, a track employing intense and harsh manipulation of the senses through near brutal energy and skilful melodic shaping of the song’s voice, whilst both Father of the Wolf and Shape Shifter step up to tease the passions with recognisable yet evocative invention. The first is a primal collision on the senses, its ruinous impact persistent and invitingly savage with the bass of Ted Lundström a beckoning lure, whilst the second, one of the biggest highlights on the album, is a bestial tempest of charging riffs, sonic teasing, and rhythmic goading. With vocals equally predatory and delivered with a great diversity to its pack like menace, the track bends the will of the listener into full compliance for its imagination and instinctive inducement.

The biggest and one moment which does not disappear with the trailing whispers of sound of each song, is the outstanding Blood Eagle. A melodic barbarian, the song is a coarse and savage storm which ignites the strongest emotions and primitive urges, riffs and rhythms colossal purveyors of vengeful and ingenious barbarity whilst once again the melodic imagination intrudes and fingers the very heart of the passions.

Through the likes of We Shall Destroy and Hel, which features former Candlemass vocalist Messiah Marcolin, the release only feeds the needs of the best melodic death metal and Amon Amarth albums with adventure and innovational thought whilst the closing Warriors of the North brings an immense epic conclusion to Deceiver of the Gods. There are so many great things to say about the excellent album and its individual songs when in its company but the fact that even after listening to it multiple times that it is very hard to recall its contents without sneaking another listen stops it from being a classic and a pinnacle of in the band’s creativity. Despite this for melodic death metal, Deceiver of the Gods is an album worth every second of your time.

http://www.amonamarth.com

8/10

RingMaster Review

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IMMENSION unleash ‘The Enemy Within’, on 12th August.‏

Immension Online Press Shot

RISING METAL HEADS IMMENSION UNLEASH SPANKING NEW EP!

 
Emerging Metal Crew ‘Immension’ stake a claim with the national release of their sophomore EP ‘The Enemy Within’, out in stores from Monday 12th August.
 
With influences spanning from ‘Metallica’, ‘ In Flames’ and ‘Arch Enemy’, Immension have forged an extremely attractive and inventive take on the metal genre.
Coming at you from Sheffield, Immension were born back in 2008 by founding members vocalist/guitarist Jake Kearsley and lead axe-man Tim Dolan. The early days of Immension were plighted due to a series of unreliable members serving as their rhythm section. All of this changed though when the duo recruited bea-tmaster, Jonni Sowter, and bassist, Hasan Ahmed, who both came into the fold in 2011. Since then, everything has finally fallen into place for the ascending metal combo.
The aspiring metallers proceeded to play a number of shows throughout the whole of the UK, and in passing, gathered an impressive underground following before releasing their self-titled debut EP which racked up critical acclaim in Terrorizer Magazine and Rocksound, as well as notching up widespread radio airplay from Total Rock Radio and extensive online coverage.
Now after the successful release for their self-titled EP, the band are set to release their new EP ‘The Enemy Within’. The record is a mighty impressive piece of modern metal that is captivating and original —no easy task given the current climate. The EP oozes four spanking new tracks of galloping metal merged with melodic passages and inter-woven guitar lines. Immension drop ‘The Enemy Within’ this summer and it’s destined to drop you to the floor.
Look out too for the band live throughout May and June.
IMMENSION LIVE: 31/05/13 – Regents Bar – BARNSLEY; 21/06/13 – The Dove & Rainbow – SHEFFIELD; 27/06/13 – Pit & Pendulum – NOTTINGHAM; 29/06/13 – The Maze – NOTTINGHAM; 27/07/13 – Coalfields Festival – BARNSLEY
Immension Cover Artwork
 
 

Raven Lord: Descent To The Underworld

RavenLordBand2

    Looking at the line-up of Raven Lord it is impossible not to imagine and expect their debut album to be a rather accomplished and imaginative slab of creativity, and Descent To The Underworld certainly does not disappoint. It is a thunderous expanse of riffs fired by a furnace of melodic might and invention, an explosion of classic metal all fans of the genre will expel a full passion for.

The sextet consists of the fiery vocals of Csaba Zvekan (Killing Machine, Sardonyx, Emergency), guitarist George Karafotis (Vermillion Days, Operation X), bassist Jamie Mallender (Tony Martin Band, ex-Black Sabbath), keyboardist Alessandro Duo (Voodoo Highway), drummer Lawrence Paterson (Blaze Baley, Iron Knights), and newest member lead guitarist Joe Stump (HolyHell, Reign of Terror). Together they have ignited a sound which combines power metal and neo classical influences to their core heavy metal heart for a towering encounter which commands the ear. Released via Mausoleum Records, the Zvekan produced and Fredrik Nordström (At The Gates, Arch Enemy, Nightrage, In Flames, Dream Evil and Opeth) mixed Descent To The Underworld is a continually enthralling album which offers plenty to reward anyone with a taste for melodic metal if not the genre it is settled in. It is a muscular confrontation at times which sparks as much enthusiasm as the sonic and melodic flames which sear and engross the senses throughout.

The album opens with the compelling charge of pulsating bassline, tightly grasping riffs, and warm mesmeric caresses from the keys CD ArtWork - Descent To The Underworldof The Rebel. The track is soon blazing with the expansive vocals of Zvekan who rings the emotion and sound from every note with skill and passion to match the guitar play of Stump. It is an impressive start to the release which immediately confirms expectations and more which were in place over the formidable line-up.

Through the likes of Attila the Hun with its Middle Eastern kiss from the keys and surging sonic enterprise, the mesmeric Seal Of The Cross with its symphonic gait, and the rampant hunger and energy of Promised Land, the album persistently offers variety and smouldering imagination to keep a strong intrigue and unpredictability within the umbrella of classic metal electricity. The latter of the trio is an outstanding brawl of seductive mysterious keys, ravenous riffs, and evocative solo mastery from Stump which leaves one breathless.

Further greater highlights come with the majestic yet corrosive Black Friar and the riveting Metal Knights, another song where the keys wash the senses with a golden glow of Eastern promise from within an exhausting drive of devouring riffs and caging rhythms. Both tracks show the band at its best creatively and musically with the vocals of Zvekan certainly in the latter of the two, scorching the small hairs from the surface of the ear with his sonic squalls which run the fine line between pain and bliss for great results.

Descent To The Underworld is an album fans of the likes of Dio, Yngwie Malmsteen, Judas Priest and Black Sabbath will find a rich home within but it also has plenty to keep those of us who do not necessarily find the deepest of riches in classic metal more than satisfied. Raven Lord is a band destined to lead their chosen genre in the near future.

www.raven-lord.com

www.facebook.com/ravenlordmusic

7/10

RingMaster 20/02/2013

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

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STEEL CITY METALLERS IMMENSION RELEASE THEIR DEBUT EP THIS JANUARY!

IMMENSION’S SELF-TITLED EP TO BE NATIONALLY RELEASED ON MONDAY 7th JANUARY 2013

Flaunting speed slabs of melodic metal and riffs as dense as the basaltic layer, Immension have an incessant intensity and are geared to parade their message to everyone within ear shot.

Born out of Sheffield in South Yorkshire, the very original seeds of Immension were sown over five years ago when founding members, vocalist/guitarist Jake Kearsley and lead axeman Tim Dolan, started to trade riffs with one another. For the next few years Immension struggled, largely due to a series of unreliable members serving as their rhythm section. However, all of this changed last year when tub-thumper, Jonni Sowter, and bassist, Hasan Ahmed, entered the fray and everything finally fell into place for the emerging metal crew.

With a solid line-up in place, the band soon began to play a barrage of shows throughout the country, ripping up stages from London to Leeds, and everywhere in between. Now having honed their live sound, Immension hit the studio to lay down tracks for their self-titled debut EP, and it’s a hidden gem.

The EP takes shape with the pounding riffage of ‘Shadow Of Yourself’; a potent opener for the Yorkshire metallers, the track suitably displays the four piece’s impressive dual prong guitar attack and dynamism. Next, the high velocity fret-flurries and Slayer-esque beatings of ‘Lost & Forgotten’ go straight for the throat, while the slow-burning ‘In Vain’ further highlights the quartet’s guile. Armed with a strong and stout EP, it’s evident that the Sheffield metallers are poised for a heady climb next year.

 https://www.facebook.com/immension

TRACKLISTING: 1. Shadow Of Yourself; 2. Lost & Forgotten; 3. In Vain.

BAND MEMBERS: Jake Kearsley – Vocals / Guitar; Tim Dolan – Lead Guitar; Jonni Sowter – Drums; Hasan Ahmed – Bass Guitar.

FOR FANS OF: In Flames, Metallica, Arch Enemy.