Trillion Red: Echo Road EP


    If Trillion Red impacted on you with the impressive album Metaphere and its evocative expanses of dark progressive sound and intense atmospheres, then new EP Echo Road will bring you extra riveting pleasure. The four track release comprises of what multi-instrumentalist and creator of the one man project Patrick Brown calls “4 Dark Asymmetries” which did not quite fit on the album stylistically or time-wise. The new release is despite its contents failure to secure a spot within the album as creative and inspiring as those tracks which make it and sets up another compelling experience for thought, emotions, and senses.

The critically acclaimed 2012 album was a haunting and powerful release with brooding and consuming avant-garde doomscapes which were as heavy as they were enthralling and imaginative. The new EP is no different and such its stature and intensity one suspects they must have been within a thick wash of challenging ambience of being included originally. In press statements it is said that Patrick wanted to release the tracks making up Echo Road so that he could truly start fresh in the writing process for a second full-length LP, for that we can only say thanks  as their dark beauty wraps its oppressive yet majestic breath around the senses for another thrilling encounter from Trillion Red.

The Badgod Music release steps forward through opener Metasphere and as its lumbering punchy rhythms, grilling riffs, and snarling breath takes over the ear thoughts and pleasures gained from the album rush back to re-take their place. The emerging persistent sonic grind and rhythmic insistence is a constant pleasing gnaw which ignites primal juices and emotive shadows for a thoroughly compelling encounter, though within this unrelenting persuasion the track slips into a harsh biting yet distant ambience which is chilling and dangerous. The sonic wash eventually drifts away with its vehemence in tow to allow the towering prowl of the song to return and recapture the passions. It is an immense and incendiary start to the release and its highest pinnacle though challenged closely throughout.

Trillivm Black spills its bludgeoning intensity and corrosive energy next, unleashing further demanding rhythms and shimmering acidic sonics which singe the senses with skill and destructive imagination. Like the first it brings a soundscape which is equally mesmeric and insidious whilst reaching into deep dark shadows to produce a grip and eroding breath upon the emotions which is rife with seductive malice and irresistible craft.

From its departure emerges the distressed sonic voice of Domptre le Monstre, a longing yet distrustful slow voice of sound and expression which could enhance any Asian horror movie or place of desolation whether physical or mental. It is a powerful piece of composing where less is more and overpoweringly merciless.

The closing Memoirs of the Future continues the emotive intensity in another diverse yet connected black souled realm. Opening with a singular acoustic embrace the song gently wraps its melodic arms around the body before the brewing wind of blistering ambience which marked the previous track returns to cloud the skies once more. Into the measure of its stride the track releases its full doom presence to crawl over and invade the listener whilst seducing them with falls of gold covered sonics and melodic teasing. The track also for the first time sees Brown add a vocal element on the release which pushes shadows deeper in to thoughts with a fine heavy predatory delivery. The track is as bleak and darkly elegant as the band has ever been and by its corrosive end has corrupted, calmed, provoked, and ignited both thoughts and emotions.

Echo Road EP maybe unfinished business as Brown suggests for him, but it is undoubtedly an outstanding piece of imagination and craft to compliment and succeed Metasphere and leave us all impatient for where he goes next with Trillion Red.


RingMaster 11/02/2013

Copyright RingMaster: MyFreeCopyright

Trillion Red: Metaphere

Termed as dark progressive avant-garde metal, the sounds of San Francisco band Trillion Red is a startling and evocative swarm of sound and atmospheres to lose yourself, and at times lose your way within. It is an enveloping and perpetually shifting journey of striking and questioning soundscapes, an expressive experience which is as accomplished at unsettling the nerves and senses as it is at sending them into rapture.

Following the well received Two Tongues EP of last year the one man project has elevated the stakes and creativity with debut album Metaphere. A fire of ideas and invention borne from the imagination of Patrick Brown, it is a release to engage and rile up senses and thoughts, an album which stands alone from most others in fresh vision and accomplished diversity. Themed by the struggle between darkness and light, it is a conflict played out through shuddering malevolent intrusions and shimmering mesmeric ambiences. Metaphere is destined to connect in different ways and on varied levels with metal and rock fans, but an unforgettable and rewarding bond it will make with most.

Like many artists now, Brown has unleashed an album which transcends genres but is different in that it is not always noticeable without focused attention, the blend instinctive and fluid like the warmth of the sun or the chill of shadows. Metaphere has to be allowed to slowly persuade and immerse the listener into its challenging charms and realms but it gives so much in return. Arguably it is not always the most natural companion but is never one to leave disappointment either, the sounds it intimidates and enchants with an ever compulsive presence.

The release opens with the dramatic and inciteful instrumental Blood Bravado, a piece which clouds the mind and unsettles the senses wonderfully, elements of Killing Joke toning the barbed breath and melodic discord. It is an instant contagion which ensures a full and attentive absorption leading into the four parts of Trichroic starting with Prelude Mira Lore. The sinister whispers within resonating shadowed sounds feel like they spawn from a disentangled reality, sent to ignite chilled thoughts and feelings. The track never delves into the blackest of areas but diminishes light to slight expulsions of crystal droplets within the piece as it opens the way for Part 1: In Ever Loving Shadows.

Carnivorous riffs open the song before again slipping back into the previous atmosphere. They then entwine and wrap the ear in a perpetually evolving hazardous caress of blackened metal and scathing sonics, the vocals of Brown holding desperation to match the sounds. Part II: In Darkness We Cannot Be and Part III: Ephemeral Light continues the twisting bruising and burning, both distinct but organic in the cradling corruption given.

Trichroic is a testing whole in its expansive presence and emotive travel, provocative and rewarding but arguably a challenge. The likes of the following Cuts Come In 3’s, Bug-Id, and Parables And Levitation could be called the same, but in their at times brief violation are a more compact incendiary device to blow synapses and disorientate thoughts. The first is a pulsating thrust of venomous sonic probing and jabbing rhythms, its melodic swipes sharp as knives whilst the second of the three is more of a predator, its feverish aural hunger stalking and eroding the defences of the senses to send them into a further mesmeric provocation. The excellent Parables And Levitation explores more crystalline melodic expulsions within sludge like atmospheres, vocals and sounds adrift from its core like uncertain emotions and devilish prompts.

The hellish Sin Forecasting and the soothing respite to the torment of For Pain wind down the undulating ride leaving the hypnotic Dawn State to close with as many uncertainties as resolutions emotionally. Metaphere is an impressive album once given the chance to fully unveil its dark corners and invention warm heart, a release ensuring a full and satisfying listening experience for not only the ear.

RingMaster 17/10/2012

Copyright RingMaster: MyFreeCopyright

Tsar Bomb – Neowarfare

As Neowarfare, the debut album from Spanish black/death metallers Tsar Bomb began its onslaught the thought was there is some great things going on here but why is the enjoyment not quite matching those thoughts. By its end  and admittedly after only the first listen the trio from Malaga had won the battle, whether by their corrosive sound overwhelming defences or by simply proving they do match those individual elements  is still not clear but the album emerged as one rather pleasing slab of abrasive nastiness.

Neowarfare does take a little warming to, though as mentioned it is not hard to see the ideas and craft at play from the very start. It is like an itch or sore wound, the more it persists and you pay attention to it the more the discomfort turns into a sweet kind of pain. Quite simply Tsar Bomb would make the perfect house band to a Cenobite owned Hellraiser world. With the lyrical themes of the album contemplating the ‘destruction of humanity through the unleashing of massive weapons of destruction developed by a degenerate group of apes (as Lucifer looks on with sadistic pleasure)’ it all has a symmetry which is meant for each other.

Formed in 2009, the band has evolved through numerous line-up changes to this point in time meaning even their live debut was not possible until 2011. Another change meant a delay in the release of Neowarfare, but with the settled union of Ocram (vocals/drum programming), Ivan (guitars /drum programming), and Lord Cabal (bass/ backing vocals) in place, the album finally arrives via badGod Music.

It is a sonic scourge on the senses, first winning the battle to control thoughts and emotions and then compelling allegiance through waspish grooves and spiteful intensity, not to mention pummelling rhythms. Actually when we say waspish grooves it is more accurate to say melodic constrictions of a giant hornet nature, the astringent and acute rubs blisteringly mesmeric and eventually irresistible. The whole album is unleashed at speed and with rampaging intent, never allowing a breath to be taken or energy wasted on lighter things musically or lyrically.

From the arrival of an imposing and intimidating force through the opening intro, the album erupts through the vicious Tsar Bomb. Like a horde of plagued ridden rats the riffs scurry all over the senses gnawing at and disrupting synapses and comfort, whilst the vocals of Ocram chew on and spit out words with sheer malice to match the sonic war in progress. The song no matter how many times it is invited to do its worse is an uneasy ride, its caustic breath a perpetual erosion of the senses to shy from but welcome.

As Victorious Death and Nuclear Feast lay waste the grooves find a more precise though no less violent stature, their tight manipulative sound veining brawls of energy and intent. By this point one remembers that the drums are programmed and it has to be said that though you can tell they are not organic they are a seamless addition which only adds to the wall of malevolence rather than stand out for what they are.

As the title track sucks more air from the lungs with its consumptive energy the balance is definitely tipping in the bands favour and from this point they become an eagerly sought contagion. The hornet sound is at its height now, the sonics stinging with every note whilst the massive riffs and energy numb relentlessly. The guitar of Ivan sends shards of flaming melodic spears through the air to further the pleasure and bring a diversity to what it we are truthful is a uniformal attack intensity and sonically across the whole album.

Tracks like Zyklon-B for the Human Race and the excellent Tupolev TU-95 show though that there is plenty to shuffle things up enough to keep a full attention and an open enough diversity to the release. The second of the two is a bear of a track, its red veins bulging as it demands subservience before unleashing a rain of pungent scorn in the shape of flesh stripping riffs, flaying rhythms, and another cutting intrusive groove. It is a riot, a maelstrom of sound which hurts and rewards simultaneously.

From an unsure start Neowarfare shows itself as a thoroughly pleasing assault of nihilistic beauty and malevolent energy, and Tsar Bomb a band who gleefully wait for your destruction whilst soundtracking its coming with sounds to relish and squirm to.

RingMaster 08/10/2012

Copyright RingMaster: MyFreeCopyright

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Never to Arise: Hacked to Perfection

Hacked to Perfection the debut album from US death metallers Never to Arise is an ugly, twisted, and misshapen brute of a release and rather special because of it. Spiteful, violent, and openly brutal the album is also a fine example of musicianship and inventive thought within the core death metal sound which many bands have seemingly turned away from. There is a purity to it that brings forth the grounding seeds of the genre infused with a skill and enterprise that makes it all the more intimidating and consuming.

Florida band Never to Arise comprises of duo Gordon Denhart (vocals, guitar, drum programming) and Michael Kilborn (guitar, bass). Together they have created an album which festers and menaces somewhere between melodic death metal and the original genre sound. It is a rampaging and venomous release which leaves one without an escape route as its crushing and invasive sounds swarm through the ear and over the senses. Released may 15th via Colorado label badGod Music the album is a definite to fire up those who prefer the pure genre sound but with some innovation and imagination.

The opening track The Femicidal Impulse barges through the ear with repetitive beats and eager riffs behind a striking guitar surge. The song soon settles down into a pattern as Denhart brings guttural spewing as black and venomous as heard anywhere. The track slowly turns and winds tighter around the ear with harsh melodic probing and a bestial stalking bass behind. As a warmish groove lights up the corners of the song it evolves further into a sprawling yet controlled assault. It is unpredictable, persistently intriguing and a great start to the release.

The following Hyperbaric Torture Chamber and Sloppy Surgery continue the crumbling of defences with their compulsive but violent intensity, the first a thrash lined invasion and the second a maelstrom of ruptured melodies and vindictive riffs. Though still a raging destructive track Sloppy Surgery is a constantly twisting song which is as agitated as it is vehement.

Easily the best track on the album is Mutilation Supreme, as good as the others are this one probes and pervades every sinew and cell with its inventive thought and catchy lures. The artistry and skill of Denhart and Kilborn thrust their imagination deeper through the ear whilst one eagerly welcomes its impressive groove driven caustic and infectious manipulations. It offers the most satisfying violation on the release to place it ahead of the other very agreeable tracks on Hacked to Perfection such as the likes of the dehabilitating Bereft Of Conscience, the sonically splicing Snuff Film Superstar, and the ravenous Devoured By Wolves which claws at the ear with full-blooded intensity, add a persistent and gratifying provocative and strenuous demand of the senses.

     Hacked to Perfection is a genuinely inspiring release even though it did not truly fire up the emotions as often as one expected from the initial engagement. The main reason is down to the production which on a personal level felt over claustrophobic and weighty never allowing the obvious and striking creativity and imagination within the songs the clearest of views and stifling the veracious quality. The programmed drums too though not a major issue as they worked very well most of the time did give a repetitive element which drew the attention at times. The album is still a very impressive release and sure to find enthused waves of acclaim and deserved attention, as well as instigating an eager anticipation from all for more from Never to Arise.

RingMaster 09/05/2012 Registered & Protected

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