SECTLINEFOR – Anorexic Insect

sctlfr_RingMasterReview

With a back story as cinematic as the sounds and suggestiveness conjured, reading between its lines it seems that SECTLINEFOR has been a seed and adventure long time in the making for its creator Pavel Stepanov aka Piton, the guitarist of progressive synthetic death metallers Ygodeh. It is a project as far away from that impressive proposition as you can imagine and one which with debut album Anorexic Insect seriously ignites the imagination.

London based, SECTLINEFOR’s sound is tagged as cinematic neo-metal though no precise description can be made for the unique and striking avant-garde lined adventure it takes the listener on. With fellow Ygodeh member in bassist Aal and vocalist/lyricist Jared alongside, Piton creates the darkest tales with Anorexic Insect, its series of haunting nightmares as seductively engaging as they are boldly deranged. Musically the album persistently infests body and psyche whilst the vocals of Jared are pure magnetism with their winy prowess.

It all begins with the album’s title track, its low key start of synths and atmospheric theatre instinctive coaxing for the listener swiftly accentuated by the vocal gurning of Jared. Beats soberly pulsate whilst Aal’s bass probes the senses, drama fuelling every second and note especially as the track subsequently erupts with muscular psychosis. As across the whole release, there is a touch of Trepalium, 6:33, and Cardiacs to its off kilter exploits; of Stump too with Jared’s vocal presence something closely akin to Mick Lynch of that band, but as suggested earlier, each is a flavour suggested merely hinting at what is on offer from band and album.

anorexic__RingMasterReviewThe outstanding start continues with The Aftertaste of Soap. Its initial industrial lure is soon a more forceful proposition preying on the senses, at times stalking ears and in other moments making bolder statements of intent as the song ebbs and flows in intensity. Symphonic essences bring greater evocatively suggestive spicing to the challenge while rhythms offer an infectiously energetic agitation as vocals and melodies entwine the harsher attributes of the compelling encounter.

As invasively dark as everything is, My Neighbour was on TV explores an even more sinister landscape next. Throughout the album, there is a suffocating intimacy in atmosphere and emotion just like the grisliness which lies at the heart of folk and fairy tales and in the third track it devours ears and thoughts, exciting each simultaneously before Birthmark Photograph uncages its own psychotic bedlam and electronic flirtation in a bed of metallic causticity. It is glorious stuff, like the album a proposition which will either work for you or not but if it does, SECTLINEFOR provide manna for the senses and indeed imagination.

Anorexic Insect is a fusion of creative beauty and unhinged dynamics which borders on alchemy and no more potent than in the bewitching addled embrace of Orange Soda and in turn the inventively provocative haywire that is Checkmate. Both songs twist and turn with certifiable imagination and relish and each presents in their individual ways a tapestry of skilfully woven adventure and incitement upon which Jared roars with vocal meshuga, a creative abnormality perfectly matched by the composing and craft of Piton and the throbbing stimulus of Aal.

Through the grand drama of Congratulations and the poetic grace of Gag Reflex of Stray Dogs, there is no let-up in unpredictable theatre and pleasure; each a web of inventive deceit and captivation gleefully twisting the listener this way and that. I’m Not Having That Much Fun Anymore equally exposes ears to raw insanity and imagination at its nerviest while the outstanding Little Handjobs strokes an already inflamed appetite for the album with hectic tenacity and hyperactive energy.

Finished off by the raw Lovecraftian instrumental trespasses of The Door and The Secret Behind, this certainly no warm Witch and The Wardrobe like fantasy, Anorexic Insect is a rare and exhilarating proposition. As mentioned some will run from its inner terrors and emotional turmoil but those with instinctive adventure in their tastes will be rewarded with one of the early true treats of 2017.

Anorexic Insect is out now @ https://sectlinefor.bandcamp.com/

https://www.facebook.com/pg/sectlinefor/

Pete RingMaster 01/03/2017

Copyright RingMaster: MyFreeCopyright

Pryapisme – Diabolicus Felinae Pandemonium

band-_RingMasterReview

The press release for Diabolicus Felinae Pandemonium, the third album from the creative diablerie that is avant-garde/experimental metallers Pryapisme, declares it is “definitely the album of immaturity”. In truth it is the most accomplished, dare one say inventively mature offering from the Clermont-Ferrand hailing outfit yet. That growth has not defused the rousing bedlamic imagination of the band, in fact it seems to have escalated its mischief but where previous releases might be called schizophrenic such the mayhem of their head spinning diversity, Diabolicus Felinae Pandemonium feels in control of its creative chicanery; the result importantly again, a hell of a lot of fun and another irresistible infestation of psyche and spirit by the French outfit.

Their latest release is the first recorded with the band’s actual live formation rather than the core trio, the full quintet of Benjamin Bardiaux (keyboards), Nils Cheville (guitar), Antony Miranda (bass, guitar, moog, vocals), Nicolas Sénac (guitar), and Aymeric Thomas (drums, clarinet, keyboards) revealing their off-kilter craft and imagination. The album itself reveals the “advent of the Era of the Cat, the one which will replace mankind. After the arrival of the lol-cats all over internet, which constitutes the last conspiracy, well after the one of Ancient Egypt where the cats were already ruling the highest spheres of power, the diabolical felines are now preparing the birth of Satan’s cat, the Chosen One which will tame humanity and in the end, conquer the whole galaxy with the help of its pentagram of cat food.” Further music to our ears as we always claimed they were the devil’s spawn.

It opens up with Un max de croco, coaxing Middle Eastern vines escaping the guitar as rhythms shuffle around, ready to dance in the subsequent blossoming of melodic frivolity. There is a restraint to it all though, a reserve which accentuates the glint in the eye of hooks and keyboard spun melodies. In saying that, the infectiousness of the track is rampant and only strengthened by the jazzy twist and throaty throb of the contrabass provided by guest Matthieu Halberstadt (Ogino, Please lose battle). Never predictable but as expected and welcomed, the band and song turn on a spin of notes through varied styles and flavours, each move enslaving body and imagination in active participation.

artwork_RingMasterReviewLa Boetie stochastic process follows, flowing with summery warmth and flirtatious catchiness through darker shadows and dirtier street corners, every crevice a well of human drama and devilish enterprise. As with every song, thoughts have a field day interpreting and playing with the suggestiveness offered and the melodic painting shared, hips swinging with zeal to funk infused turns as the sax of Adrien Daguzon (Zibeline) flames in the midst of it all. There is a touch of 6:33 to the track, a whiff of Trepalium in its rowdier twists but as ever expectantly unique to Pryapisme.

The tenacious stroll of 100 % babines, pur molossoïde! roams ears and imagination next, its wave of hookery and sonic theatre if not cinematic resembling themes of those old sixties detective/sci-fi shows around floral melodies and darker, almost sinister beauty. Its individual escapade and canvas of sound just confirms another release driven by unbridled diversity, A la Zheuleuleu backing its affirmation with its celestial, moon lit saunter into a hectic and aggressively boisterous romp while Tau Ceti Central immerses the listener in another jazz scented, smoky adventure.

The album is like a travelogue, glimpses at landscapes and intimate insights discovered and invaded by its theme’s protagonists though Tête de museau dans le boudoir (Intermezzo) is more of a captivating and increasingly weird caress allowing for mental refreshment though to be fair it engages with the imagination as much as any other proposal within the album such its loco array of styles.

Myxomatosis against architektür vol IV is equally a rich tapestry of styles, its psychotic nature a trespass of extreme and melodic metal bound in the virulent revelry of varied flavours and pure manna for body and soul before Carambolage fillette contre individu dragon non-décortiqué casts its Nintendo spun contagion, a lure becoming more tempestuous with time as guitars and rhythms add their cartoonish devilment.

The album is completed by firstly C++ and its mesh of cosmopolitan spicing and endeavour, not forgetting mewing cats, and lastly Totipotence d’un erg, an epic thirteen minutes of dawning power, imposing contagion, and majestic wickedness. Flying by such the consuming potency of its evolving drama and kaleidoscopic soundscape, the track alongside its predecessor provides a compelling end to another thrilling outing with the instinctive insanity of Pryapisme.

Diabolicus Felinae Pandemonium is arguably the band’s most fluid and persistently contagious release yet, certainly it is their most skilfully woven and a treat for the bold and the insane.

Diabolicus Felinae Pandemonium is out now through Apathia Records @ https://apathiarecords.bandcamp.com/album/diabolicus-felinae-pandemonium

https://www.facebook.com/pryapisme    https://twitter.com/Pryapisme

Pete RingMaster 08/02/2017

Copyright RingMaster: MyFreeCopyright

Peekaboo Primate – Misanthropical

PP_RingMasterReview

Bedlam suggests an element of chaos to its madness, an uncontrolled essence which certainly does not fit the character of Misanthropical, the new album from Finnish alternative metallers Peekaboo Primate. Yet in every other way the word best describes the creative diversity and inventive loco of the band’s irresistible incitement. The release holds ten tracks which twist and turn like a kinetically sonic kaleidoscope weaving an eclectic array of flavours into their own distinct imagination fuelled escapades.

Peekaboo Primate is like the joker in the pack of modern metal; not the fool playing with a lunatic demeanour just for attention, though mischief is never far from their imagination and songs, but the bold protagonist using unpredictable exploits to ignite the senses and inspire thoughts towards, in the case of Misanthropical, a world where “as ugly, brutal and harsh but sometimes also beautiful as it is – everybody wants to be part of the greatest party of our time before our species go extinct solely by our own hand.

Hailing from Tampere, and originally under the name of Airhead, Peekaboo Primate was formed in 2004 by vocalist Lauri Lepokorpi and drummer Riku Airisto. The original line-up also included Hannu Kumpula and Tuomas Kumpula up to the release of the band debut album Peek-a-boo Primates in 2011. Following its release, the band changed its name to Peekaboo Primate with its personnel subsequently completed by the addition of guitarist Matti Auerkallio and bassist Juhani Rytkönen.

The time between albums has seen the band’s sound evolve and become even more defined in its real uniqueness, though if looking for a hint to what band and Misanthropical offer, imagine a mix of Dog Fashion Disco, American Head Charge, and Five Star Prison Cell with a touch of 6:33 to it. From its first heartbeat the album has ears and attention gripped; Spray Tan opening things up with an assault of tenaciously unpredictable rhythms and hungry riffs as wiry grooves wind around their thick bait. The vocals of Lepokorpi are just as dynamic and impressive, carrying an air of Chad Gray to their rousing presence at times as keys and guitars create a masterfully tempestuous and exotically dramatic theatre of sound

PP_Cover_RingMasterReviewIt is a thumping start matched in quality and irresistibility by the psychotically cultured Ha Ha. Sonic and rhythmic stabs court vocal shenanigans from the start with heftier beats soon adding their instable intent to the quickly compelling mix. Slithers of jazz and groove metal flirt with avant-garde psychosis as the track grows and writhes as well as anthemically incites in equal measure before allowing Nothing the opportunity to prey on an already submissive appetite and imagination for the release. The song saunters along with flirtatious and intimidating hues to the fore, Lepokorpi like the ringleader in its midst as his narrative challenges and highlights the issues theming the magnetic proposal.

From its initial intriguing low key start, The Unleashed soon unveils a pulsating and sinister body of synth bred sound as exotic and sultry hues in female voice and melodic suggestiveness add an alluring invitation. The challenging words of Lepokorpi probe and echo in the background before with unpredictability as enjoyable and prominent as ever, the track slips into a reggae cultured shade of character, though it is just one moment in the revolving journey of the encounter.

An addictive dose of pop ‘n’ roll grips next in the outstanding shape of Heroine, its catchy colour led by the great guest vocals of Noora Louhimo from Battle Beast. The rest of the song is a predacious prowl with the again effect coated tones of Lepokorpi stirring up riffs and rhythms between the flames of pop temptation. Within moments, it is sure to have bodies bouncing and voices fully involved, as ours, before Mama Earth rumbles as sonic spices zoom in and out across its growling tone and nature; that American Head Charge reference coming to the fore here, across a wonderfully grouchy yet fiercely inviting proposition.

As its predecessor, Star has a more ‘straight forward’ adventure to its body, though as the last treat too, there are plenty of unexpected and seamlessly woven together twists to catch out expectations and enthral the imagination, especially when uncaging some creative aberration midway. It’s more composed sanity and boldness is contrasted by the delicious raw frenzy of Peekaboo Primate, the track a demented slice of noise rock infested avant-garde/nu metal mania and quite irresistible as it stalks and bruises the senses.

Some of its punkiness survives in the cantankerous luring of ears by Follow My Lead, though the song is unafraid to bring some pop seeded melody and contagion into its imposing metal shuffle between even more irritable and aggressive trespasses.

Ending with the melodic caress of 291112, an emotively suggestive instrumental which fits easier into the scheme of the album with each full listen, Misanthropical is ripe pickings for the imagination and enjoyment. It offers a canvas and adventure which persistently provides fresh twists and surprises even after numerous listens. We will admit, we had not heard of Peekaboo Primate previously, a band which right now it is hard with their music to get out of our heads.

Misanthropical is released on CD and digitally May 12th via Inverse Records.

http://www.peekabooprimate.com/   https://www.facebook.com/peekabooprimate  https://twitter.com/peekabooprimate

Pete RingMaster 12/05/2016

Copyright RingMaster: MyFreeCopyright

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Skin Drone – Evocation

Skin Drone - Evocation _RingMasterReview

Evocation is the eagerly awaited debut album from US duo Skin Drone, a web based project consisting of vocalist/multi-instrumentalist Erik Martin (Critical Dismemberment) and multi-instrumentalist/producer Otto Kinzel (Chemical Distance/Bluntface Records). Both have released and been part of many striking and praise luring proposals but it is as Skin Drone that the pair arguably creates their most un-conventionally inventive and imposingly experimental adventures as evidenced by Evocation.

The album is a collection of emotionally and lyrically dark tales fuelled by insanity and torment encased in a hard to pin down tapestry reaping the raw and caustic might as well as beauty of certainly extreme, industrial, and avant-garde metal. Each track is a tempestuous journey through ravenous shadows, hellacious landscapes, and emotive turmoil but songs which equally at times share melancholic beauty and intimate psychosis. All grab keen attention on the first listen, each enslaving ears and thoughts, but it is through the journey of numerous plays that their layers, depths, and full compelling characters compellingly truly come alive.

With one half of the band in Hot Springs, Arkansas and the other in Boston, Massachusetts, it is hard not to  be quickly impressed by the skilful and coherent weave of almost kaleidoscopic textures and ideas, an organic unity which has blossomed through assumingly a torrent of ideas and files being passed back and forth between the duo. Admittedly though, as opener Scarlet Road consumes the senses, Evocation has thoughts swiftly engaged in other creative dramas and intrigue too. The first track envelops ears with a rousing roar of vocal squalls amidst technical and death metal animosity. It has a swagger and toxic virulence which needs little time to infest appetite and imagination, with the latter also persistently gripped by the glimmer of unpredictable incitement which rises from the track’s mellow and provocative slips into emotional dissonance. The track is pure fascination, a challenge and poetic tempting leaving a lingering imprint on the psyche whether washing solemnly over the senses or nagging them with torrential antagonistic discord.

Erik & Otto album_RingMasterReviewIts emotional turbulence is matched by that of the following God Complex, another ravenous proposal of extreme and venomously grooved metal entangled with sinister disharmony and emotional dissension. The raw vocals squalls create a great rapacious texture in the tempest and the haunting ambience sharing the song’s air, adding great discord and heart bred turmoil again in an offering inflamed with raging ire or sharing sombre caresses. The track continues to envelop and involve across its ever evolving body, sharing its discordancy with its outstanding successor, Death Sentence. It is a carnivorous piece of music and invention, but equally a thrilling adventurous dive through a wealth of avant-garde/progressive experimentation amidst a toxically grooved and rabidly irritable incitement; it all colluding for one breath-taking and emotionally pestilential offering.

Shepherd of the Damned is an inharmonious crawl over the senses next, organ and vocal menace a caliginous calling aided by pained clean vocals before a ravaging expulsion of intensity and sounds spills their animosity. The track continues to weave in and out of vicious and elegant melancholy without escaping the emotional hell at its heart before making way for the nature-esque soundscape and again haunting charm of Ghost Reflection. As always though, even in its warmest melodic seducing, shadows lurk, biding their time as strings and keys skilfully serenade and seed the imagination. They are never allowed a real grip here though, instead a tribalistic rhythmic shuffle emerging to surprise and draw the listener closer as similarly bred vocals dance on their beats.

That darkness does get its moment though in the infectious rock ‘n’ roll of City Lights; a track which seems to stalk the senses even as it launches tenacious roars and bruising tides of rhythmic temptation. Even in that predacious intent, guitars create veins of sonic enticement subsequently leading to seductive noir lit physical and emotional scenery. The track is another pinnacle of Evocation, a fiercely memorable and greed sparking moment backed up just as dynamically and imaginatively by Witching Hour. Evil lines every beat and savage riff, Martin’s scarring vocal trespasses too but again the band creates infectious grooves and a raw catchiness which simply pulls you into the fire of the track. An addictive throaty bassline only adds to the irresistible bait of the track’s quarrel and creative rancor too, a lure equalled by the song’s industrial fizz and melodic oasis further in.

Classical keys coax ears and thoughts into the dark conflict within Darkness Within next; the track a heavy resonating smoulder of emotional and sonic disunity growing from a calm reflective charm into intrusive discordance. As with all tracks within Evocation, every moment is in flux and evolving into a new shade of turbulence and anguish brewed intimacy with matching character of sound to enthral and thrill.

Closing up with Salvation, a similar but individual tapestry woven from varying shades of darkness aligned to emotional greys, Skin Drone leave ears and emotions numb and enjoyment rampant. As suggested, Evocation should be embraced over numerous listens, every one bringing something new to explore while casting fresh twists on ideas already nurtured by previous ventures into its impressive depths. This often viscerally impacting album will not be for everyone but for those with bold imagination and a taste for a band pushing its and metal’s boundaries, Evocation and Skin Drone are worth a heavy slice of attention.

Evocation is released June 14th via Bluntface Records with pre-ordering available @ http://skindrone.bandcamp.com/album/evocation

https://www.facebook.com/skindrone/   https://twitter.com/skindrone   http://www.bluntfacerecords.com/

Pete RingMaster 10/05/2016

Copyright RingMaster: MyFreeCopyright

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Second To Sun – The First Chapter

STS_RingMaster Review

At the beginning of 2015, we had the opportunity to check out the Three Fairy Tales EP and a couple of singles around it from Russian metallers Second To Sun. It was an instrumental experience and adventure which just lit our ears and imagination. Now as the year begins to wind down, another proposition from the trio in the shape of a new album has ruffled the mental feathers and ruptured a rich vein of pleasure. The First Chapter is a nine track exploration of the broadest tapestry of metal styles and invention, carrying on from where the EP and certainly singles left off but breeding new experimental and ferocious captivation.

Second To Sun began back in 2012, formed by guitarist/keyboardist Vladimir Klimov-Lehtinen and drummer Artem Vishnyakov. The departure of the latter saw the band as a one man project for a while before bassist Anton Danilevsky and drummer Theodor Borovsky linked up with Klimov-Lehtinen. Debut album Based On A True Story was released in 2013 to welcoming ears and comments with the Three Fairy Tales EP coming towards the end of the following year, its unveiling drawing greater attention and in turn acclaim. Now the trio unleash The First Chapter, an encounter with a title suggesting it is a climax to the first part of the Second To Sun ascent, and tracks that are opening up a new soundscape and emprise of the band’s composing and sound.

Second To Sun - The First Chapter (2015) _RingMaster Review   As mentioned the Second To Sun sound is a ravenous kaleidoscope of sound described as “modern metal with the elements of black metal and ethnic Finno-Ugric music.” It is a thick and rich tapestry that draws on every strain of extreme and melodic hues you can wish for, creating immersive creative escapades inspired by the history and life of the Finno-Ugrian nations within Eurasia. It is also a highly evocative incitement as shown by album opener Spirit Of Kusoto. Inspired by a holy grove of the Mari people with very deep sacral meaning and serving as a “church”, the track places the imagination in the heart of the forest with the strains of Mari folk song Sun rises lighting ears. It is a potent suggestiveness which soon erupts into a more primal and rugged proposal, rhythms a predatory incitement as the guitar spews caustic hues. Almost as quickly a calm and beauty takes over as the bass continues to skilfully grumble; this another brief exploit in the evolving character and landscape of the track. The piece is riveting, an insight to a dark and bright place with danger and warmth almost fighting over themselves to dominate but ultimately uniting in one fluid enthralment as folkish as it is blackened, as mesmeric as it is intimidating.

Red Snow is an instantly more raw and carnivorous place, a torrent of hungry aggressive sound effectively representing the feel and climate of the tale of nine young men who died at the infamous Dyatlov Pass. You almost feel the cold, the starkness, and turmoil endured as rhythms and sonic imagination create a barbarous and compelling provocation throughout but the track is also as potent in its echo of the rural folkish landscape as voices and percussion amongst many flavours emerge. The track is as rousingly bewitching as its predecessor, a canvas for thoughts to interpret and use to cast their own take on events inspiring the piece before the dark, haunting beauty of Me or Him takes over to seduce and inflame the senses and imagination. Simultaneously mesmeric and bedlamic, each contrast superbly cultured and honed by the band, the track is a predator of sound with a gripping maelstrom of emotion and ideation woven into an irresistible trespass of diversely brewed incitement.

Through the djent, death metal twisted Land of the Fearless Birds and the oppressively enjoyable The Blood Libel, band and album only tighten their grip on body and appetite. The first is another fearsomely predacious offering with bloodied melodies and a psyche stirring atmosphere whilst its successor opens up a cauldron of black/death bred heresy with welcomingly invasive enterprise. Both tracks in their own way, impressively stalk ears and thoughts whilst casting an almost hypnotic lure through the scintillating invention and craft of all members. The imagination of guitar and keys from Klimov-Lehtinen is especially rousing, though arousal of instincts and passions are just as powerfully nurtured by the bass imagination of Danilevsky and the resourceful swings and beats of Borovsky.

Narčat in contrast to the previous pair bounds in like a warrior, bold and creatively tenacious like the young woman inspiring its heart. The track is an undiluted assault of energy, aggression, and a masterfully entwined diversity of metallic and melodic styles, all fused into a bracing tempest matched in its own individual storm by Virgo Mitt. Within the track though, an elegant beauty within a melodic oasis emerges to seduce and shape the tale being conjured in thoughts. The inspiration to the piece of music is as fascinating as the sound, and we suggest certainly checking out the background to all tracks via Second To Sun’s bandcamp to gain even more richness to the experience of the songs.

Completed by excellent bonus track Chokk Kapper, a spiny affair of riffs and rhythms branching out with intoxicating sonic and melodic intrigue and invention, and a demo version of Narčat, The First Chapter is a stirring and forcibly impressive provocateur of ears and thoughts, not forgetting pleasure. As progressive and avant-garde in as many ways as it is technical and extreme, the album confirms suggestions made by previous releases, that Second To Sun is one uniquely thrilling proposition.

The First Chapter is available now digitally and on CD via http://secondtosun.bandcamp.com/

https://www.facebook.com/second2sun   http://www.secondtosun.net/

Pete RingMaster 25/11/2105

Copyright RingMaster: MyFreeCopyright

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Native Construct – Quiet World

Photo 3_Cinematic

If Quiet World is the kind of thing the members of Native Construct come up with whilst heavily involved with their college studies, then their future not only looks rosy but the music scene is destined to some real greatness ahead. The band’s debut album is a fascinating end enthralling adventure entwined in more styles and flavours than London Fashion Week and an imagination which simply bewitches that of the listener. It is not without a few flaws yet for an introduction to the band and their creativity, a ‘wow’ is in order.

Native Construct consists of vocalist Robert Edens, bassist Max Harchik, and guitarist Myles Yang, three music students who came together creatively in 2011 whilst at the Berklee College of Music in Boston. Using the composition and arranging skills learnt in their studies, as well as the technical craft and inbred inventive talent of the band members, the trio began drawing on a torrent of genres from progressive and classical rock to heavier technical incitements, as well as musical theatre, jazz and plenty more. Between 2011 and 2013, Native Construct set to work writing and recording what was to become Quiet World, predominantly self-producing the concept release, whilst continuing their studies. It came to the attention of Brian Slagel at Metal Blade Records at some subsequent point, and as their press releases says “What began as jam sessions simply for fun eventually turned into a full-fledged musical endeavor.” The band was signed to the label and the album, with its vocals being recorded with Jamie King at The Basement Studios in North Carolina, is now out there to surely stir up a worldwide appetite for this potential drenched band.

Cover   Quiet World brings a tale, to simplify it, of a mute and slightly unstable man who has an unreciprocated love for a girl which leads to obsession and eventual resentment. He also creates for himself a new, fantastic world where there are no oddballs or outcasts, which is where the album comes in. It is an eventful lyrical exploration more than matched by the musical adventure around it, and started with Mute. From an isolated climate with random sonic textures flying round the senses, the song bursts into theatrical and orchestral life. Strings and melodies spin an immediately potent and cinematic landscape of sound and emotion whilst the ravenous drum work is an uncompromising tempering of the fiery beauty. It is an invigorating start coated in elegance and menace, keys and guitars duelling with rhythms for voice whilst equally sharing the spotlight, whilst the vocals of Edens roar and serenade across the magnetic proposal. Relaxing into an avant-garde/jazz lit calm coloured by a seducing of piano and infectious harmonies, thoughts of bands like 6:33 and Pryapisme come to mind, and even more so as volatile and tenacious elements add their erratic and compelling presence to the mix. There are moments which for personal tastes do not quite hit the same sweet spots as others, but constantly evolving and unpredictable with that cinematic orchestral temptation returning in full persuasion, the song is intoxicating drama.

Following song, The Spark of the Archon, opens with an eighties bred synth pop shuffle, keys and percussion a smiling lure before riffs and grooves bring a rawer edge to the entrance. Once in full pop rock flow though, the song has a strong coincidental whiff of UK band 12 Stone Toddler to it with a Mike Patton/Mr Bungle touch too. Music and vocals again bring fluid scenery of unexpected detours and wrong-footing escapades whilst crafting an immersive and easy to greedily devour proposition. Lyrically at this point the protagonist’s new world sees the rise of Archon who leads an uprising in this new land against opposing character Sinister Silence.

The proceeding tracks bring for the main, different episodes in their enduring struggle, Passage next stealing attention and imagination with its stroking embrace of shadowed kissed strings around equally evocative guitars. Sultry and exotic, intimidating and melancholic, the track as those before has a perpetual shifting in its tone and sound, though it is more stable in its progressive flight and controlled in the additional additives of textures and styles seducing the imagination. In saying that the pent up creative bedlam which marked the previous tracks has to go somewhere, and like an itch which has to be scratched it bursts out through gypsy folk breezes and technical metal roars, to name just two of the delicious strains of the almost psychotic enterprise released.

Your Familiar Face also has a calmer interior within its walls, emerging as the most restrained of all songs upon Quiet World but unafraid to throw an unexpected twist and wink of creative mischief into its theatre of sound. It is a captivating caress on the senses but it has to be said by its end ears were hankering for that warped ingenuity, which is swiftly fed again by Come Hell or High Water. Sombre strings play with and incite body and mind right away, though behind their sombre face there is a twinkle which is taken up by rhythms and the swiftly joining vocals. Like a stage show song, it grows in stature and emotional drama, becoming a hearty bellow and in turn a snarling vociferous provocation, especially vocally. Of course by now expectations are redundant, the song ebbing and flowing in all aspects and extremes whilst conjuring new unpredictable and riveting antics.

The album is completed by firstly Chromatic Lights, a short instrumental detour within a raw ambience, which leads into the closing Chromatic Aberration, an epic twelve minute plus psychotic tapestry of emotion and unbridled creative mayhem. It is a chaos which is as perfectly shaped as it is emotionally deranged; every groove, melody, and rhythmic trespass a coherent and engrossing incitement in a cinematic flight across tempestuous and constantly changing emotional climates. The track is a dynamic and scintillating adventure all on its own, a mouth-watering musical emprise which combined with the rest of Quiet World simply leaves ears and emotions smiling.

We mentioned the album is not without issues but to be honest the more you listen and delve into Quiet World they are hardly of relevance, except to ensure that the band’s next offering when they have no other distractions, is an already highly anticipated proposition.

Quiet World is available now on Metal Blade Records via http://www.metalblade.com/nativeconstruct/

https://www.facebook.com/NativeConstruct

RingMaster 23/04/2015

Copyright RingMaster: MyFreeCopyright

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