Synodik – A Matter Of Perception


It may only be three tracks, but by the close of A Matter Of Perception, the transfixing new release from Italian quartet Synodik, you feel like you have undertaken a journey of epic and thought provoking proportions. Merging progressive and atmospheric death metal, band and release is a sonic contemplation which immerses the senses in a compelling exploration. The successor to Sequences for a New Matrix, the band’s 2012 debut album, A Matter Of Perception is a challenging and riveting flight of discovery.

Genoa bred Synodik formed around five years ago initially under the name Asylum, and soon released the Drown In Pain EP. Live shows with bands such as Neaera, Sadist, Illogicist, Cadaveric Crematorium, Ade, Lifend, and Sideblast followed before the acclaimed Sequences For A New Matrix set down a potent marker for the band. Last year saw them sign with Imminence Records and begin the creation of A Matter of Perception, a trio of tracks which provide a new chapter in the creativity of the band; something explained further by guitarist Leandro Scotto who commented “We are using the EP to mark a new era for the band after two years have passed since the release of out self-produced full length. The concept behind the music arises from the love and enthusiasm for the contemplation of the universe and its arcane structures and paradoxes, and this concept is a true passion that really inspired the music.

The EP opens with Projections From the Edge, an imagination sparking instrumental lasting barely a minute but providing a soaring ascent of synths and melodies casting a celestial IR028grandeur. Its warmth and invitation is swiftly tossed into a maelstrom of vicious rhythmic incitement, vocal predation, and raw sonic aggression as When the Parallels Fall erupts upon the senses. Vocalist Matteo Campanini is an instant violation, an impressive scourge of vocal spite which antagonises as potently as it successfully lures thoughts and attention into the brewing tempest of invention and cosmic turbulence. With the drums of Edoardo Delucchi a persistent torrent of craft and aggression alongside the throaty bass enticing of  Jacopo Rossi (Antropofagus, Dark Lunacy) , the track accelerates into a bedlamic yet fluid and superbly sculpted storm. Scotto constantly evolves his creative narrative of keys and guitars across the ever shifting soundscape, stirring up a fury of sonic bluster as skilful as his melodic invention. The track is nothing less than unpredictable and rigorously testing, but with a multitude of excursions needed to explore all its depths and cavernous creative bodies, it is a constant reward just as the following and equally intensive The Perceived Wisdom.

The final track immediately sculpts its own cascade of inhospitable rhythms amidst a voracious climate as a tide of riff causticity roar alongside a radiant glow of clean vocals. Fury and beauty is again a raging and united front in ears, the charm and elegance of keys and voice a leading protagonist within the brawling tempest. As with its predecessor, the listener is flung and stretched from pillar to post, exhausted and violated with extreme currents of metal and intensity yet caressed by a celestial melodic balm and the increasingly gripping creative drama the song, and indeed EP conjures.

We can throw comparisons to band such as Opeth, Meshuggah, Abraham, and Black Crown Initiate to give an idea of the might and thickly flavoursome imagination of A Matter Of Perception, but it and Synodik have honed their cyclonic sound and enterprise into something uniquely in its own spotlight. This is a sonic ravaging that all extreme and progressive metal fans should embrace.

A Matter Of Perception is available via Imminence Records from January 13th @

RingMaster 13/01/2015

Copyright RingMaster: MyFreeCopyright

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Black Crown Initiate – The Wreckage of Stars


Never have open hostility and uncompromising brutality been as elegantly seductive and radiantly fascinating as within The Wreckage of Stars, the debut album from US progressive extreme metallers Black Crown Initiate. Actually that is not quite true as the band’s previous and extraordinary Song of the Crippled Bull EP offered such imaginative daring too but within the album it has bred a new bulk and exploration which is as fearsome as it is gloriously mesmeric. Their entrance was dramatic and startling and now with The Wreckage of Stars, the Pennsylvanian quintet’s emergence is complete, placing them right there side by side with the likes of Between The Buried And Me, The Ocean, and Opeth.

Formed in 2012, the Reading hailing Black Crown Initiate was soon drawing on experiences, individual inspirations, and a vast web of styles to create what is a maelstrom of gripping ingenuity and vicious enterprise. The evidence was immediately audible with the unleashing of Song of the Crippled Bull, an introduction which was as drenched in acclaim as it was in enthralling and unique inventive personality. Its attention grabbing success led to the band securing a coveted spot on the Metal Alliance Tour alongside Goatwhore and Behemoth, as well as the sharing of stages with bands such as Septicflesh, Fleshgod Apocalypse, and Rivers of Nihil. Earlier this year Black Crown Initiate signed with eOne and now in tandem go for the psychological jugular and lustful passions with The Wreckage of Stars.

The release opens with Great Mistake and an instantly seducing enticing of melodies. It is an inviting coaxing by the guitars which only gains weight and potency as imposing rhythms and aggressive riffs join its bait. Continuing to warmly lure within the brewing tempest, the song leads the senses into the bestial tones of vocalist James Dorton, every syllable expelled loaded with malice and guttural intensity. Still the song is a seductive persuasion though and intriguingly, it is when the superb clean vocals of guitarist Andy Thomas grasps ears that the track finds itself at its most threatening as the music flares up around him. It is a delicious and surprising outcome, alone revealing so much about the skill and songwriting personality of the band. Across its extensive landscape, the track boils, squalls, and explores mellow intent, every second and twist of the song a new surprise and magnetic contagion, especially the Eastern veining which colours its engrossing finale.

The outstanding start places the album on an early plateau which subsequent tracks either stalk as boldly or certainly flirt with in presence and invention. The following The Fractured One is one hitting similar heights, its immediate BCI_coveragitated predation of tempestuous beats from drummer Jesse Beahler and throaty tempting from the bass of Nick Shaw, an enslaving death metal spiced frame within which the guitars of Thomas and Rik Stelzpflug cast tenaciously imaginative and hostile enterprise. One of the shorter songs on the album, it is an incessant and virulently contagious torrent of barbarous and sonically scorching savagery.

A breather of sorts after the inhospitable onslaught of the previous tack comes with Malignant, its opening of classically honed guitar a caress of calm within the established storm of the album. Guitars nestle creatively up to the imagination straight away though that suggested respite is eventually smothered by the serpentine venom of Dorton’s vocals and a pestilential tsunami of corrosive rhythms and caustic riffery. Of course nothing can be assumed with a Black Crown Initiate track, something learned early on the last EP, and soon the increasingly impressive warm voice of Thomas breaks the wall of maliciousness, aligning itself eventually with a similarly engrossing and graceful weave of melodic design and expression. Though it is restless to return to savaging the senses, the track courts this peace as long and creatively as possible, ensuring the song again leaves expectations a lost cause.

Both the carnivorous ferocity of The Human Lie Manifest and the exhausting technicality of Withering Waves leave senses cowering and imagination basking in majestic aural warfare; the pair, as all songs, parading more of the craft and inventive depths of the band. The second of the two is especially scintillating as extremes of light and dark, animosity and melodic beauty come together in one spellbinding emprise, a mouth-watering adventure matched by the primal and ruinous presence of To The Eye That Leads You. This erupts with a tornado of vocal enmity, the assault at times an inaudible suffocation of intent and lyrical intimidation which in allowing a coarsely veiled clarity to emerge intimidates further. Around it though there is a swing and swagger to the sounds which is no less vicious but does provides an inescapable infectiousness. It is a vat of bad blood and the thrilling dark-side to the climactic and forcibly elegant beauty of the album’s title track. Predominantly instrumental it closes with a vocal union of all sides shown so far on the album, to provoke a new hunger in appetite and thoughts.

There is no escaping the relentless battering and sonic violation uncaged by Shapes Collapse next, the track as so many, no matter how harmful and fierce it impacts on body and senses casting an addictive and seriously enticing infection. It is a constant lure throughout the tempest but especially pungent in the glade of melodic reflection ventured by song and guitars before climbing back into the outskirts of the initial storm.

The album closes with firstly the arresting terrain of Purge, a track which entwines imaginative charm and melodic beauty with voracious and vehement fuelled hostility for a mutually unsettling and seductive examination of ears and emotions. It is succeeded by Linear, a sensational final encounter where under persistent hellacious provocation, the lighter side of the band has full and irresistible rein.

     The Wreckage of Stars is a major triumph proving that the last EP was no flash in the pan but instead just the appetiser to greater sonic alchemy and brutal expression from Black Crown Initiate. Now is the time to explore their brilliant fury, though you can only feel as with their music, there will be no escaping their presence and touch from hereon in anyway.

The Wreckage of Stars is available now via eOne Heavy / Good Fight

RingMaster 29/10/2014

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Black Crown Initiate – Song Of The Crippled Bull


Scintillating and breath-taking, Song Of The Crippled Bull from US progressive death metallers Black Crown Initiate is a staggering debut which adds another pinnacle to the year and the genre. To be fair, the Reading, PA band cannot be simply tagged as above as their imagination, craft, and invention explores and employs an extensive expanse of styles and ingenuity for a fluid and magnetic ever evolving tempestuous adventure. Whether seducing or gnawing the senses to within an inch of their sanity, the band and release is a torrential storm of extremes and skilled enterprise merged into one giant and seamless ravishment.

Formed by Andy Thomas (guitars/clean vocals) and Nick Shaw (bass) with James Dorton (vocals) last year, Black Crown Initiate has taken little time in igniting the imagination and passions with their mouthwatering technical skill and ingenuity applied to exhaustive extreme and progressive metal brilliance. Recorded with Carson Slovak at Atrium Audio in Pennsylvania, the four track Song Of The Crippled Bull EP thrusts the threesome straight to the frontline of extreme metal brilliance and boundary pushing, ferocious invention. Now since the recording of the EP a quintet with the addition of Jeff Willet (drums) and Rik Stelzpflug (guitar), Black Crown Initiate stand poised to bring a new inciting melodic fire and corruptive provocative fury to the world.

Playing as one complete journey made up of four compelling movements Song of the Crippled Bull opens with Stench of the Iron Age, a BLACK_CROWN_INITIATE-COVER_300x300piece which tells you all you need to know about the inventive intent and superbly crafted technical exploits bred within the band. A tender guitar caress makes the first temptation, its touch emotive and gentle. It is soon joined by a riveting bass presence, its snarl vibrant and eager, and equally energetic and festive rhythms. Once the outstanding mellow vocals of Thomas unveil the narrative over the mix the band already has attention and imagination dancing to its tune, the song at its start a tempting Opeth/Absolace like suasion. There is a jazz almost avant-garde air to the offering which without ever coming near to slipping into indulgence magnetises thoughts and emotions but it is once the track explodes into a carnivorous foraging of the ears and beyond that the fire is truly burning brilliantly and severely. The causticity of the harsh carnal tones of Dorton are as potent and addictive as the clean persuasion of Thomas and musically the storm of rhythmic intensity and sonic savagery is a destructive annihilatory rabidity which leaves the listener wasted and blissful. It is only the start of the persistently shifting and evolving triumph though, a melodic weave with a Muse like seed wrapping its tendrils around the brawl and a doom bred weight smothering any emerging light for a Meshuggah like predation to overwhelm everything in its creative path. To its end the track continues to writhe and flame with a delicious blend of electrifying toxicity and intoxicating imagination, merging into Ghosts She Sends to ensure no gulp of air is allowed to be taken and the listener given respite.

The second track expels a carnal swagger from the corrosive breath it starts with, a rapacious tempting soon immersed within the oppressive storm cloud but still laying down deep irresistible hooks impossible. The fury breaks as a golden melodic evocative glaze strokes new flumes of emotions and thoughts into action, guitars and bass providing an inventively woven walk through understanding, respectful sceneries. Shadows still lurk and Dorton is never far away from unleashing his powerful squalls which are met and empowered further by the scorching cleaner cries of Thomas. Again skill and adventure is a boiling persuasion across the track and hunger for its excellence as greedy as the intent of the sounds it craves.

The brutal finale of the song makes the initial challenge of The Mountain Top, though the drums and bass twist out an individual irresistible and lethal tapestry of addiction alongside the despoiling riffs and grievous vocals of Dorton. It is a savage enslavement but one which imperiously brings a stunning melodically cast infection drenched chorus into the mix with such skill and insight that it feels as organic within the violent bedlam as the on-going side by side swipes of destruction. The shortest track on the release it, as all slips magnificently into the next, the exhilarating closing title track. Bringing the EP in many ways full circle, the final piece is a fiery stroll with the bass again sheer contagion and clean vocals similarly enthralling. With melodies and premises closely aligned to the starter if not repeated, it makes for a circular passage of reflection and danger which is as malevolent and engaging as at any point on the release and as magnificent.

The PRC Music released Song of the Crippled Bull is quite monumental, the rising of a new ingenious progressive leviathan for extreme metal in the startling shape of Black Crown Initiate. Dare you miss one of the best things to imaginatively assault the ear this year?


RingMaster 29/10/2013

Copyright RingMaster: MyFreeCopyright

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