Bear – ///

As the list of essential 2017 releases already looks like it has the potential of being a substantial one establishing itself at the head is the third album from Belgian metallers Bear. Primarily tagged as math/technical metal, the Antwerp based quartet swiftly show within their new intrusive roar that their sound is a kaleidoscope of imposing flavours. Within the release hefty strains of everything from progressive and heavy metal to nu-metal , hardcore, and metalcore accost the imagination It is a ravenous web aligned to more voracious grooves than found within most lifetimes of similar genre participants and one hellacious treat of a trespass for ears, senses, and pleasure.

Formed in 2010, Bear awoke attention with their self-released 5 track EP Abstractions; its initial success continued through a digital release with Conspiracy Records and a full re-release via Let It Burn Records who followed that up by uncaging debut album Doradus in 2011. At the same time, the band was invading the UK with their raw sound, touring there with While She Sleeps while headlining their local festivals while the year after the album’s release they went on to support the likes of Periphery and entice major plaudits with appearances at  festivals such as Euroblast and Groezrock. Signing with Basick Records in 2013 brought second album Noumenon into greater acclaim whilst live a trio of UK tours with The Colour Line, Black Dogs and Carcer City and further festival triumphs only helped to firmly establish the outfit within the European metal scene.

The biggest spotlight is now sure to be tempted with the release of ///, from its claw slashed title to its ursine assault of sound, the album is an inescapable beast of character, aggression, and invention mauling the listener from its first breath with opener Blackpool. Its first gasp brings a senses eroding surge of guitar and Maarten Albrechts’ furious vocals, a colossal onslaught weighted further by the lethal swings of drummer Serch Carriere and the grievous tone of Dries Verhaert’s bass. As the corrosive tide continues scything riffs and squalling grooves escape the already impressing exploits of guitarist Leander Tsjakalov, his creative weave in turn sparking greater variety in the vocal roar of Albrechts and band. Like a blend of Meshuggah, Slipknot, and Society 1, the song bullies and seduces, opening up more unpredictable twists and compelling exploits with every passing wave of imagination.

The tremendous start continues with Hounds, its primal and rhythmically dynamic entrance enough alone to grip ears, the subsequent net of grooves and technical espionage as well as continuing vocal variety an ever tightening vice of creative temptation. With lighter but just as dirty heavy rock hues adding to the raw infectiousness, the track snarls and ferociously dances with the senses; bruising and teasing them before the band’s latest single Masks emerges from its own dusty smog with a Rob Zombie-esque stomp soon sharing invasive grooves amidst a dissonant cauldron of technical and off-kilter ingenuity. Whereas its predecessors pretty much tore at the senses, Masks taunts and flirts, if with instinctive rapacity and ruthless persistence. Every second is a tempest of intrigue and adventure, each moment a ravishment of ears leaving sheer greed for more in its wake.

It is a hunger swiftly fed and further provoked by Childbreaker, the song initially a blaze of intensity with waspish grooves buzzing around brawly rhythms but soon exploding into an invasive tempest of attitude and barbarous sound though still a storm bound in a virulent infectiousness as devious as the ferocity around it. Predatory in every aspect, the track devours with every breath, a quality no less forceful within next up Knives Are Easy and its maelstrom of technical and instinctively quarrelsome enterprise. The combined creative voracity of Tsjakalov and Verhaert is seemingly encouraged by the irritable jabs of Carriere and Albrechts’ grizzly tones and just as intrusive when the charge turns into a prowling examination of the listener. It is a stalking which cannot sustain its lust for long, the song ending on the same assertive thrust it began with.

The Oath entangles the senses in its own agitated and kinetic almost gladiatorial frenzy next, harmonies and melodic seduction enticing from within the cyclonic ambush and having their own moment of inescapable persuasion like a warm oasis at the eye of an increasingly psychotic storm. With every element combined, it is a fearsome bewitchment with the animalistic growl of bass irresistible, delicious bait continuing as 7 strolls into view carrying a maze of meandering anxious grooves and sonic psychosis. Becoming more brutal and intense with each passing moment, it equally breeds a captivation of harmonic and melodic seduction, the union of extremes as catchy as it is wanton. The song is a helter-skelter of invention and craft, fiercely glorious leaving exhausted ears in bliss and easy prey for the slow menacing prowl of instrumental Klank before Raw has them consumed in another eddy of feverish craft and unbridled discord abound with swirling contrasts and volatile textures all woven into one mouth-watering dispute.

The album is completed by the just as argumentative and creatively pugnacious Construct.Constrict and finally the physically and emotionally subversive Adjust.Adapt. As distinct in nature and body as they are united in bristling attitude and laying a sanguinary touch upon the senses, the pair stretch and open up new realms in the Bear sound; the closing song especially charming in its harmonious siren-esque heart within another truculent body.

There is simply no weak spot within ///, not even a moment when the album slips a foot let alone falls from of very early established pedestal. Quite simply the album and indeed Bear for newcomers is a must!!

/// is out now through Basick Records across most online stores.

http://www.bearpropaganda.com/band/   https://www.facebook.com/bearpropaganda    https://twitter.com/bearpropaganda

Pete RingMaster 12/04/2017

Copyright RingMaster: MyFreeCopyright

Tirades – Lifetime of Wars

Tirades _RingMaster Review

It all started in February 2014 when guitarist Munoz was in the Andes. His car broke down along the Los Libertadores and help was far away. Out of nothing came Nauhel, an Indian from the Mapuche tribe in Chile.

Nauhel invited Munoz to his camp and insisted that Munoz stayed overnight. It turned out that Nauhel was a musician in traditional Mapuche music, and Munoz had 20 drafts to what once would become Tirades’ debut album. Munoz and Nauhel exchanged musical ideas throughout that night as the moths danced around the bonfire. Nauhel gave Munoz the name “Pülü”, meaning insect in Mapuche, to commemorate the moths who kept them company through the night. This night caused all other musical projects to be set to side, and Tirades became the main priority from here on out.

That is the background to a band which unleashed one of last year’s unexpected and seriously exciting roars in the shape of Lifetime of Wars. A slow start release wise to a new year always allows for a catch-up of propositions that initially escaped but deserve attention and without doubt the first album from Norwegian hardcore protagonists Tirades qualify. Whatever its origins and seeds, Lifetime of Wars is a glorious and challenging slab of rock ‘n’ roll which rousingly embraces a web of noise and punk fuelled flavours driven by imagination stirring adventure.

Album cover_RingMaster Review     The September of 2014 saw Bergen hailing Tirades enter into the recording of their album with producer Andrew Neufeld (Comeback Kid). Alongside guitarist/vocalist Esteban Munoz, also the drummer of Social Suicide, stood bassist/vocalist Remi Arefjord also of Jeroan Drive and guitarist in Social Suicide, Of Grace and Hatred drummer Mathias Simonsen, and guitarist/vocalist Markus Den Ouden from Blodig Alvor. Together they have created a confrontation as sonically intrusive and emotionally cantankerous as it is anthemically and energetically inspiring. Released in the latter moments of last year through Fight! Records, the punk ‘n’ roll blaze is an immediate contagion drawing, as mentioned, on varied spices of metal and punk driven rock ‘n’ roll to brawl and stomp with the listener.

Fear The Saviour is the first potent incitement, the opener springing from a suggestive guitar spun invitation into a predatory stalking of the senses with beats and bass leading the way. Tribal spicing colours Den Ouden’s bait whilst the bass of Arefjord has a carnivorous tone to its snarl, both tempered by the ethereal vocals and wiry enterprise of guitar. Electro spicing equally adds more drama and texture to the post punk scented introduction, the song playing like a blend of Morkobot and Tones on Tail as it leads ear and an instantly awoken appetite towards the bracing confrontational tempest of Death Bell. Smothering ears in thumping beats and sonic provocation from its first breath as vocals challenge, the track swiftly has body and emotions aflame with its rousing and contagious canter. Subsequent clean vocal chants and the ever primal tone of the bass only add to the lure of the rousing seduction, the song twisting into the infection loaded hardcore and corrosive rock ‘n’ roll which fellow Norwegians Shevils are as equally adept at unleashing, they the closest comparison coming to mind for the uniqueness of Tirades.

The exhilarating stirring of the passions makes way for the more barbarous riot of Ghost, though it too is soon evolving within ears as the band explore fresh hues and resourcefulness employing varied styles. Far too short for personal greed, the track gives way to Sleepless. Featuring Kvelertak guitarist Maciek Ofstad, the track evokes defiant attitudes with its aggressive bawl of sound and voice, only adding to the chest beating potency with catchy moments of clean vocal led incitement. As its predecessor, a major highlight is uncaged, a song which is as imaginatively unpredictable and addictively alluring as it is fiercely exhaustive and more than matched by the exceptional Precious Demon which flows out of its tail blast. Further invigorated by Social Suicide vocalist Marius Jahnsen and Tarjei Strøm, another maelstrom of invention and noise rabidity descends upon and swallows the senses, it too inciting lusty involvement with its caustic collusion of diverse textures and punk rock aggravation.

There is a touch of NVRVD and Bear to the track whilst in its successor Relignorance a spatter of The Great Sabatini teases as it’s more restrained hardcore hostility allows vocal melodies and noise rock tendrils to captivate from within the fierce romancing and subsequent haunting atmospherics unleashed. Volatility is as much a constant in a Tirades song as attitude and ferocity and the track embraces all within its compelling design before Reach Victory batters forcibly on ears and in turn Skin scorches the sense with its sonic toxicity and ravenous intensity. The first of the pair is an abrasive bellow with its own line in dynamic rhythms and agreeably searing hooks matched to the constantly anthemic vocals whilst its successor is an emprise of punk belligerence and feverish imagination drawing on another diverse range of metal, heavy rock, and blissful noise

False Prophets keeps the fires of satisfaction burning forcibly next, its skilled merger of contrasts and addiction forging ingenuity making the appetite greedy whilst immediately after Never Again grumbles and rumbles like a bear with a sore head; one wanting to tear apart the body and dance with the skeletal remains. It is hard to remember in recent times a crushing destructive protagonist as virulently catchy and irresistible as the superb song, though within the album it is just one of a band of demandingly contagious and rabidly inventive trespasses.

The album is completed by the acoustic croon of 1996, an evocative piece of stringed and acoustic expression shaped by voice and emotion which only impresses but still pales against the sheer magnificence of what came before. A bonus remix by Ralph Myerz also adds to the thick enjoyment of Lifetime of Wars, an album which hopefully is the first of many given the other commitments of its creators.

In a recent review we remarked on the pinnacle 2015 ended on in the number of seriously striking releases unveiled. Tirades are another one in the list, maybe the very best of that moment and in the cream thrilling the whole year.

Lifetime of Wars is out now via Fight! Records through most online stores.

https://www.facebook.com/tiradesofficial

Pete RingMaster 08/01/2016

Copyright RingMaster: MyFreeCopyright

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

The RingMaster Review’s Metal/Rock Best of 2013

In a year of breath-taking rapaciousness and passions igniting sonic aggressiveness from the extensive depths of metal and rock in all its various rabid disguises, it is not easy to select the best albums to have eagerly  and skilfully savaged the senses. Nevertheless The RingMaster Review has applied intensive thought and time consuming deliberation over the tempest of thrilling releases it has covered in 2013 and chosen it’s Best of the Year based on the most potent lustful submission and overwhelming contagious toxicity bred by the intrusive treats covered on the site over the past twelve months.

1. Bovine -The Sun Never Sets On The British Empire 255275_477420662275813_1151896898_n

Brawling, squalling, and impossibly contagious, The Sun Never Sets On The British Empire is an album which charms and harms the senses for easily one of the most thrilling and exciting albums this year….

https://ringmasterreviewintroduces.wordpress.com/2013/04/13/bovine-the-sun-never-sets-on-the-british-empire/

coverhigh2. Sofy Major – Idolize

…has defiantly emerged as one of the most frighteningly impressive albums of the year so far. The release is a beast of a record, an album which can only be declared as carnivorous, in sound and intent…

https://ringmasterreviewintroduces.wordpress.com/2013/06/01/sofy-major-idolize/

3. Cult Of Luna – Vertikalcol-vertikal-jpg

…a colossal journey and an intense emotional narrative which transports the listener into a place of stark beauty and oppressive grandeur whilst wrapping its recipients in the dystopian canvas upon which the immense and riveting structures of the album are built…

https://ringmasterreviewintroduces.wordpress.com/2013/01/26/cult-of-luna-vertikal/

packshot-1500x15004. Bear – Noumenon

…sonic alchemy which leaves exhaustion and lust bred satisfaction raging rewards…

https://ringmasterreviewintroduces.wordpress.com/2013/10/08/bear-noumenon/

5. Shevils – Lost In Tartarus1424384_730606523620529_1143928494_n

The ten track fury of invention and passion is a monster of a release, a brutal yet ingeniously sculpted confrontation…

https://ringmasterreviewintroduces.wordpress.com/2013/11/08/shevils-lost-in-tartarus/

475_russkaja6. Russkaja – Energia!

Sounding like the bastard offspring of the Austrian Strauss Brothers with a bent for insatiable adrenaline fuelled folk metal and exhausting jazz…

https://ringmasterreviewintroduces.wordpress.com/2013/04/10/russkaja-energia/

7. Lord Dying – Summon the Faithlesssummonthefaithless

…tsunami of rapacious riffing, deliberately antagonistic rhythms, and sonic ferocity wrapped in melodic fire…

https://ringmasterreviewintroduces.wordpress.com/2013/07/11/lord-dying-summon-the-faithless/

cover-0018. Arceye – At First Light

…devours with imagination, craft, and a devastating predacious invention that takes the listener on one of the most enthralling dangerous aural journeys lying in wait this year…

https://ringmasterreviewintroduces.wordpress.com/2013/08/08/arceye-at-first-light/

9. Coilguns – Commuters02_front_cover_web

…pushes the boundaries of band and extreme music beyond their limits with skill and startling imagination…

https://ringmasterreviewintroduces.wordpress.com/2013/02/07/coilguns-commuters/

overcoming-the-monster-album-cover10. KingBathmat – Overcoming The Monster

…a compelling flight of melodic fire, rhythmic provocation, and sonic beauty all wrapped in an ingenuity of craft and thought which leaves the listener quite breathless…

https://ringmasterreviewintroduces.wordpress.com/2013/07/22/kingbathmat-overcoming-the-monster/

11. lo! – Monstrorum Historialo_mh_cover_square

…imagination of the band a greater open malevolence which leaves only undiluted sore pleasure and invigorated intrusive satisfaction in its caustic wash…

https://ringmasterreviewintroduces.wordpress.com/2013/04/22/lo-monstrorum-historia/

hellsdomaincover12. Hell’s Domain – Self Titled

…one of the freshest and invigorating thrash releases to come along certainly this year and a marker for other bands to aspire to if they want to permanently enslave the passions…

https://ringmasterreviewintroduces.wordpress.com/2013/09/24/hells-domain-self-titled/

13. Abysse – En(D)Gravea2430544694_2

https://ringmasterreviewintroduces.wordpress.com/2013/10/04/abysse-endgrave/

…an extensive exploration of bold adventurous lands and emotions; ventures fraught with warriors and bravery, shadows and danger but all brought forth with a potent sinew driven narrative that leaves no emotive intensive stone unturned and inventive imagination untapped…

Following closely in the wake of the above are also highly recommended…

The Ocean – Pelagial

https://ringmasterreviewintroduces.wordpress.com/2013/05/01/the-ocean-pelagial/

In Vain – Ænigma

https://ringmasterreviewintroduces.wordpress.com/2013/03/13/in-vain-aenigma/

Code – Augur Nox

https://ringmasterreviewintroduces.wordpress.com/2013/11/27/code-augur-nox/

Circles – Infinitas

https://ringmasterreviewintroduces.wordpress.com/2013/10/14/circles-infinitas/

The RingMaster Review 28/12/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

Bear – Noumenon

BEARpicflat

Just when you think maybe you have heard the best the year has to offer, along comes a band like Bear to grip the imagination and passions by the throat, shake them rigorously until sense shows its teeth and then seduce to an even greater degree with sonic alchemy which leaves exhaustion and lust bred satisfaction raging rewards. Noumenon is the second album from the Belgium quartet, a release which ignites and fuses synapses with its bordering on psychotic mathcore and technical devilry. It has been a highly anticipated release but goes far beyond hopes and expectations those appetites will have had lying in wait, quite simply Noumenon is demonic genius.

Formed in 2010, the Antwerp-based foursome of vocalist Maarten Albrechts, guitarist Leander Verheyen Tsjakalov, bassist Dries Verhaert, and drummer Serch Carriere carve out new potent levels and mind altering creative temptations with their new album. Taking all the essences which have been spawned through previous releases starting with their self-released 5 track MCD Abstractions in their formative year, the band lends it to a greater corrosive and intensively invigorating scorching of the senses. Debut album Doradus of 2011 was the major seed which led to such a hunger for the new release along with its first single Wreckthings which preceded it. Both ignited the appetite and acclaim of media and fans worldwide and were followed by Bear stepping into bigger sized venues and recognition with shows alongside the likes of Periphery and within festivals such as Euroblast, Eierfest, and Groezrock. Released by Basick Records, Noumenon stalks and torments a new plateau of adventure and caustic brilliance to potentially steal end of year honours with insidious accomplishment and sinister ingenuity.

Opening track Boxer lurks in a reserved mist only allowing a singular guitar coaxing to wrap its tendril around the ear. It is soon Packshot 1500x1500welcoming a second strand of melodic acidity, again restrained and gentle in its touch though behind it there is a brewing presence and sinister electronic breath. Suddenly the song explodes into a tsunami of energy, rhythms cracking viciously on the ear whilst the guitars score and sear flesh though spirals of sonic fire and senses splicing corrosive predation. The vocals equally cut and scar though at times offering great melodic and harmonic mercury which makes for a mesmeric mellow union. The track is best described as The Dillinger Escape Plan and Kabul Golf Club meets Converge and The Fall Of Troy, though that only gives a whisper of the unique tempest of sound and invention working voraciously away and the psyche.

The brilliant start is soon matched by Mirrors, the track going straight for the jugular with crippling rhythms and bass rapaciousness coring another furnace of sonic irreverence and imagination soiling enterprise. Once again the vocals ignore predictability to squall and brawl within the song with the same passion and menacing invention as the sounds. Whether raging with antagonism or soothing the wound with harmonic craft, the vocals like the music are an evolving never settling torrent of flavours and energy. Across the track a punk scourge seems to tone the attack though it is just a spice to the unbridled twists of stance, technical conjuring, and time shifts. Like the album the song brings mathcore into a noise, djent, progressive metal maelstrom and emerges as something simply Bear.

Both Rain and The Falling Line snarl and spit out carnivorous toxicity which only seduces to greater depths, the first crafting an anthemic call to its venom and aggression whilst the second tunnels its way into the brain and stakes its territory with sonic weaves of twisted guitar animosity from within a wall of donkey punch raps upon the senses from the drums drawing unavoidable submission. Both are outstanding instigators of the passions and though debatably many of the tracks need a concentrated focus to discover all their nuances against each other, it is a rewarding endeavour which only increases the thrill of being the prey to the album’s hunt.

Mantiis unleashes a groove which is pure addiction, a hard rock teasing tightening its grip whilst vocally and through its contagion there is a familiarity which defines realisation as to the source. A major pinnacle of the album, the track is a storm of crescendos and climactic sonic insults which steals the breath and ardour with ease whilst laying down bait which lingers long after its passing of the fire to Aconite, a track starting with a somber invitation to emerge cobra like, swaying and growing its height into a hypnotic influence with a lethal acidic toxin and danger clad persuasion. The Fat Dukes of Fuck like in its diablerie, the track keeps Noumenon at its lofty height with grandeur and accomplished ease.

Through Centrefold and The Human Thing, the release and Bear strike with new ridiculously compelling and virulent suasion, the first of the two a mugging of the senses through a swarming attack which rather than picking certain targets just consumes and pressures in a blanket of intensity and creative sonic pestilence. There is a delicious blackened breath to the encroachment too whilst a Meshuggah like carnality of guitars and rhythms simply induces total slavery for its intensive landscape. Its successor is bred from the same beast and admittedly without attention the two can merge into each other but again the track is a bestial rabidity which leaves only exhausted pleasure in its tow.

Completed by the waspish swarming of L.A. Layer which chews and stings across its sultry atmosphere and inferno like landscape, and the wonderfully rabid and dramatically metallic Postbreaks where the chorus reminds of Sepultura though it’s a passing growl in one more fire-pit of an inventive scourge of sound, Noumenon is a riveting and senses frazzling treat which will demand contention in the awards giving come December and from a great many take titles.

https://www.facebook.com/bearpropaganda

10/10

RingMaster 08/10/2013

 

Copyright RingMaster: MyFreeCopyright

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

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