Pavillon Rouge – Legio Axis Ka

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If there were still to be active dance floors after the apocalypse then the new album from French industrial metallers Pavillon Rouge would be the perfect fit for the dark mood and decayed energy it assumedly would possess. A fusion of black metal with industrial/techno bred voracity, the band’s sound and second full-length Legio Axis Ka, make for an erosive and ravenous affair but with a contagion which never leaves the body to simply bask in pestilential depths, dictating its movement across nine pulsating predatory tracks. The accompanying press release also states that their sound and intent explores ethereal 80s new wave atmospheres, and though not always as immediate within the tempests there are elements of the dark wave scene of that era pervading their latest release, scents of bands like The Chameleons, Joy Division, and Pink Industry offering themselves to thoughts. Ultimately though, Pavillon Rouge casts a sound which has its own distinct presence and an album in Legio Axis Ka which constantly and aggressively stimulates ears and imagination.

The band was formed in 2008 by musicians Mervyn and YVH, with the intent to merge black metal with hardcore techno. Highly acclaimed debut album Solmeth Pervitine was released in 2011 and was soon declared one of the best industrial black metal albums. It was followed by shows for the band with the likes of Psygnosis, Himinbjorg, Svart Crown, and The CNK, supporting the album and pushing forward their increasing attention grabbing emergence. Recently signed with Dooweet Records, the quintet of vocalist Kra Cillag, guitarist/vocalist Mu Cephei, bassist E.Shulgin, drummer Sorthei, and guitarist/programmer Mervyn now return with their second onslaught on the senses. Released on the Swamp Records side of Dooweet, Legio Axis Ka is a vicious seduction, a mesmeric violation which however you want to look at it, leaves the senses raw and emotions entangled in its increasingly magnetic tempest.

10347166_793523130703256_1060036933092637261_n   An immediate embrace of synth beauty amidst an evocative ambience immerses ears as album opener Prisme vers l’odyssée shows its introduction, a potent and atmospheric lure which is soon consumed by a thunderous tirade of rhythms and rabid riffs. Vocally too the song offers a merciless and diverse squall yet within it all the keys continue to cast a provocative and emotionally expressive voice. That industrial element is a nagging incitement within the evolving theatre of guitars and keys too, keeping feet and body agitated as the heart of the track spills its venomous and caustically poetic premise. Lyrically the album is sung in the band’s native tongue so there is little to its obviously dark climate that we can reveal but if the words and premises match the passion of the delivery then it is a brooding exploration just as potent as the sounds around them.

The following L’enfer se souvient, l’enfer sait takes the strong start up another step with its muscular rhythms and riff clad prowling wrapped in an electro hued colouring. The dynamic and persistent techno bred heartbeat of the song again has limbs on alert whilst thoughts and emotions are entangled in the melodic and vocal imagination lighting up the abrasing atmosphere of the song. Track and album definitely need close attention and several plays to unveil all the underlying twists and creative nuances within inhospitable surface and murky air, but it only adds to the satisfaction and drama of the stark, almost visual soundscapes sculpted.

Mars stella patria does not hang about tempting the listener either, electronic percussion and anthemic band roars immediate virulent bait. Their infectiousness seems to seep into the industrial climate, which offers warped noise and textures, as well as the chilled melodic enterprise adding its weight to the song’s persuasion. It is an endeavour spiced with a touch of Sisters Of Mercy and Bauhaus, and as the track continues with open clarity around its warmer elements, shadows impose upon and the raw vocals prey on the senses. It is fair to say that each song individually brings a new step up in the presence and persuasion of Legio Axis Ka, this one with its increasing rabid turbulence another strong step in its ascent, a compelling move almost matched by the mercilessly tempestuous storm of A l’univers. Electro pulses resonate through bone and psyche from the off, enticing feet and emotions to lend their eager energies to its call whilst the melodic and sonic invention of the band provides a ravenous celestial and dirty terrestrial landscape for ears and emotions. Not as instant as its predecessor, the song subsequently wins over appetite and thoughts whilst revealing more of the inventive ideation and songwriting craft of Pavillon Rouge.

Both Aurore et Nemesis and Droge Macht Frei enthral and enslave, the first laying down its first potent tempting through a delicious dark bassline before brewing up a sonic and emotional tsunami of ferocious ire and intensity. Its successor provides the first truly insatiable full-on invitation to unleash the dance floor moves, its rhythmic stomp a pulsating infection which leads and drives the song even when enveloped in rabid smog of noise and sonic rapacity. As ever there is much more to the songs and both engross with melodic ingenuity and the often understated but open imagination which brings striking contrasts and unpredictability to all offerings on the album.

From a raucous stomp Pavillon Rouge offer a celestial flight with Kosmos Ethikos, synths and samples aligning for an atmospheric exploration with a big brother like edge to its air before Notre paradis takes its own similarly seeded soar through a new spatial climate. There is a much darker feel and texture to the track compared to the last though, an ominous breath which coats guitars and vocals, not forgetting intimidating rhythms, as keys warmly and eloquently swarm around the senses. The pair offers their own sparking new adventures for the imagination to interpret before the closing Klux santur provides a transfixing finale to the album. With the most distinct eighties feel to its body and melodic enterprise yet, the track is a swirling maelstrom of light and emotional malevolence. It is a cyclonic treat to close things up, a seducing and senses ravishing end to an album which increasingly enthrals given time and attention.

The Grenoble based Pavillon Rouge have not offered an easily accessible proposal with Legio Axis Ka but who wants easy when far greater rewards come with uncompromising intensity and evolving creative assaults. The band finds the perfect blend of industrial and black metal fury for a proposition which fans of either genre should seriously contemplate.

Legio Axis Ka is available now via Swamp Records @ http://findiemerch.com/fr/pavillon-rouge-legio-axis-ka/#

https://www.facebook.com/LuxDiscipline   http://www.luxdiscipline.com

RingMaster 22/04/2015

Copyright RingMaster: MyFreeCopyright

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

 

Ignotum – Larvas Mortal God

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Linking up with the Ronin Agency not so long ago, Italian black/death metallers Ignotum recently released debut album Larvas Mortal God and from a strong first impression, it is a release which grabs the imagination to impress more and more with every listen. On the surface the album is an enjoyable and accomplished proposition but it is with time that is reveals its own unique character of sound and creative textures to stand out from the crowd. Whether it will emerge as a major favourite is to be seen but already the album is a temptation enticing us back again and again.

The Como band was formed in 2011 by guitarist Fabio Guereschi and seemingly made swift and strong impressions on the local scene, widening that awareness and support with the release of a well-received self-titled EP in 2013. Recorded and released as last year closed its eyes, Larvas Mortal God is the first major nudge on the strongest spotlights from the band, and one easy to see making Ignotum a wider known and thought of incitement in the extreme metal scene.

The release starts with Through Madness Reminiscience and instantly is a sonic tirade on the senses, riffs and rhythms a merciless torrent but with that hostility tempered by spirally and instantly alluring grooves. The raw and coarsely expressive vocal squalls of Marco Capuzzo lay aggressively on ears but with just enough variety to make them adventurous and as magnetic as the tempestuous sounds brewing around him whilst the driving and evolving guitar enterprise of Guereschi and Luca Borghesi (no longer with the band), spins a captivating web matched by the formidable rhythmic collusion of bassist Stefano Zarantonello and drummer Federico Mascetti. As mentioned about the album, the song makes an appealing first touch on ears straight away but it is with time and attention that the nuances and at times less vocal invention reveals itself for greater reaction and pleasure.

COVER   The potent start continues with Soul’s Self Mutilation. Its atmospheric synth crafted opening is a stark contrast to the roar of its predecessor but it too it soon raging with aggression and passion. The repetitive nature of grooves and rhythms entice from within the sonic intensity swirling venomously around the landscape of the track, whilst again melodies and colourful creative hooks bring a refreshing and sparkling hue to the imposing storm. It is an inventive blend fuelling all the songs upon Larvas Mortal God but apart from at times a surface familiarity flowing over the release, it never smothers the individual definition and character of tracks like the following Inhale The Void and in turn The Circles’ Kiss. The first of the two immerses the senses in a blackened trespass and though it lacks the spark of its predecessors, imagination and craft ensures it is an evocative encounter before its successor uncages its own oppressive canvas of almost portentous sound and vocal snarling. It is the physical and emotive voracity which is missing in the first of the pair but back stoking the raging fire of the second and seemingly sparking greater toxicity in the sinew swung rhythms and scorching grooves veining the song.

Mary L. equally confronts the senses with a fiercer almost corrosive persuasion, one soaked in acidic sonic endeavour and provocative melodies. The song merges hostile and seductive scenery with a fluid and captivating prowess, flowing from one to the other and back again with ears enthralled. Despite its mighty offering though it is soon over shadowed by the outstanding Abyss, You Shine. The opening tangle of melodies and grooves around a contagious rhythmic tempting is enough to spark new hunger in the appetite. Again the band twist raw aggressive dexterity and intensity with mellow and entrancing seductions, one never overpowering the other and always creating a seamless passage of fascination and thorough enjoyment.

The album’s pinnacle is followed firstly by the more rabid but controlled turbulence and emotive mania of In Skinless Dream and then the atmospherically fiery and raucously trespassing Hecatomb Memories. The second of the pair is arguably the lightest on the album with an open progressive infectiousness which almost demands to be liked. Not quite carrying a poppy texture in its make-up but certainly, despite an increasing rhythmic and vocal ferocity to its climax, there is something more easily accessible to the track than in those before. Both songs ignite ears and thoughts masterfully before the closing Clown With Crown ensures the album leaves on another unhealthy and appealing slab of aural savagery and sonic venom, which you may not be blown away by but certainly will easily develop an increasing urge to explore more of, just as the album.

Produced by Luca Briccola, Larvas Mortal God is a potent and impressive proper introduction to Ignotum, not a release to set a fire burning but easily potent enough to put the band on the map and given time to become a constant lure for repeat attention.

Larvas Mortal God is available now via Mentalchemy Records from most online stores

http://www.ignotum.it/   https://www.facebook.com/IgnotumItaly

RingMaster 12/04/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

 

 

 

 

Éohum – Revelations, Aurora of An Epoch

 

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The debut album from Canadian metallers Éohum is a fascinating proposition which manages to startle and surprise whilst simultaneously ticking every box on a personal want list from any weave of music. It is as if they instinctively knew what turned us on and explored those elements with relish. It is fair to say that Revelations, Aurora of An Epoch will not find the same level of reaction from everyone but it is hard to imagine many not breeding some kind of appetite for it and the band’s creative adventure.

The Montreal based and 2010 formed, Éohum (pronounced ee-o-um) is the creation of guitarist/bassist Jeremy Perkins, a “traditionalist and spirit oriented” band embracing a black metal breeding with anthemic grooving and doom cultured atmospheres. Equally in songs inspired by poems written by Perkins on the current state of humanity, rich elements of death and progressive metal are woven though not quite as dramatically and excitingly as the almost exotic roars of French horn which also inflame the album’s earlier tracks. The band’s live line-up sees Perkins joined by guitarist Sylvain Dumont and Annie Perreault on French horn/trumpet as well as bassist James Heymans, drummer Simon Bambic-Mackay of The Agonist and vocalist Barrie Butler. For the album though, Perkins enlisted the help of friends alongside himself, Dumont and Perreault; guests which include vocally Matt McGachy of Cryptopsy and Nick Wybo (ex-Vinyl Hero) on drums. It all sounds a fluid and unpredictable canvas the band works from and certainly flows over into the music and character of Revelations, Aurora Of An Epoch.

The album surprises and fascinates from start to finish, increasing in stature and success with every listen as more of its depths are revealed. The opening Leaving Harbour is maybe not quite the same but only because once the sultry scenery around a vocal piece of scene setting prose narrated by Lana Edwards is absorbed and appreciated, the tendency in every subsequent listen is to cut to the chase which begins with the next track Rooted Deep Within. An eruption of battlefield mayhem hits the imagination first but is soon swallowed by the imposing muscular and portentous intensity of death spawned riffs and rhythms. That alone grips attention but with the heralding horns blown by the lips of Perreault, an epically honed atmosphere makes its suggestive intrigue known before the track explodes into a virulent pestilential charge of venomous grooves and scarring riffery. The tempestuous instrumental track is like a hellacious dawning, one of danger and excitement employing wrong-footing experimental twists and progressive ideation.

Eohum Revelations Album Cover copy   The piece simply grips and inflames the imagination, not to mention ears, before Equatorial Rains takes over with a more temperate climate and confrontation. A deliciously throaty and resonating bassline from Perkins seduces ears and appetite straight away, swiftly aided by the flames of brass from Perrault and the caustic enterprise sculpted by the guitars. The breaking blackened malevolence and uncompromising rabidity in gait and aggression brings further appetising flavours and textures to the ever moving volume of sound and invention, as does the ferocious and cleaner rasping tones of McGachy. It is a formidable and relentlessly eventful provocation feeding ears and emotions potently with those horns the icing on the emotive antagonistic cake.

     Defined Sacredness comes next, opening on a predatory prowl of rhythms and riffs, each almost more theatrical in their stance than vicious but only helping lure the listener into the waiting slightly demonic narrative of fierce corrosive sound and rage bleeding vocals. Stabs of brass and heavy sighs of horn colour the hostile persuasion further, their toxic hues as virulently alluring as the riveting presence of McGachy.

The album’s title track has body and thoughts enthralled from its first breath; a roar of French horn announcing the tempest to come like a war cry, casting a challenge to be met before the song swiftly begins savaging the senses with sheer malicious contagion and intensity. It is a call continuing through the superb track, those golden flames of the horns an inescapable web of seduction within the destructive and to be honest equally addictive torrent of scarring grooves, abrasing riffery, and merciless rhythms. Bracing and arousing, like an anthem bred in hell, the track is a hymn for the lost and bellow for the despoilers, and quite breath-taking.

In many ways this is where Revelations, Aurora of an Epoch goes in a different direction, or certainly a less provocatively adventurous one. Wiser Every Sunrise which features Phillip Rieder on vocals is a collusion of heavy, groove, and death metal with hardcore/punk belligerence. Strangely familiar for unsure reasons, the enjoyable track is a brawling and volatile slab of animosity but even though it has ears and satisfaction heartily contented it does not live up to the previous tracks, feeling slightly out of place alongside them, which also applies to a lesser degree to Thus Spewed Thy Infectious Reign, a death spawned ravaging with a doom fuelled gait guided by an unpredictable creative menace. As its predecessor, the song only leaves good thoughts, inspiring them to contemplate the end of days/humanity but also hankering for the glorious horns and imagination seeded swing of earlier tracks.

Closing on Give Us O’ Rain, another piece of prose sung by Lana Edwards, Revelations, Aurora of An Epoch provides one predominately unique and intoxicating introduction to a band you can only imagine getting bigger, creatively grander, and more impressive over time. As suggested it might not light everyone’s fire as ours but if the likes of Emperor, Dimmu Borgir, Trepalium, and We All Die (Laughing) for example spark your juices, then so will Éohum.

Revelations, Aurora of An Epoch is available now via Mycelium Networks @ https://eohum.bandcamp.com/album/revelations-aurora-of-an-epoch

https://www.facebook.com/pages/Éohum/821823887910583

RingMaster 09/04/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

Wrathage – Discipline

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Seventeen years or so after their emergence, and three of those years in the making, the debut album from Finnish metallers Wrathage is a proposition which no matter how it initially takes you, leaves a compulsion to explore more and more of its ultimately enjoyable depths. Discipline is a striking and increasingly thrilling slab of dark extreme metal, a collusion of black and death metal predation and ferocity embracing an avant-garde and experimental nature. It is not always as successful with personal tastes as it is other times but when it hits the sweet spot, which are numerous, the album is one of the most intriguing and exciting propositions heard this year.

Wrathage began way back in 1997, formed by identical twins Scythe (bass, vocals, guitars) and D.V Grim (vocals, guitars). With only the intent of creating music which lit their own fires, the band has gone through numerous line-up changes, especially early on, whilst exploring and honing an ever evolving sound. A self-titled demo in 2000 was the first of three over the next five years whilst 2008 saw the release of the well-received Crawlspace Antipathy EP. The gap to its successor and first album has again been a long time waiting but now with Scythe and D.V Grim joined by guitarists H-beast and Viha, keyboardist Tero Nevala, and drummer Kuismahc, the Oulu band is poised to ignite highly anticipating appetites and a horde of newcomers with their enthralling offering.

Wrathage_2015_discipline_Cover     As soon as opener Dark matter engulfs ears, thoughts of Emperor and Morbid Angel come to the fore, yet equally a fresh individualism in presence and sound too. The song opens with epic sways of guitar around dramatic vocals, a mix soon immersed in a wash of equally theatrical keys and heavily jabbing beats. It is an attention grabbing start, a respectful one too as every element from guitar to keys, voice to rhythms create imposing but restrained proposals on the senses. Of course it is a thought too soon as within moments the factors collude to create a rapacious tempest of sound and intensity. The song proceeds to entwine classical and blackened enterprise with predatory ferocity, twisting and lurching through a fascinating and enticingly turbulent landscape of invention.

The following Born girt for war blends a ravaging hostility with a broader celestial atmosphere whilst also providing a more intimate stalking at times. Within its first half minute the song is already an unpredictable theatre of textures and sounds driven by the equally dramatic and enjoyable mix of vocals, which include a guest appearance by Catamenia frontman Olli “Oujee” Mustonen. The underlying persistent prowl of the song keeps everything on course before Of the great chief comes in on an opening blaze of guitar endeavour within a sinister climate. As the previous track, it does not make the same impact as the first song but every turn, every twist in its body brings further bait for ears and appetite to keenly devour, especially its rhythmic enticing.

The album truly comes to life from fourth song Walking to death; it is like Discipline has sized up personal tastes and then gone to work on instinctive wants and pleasures. The track marches in on a horde of synchronised boots, vocals swiftly leading the way with equally imposing intent. They are soon joined by a web of sonic ideation which alone ignites the imagination, whilst the broader melodic sweep of keys only enhances the addictiveness veining the song. It is a masterful enslavement which only tightens its grip with a slip into an almost carnal landscape of dark drama caged by an excellent bestial bassline. Riffs equally have an animalistic snarl to their touch, and a raw tang which reminds of Scottish band Skids. It is an inescapable anthem matched by the exceptional Unslaved, which also sees Mustonen guesting. Celestial keys caress ears first, their ethereal theatre tantalising but barely hinting at the temptation to come. A vocal lure bridges the start with the mouth-watering and grizzly bassline which follows; this the spark to an infection of hungry riffs, antagonistic rhythms, and bad blooded vocals. It is the magnetic swagger and blood thirsty character of the grooves which provide the fuse to the strongest ardour, their infection intertwined with the spiteful provocation elsewhere.

Distortion sees another guest in the shape of Khaos from Deathchain & Deathbound within its midst, and also sparks a new urge of greed for the release with its carnivorous presence and contagiously creative rancor. Once again expectations are given a cold shoulder as the track explores death and blackened scenery with thrash bred ferocity and a hellacious attitude of sound and invention. There is never time to catch a breath upon Discipline, but one is needed after the torrential hostility and intensity of the excellent encounter. A quick gulp those is all that is allowed as the insidious scavenger Reptilian crawls over the senses and into the psyche with primal and sonic animosity. It is great toxic incitement, its rhythmic and driving riffery an insatiable onslaught but above it guitars and keys are almost flirting with slow and devilish seduction.

After a vocal enticement, Sadicum is an erosive sonic tempest which alone would satisfy if lacking the spark of its predecessors, but the band is soon spearing it with shards of melodic spicing and a persistently evolving and enthralling weave of progressive fuelled keys to create another tasty assault. The song is still more of a smoulder on the passions than a roar like other tracks, but a lively simmering pot of adventure which over time brings thoughts and appetite to the boil very nicely and hankering for more.

The album concludes with firstly The crawlspace, a bordering on psychotic smog of sound and enterprise which is as suffocating as it is explosive on the senses. Some of the vocals are less successful on the ear but a mere blip in another pleasing track before the band brings it all to a close with a cover of the Morbid Angel track Dawn of the angry. It is a very decent and enjoyable offering but the meat and major joy of Discipline is in the band’s own slices of distinctive predation.

Discipline gets better and more revealing with every listen, even a handful plus of plays unveiling fresh elements and greater craft in the creative flow and sculpting of the release. As mentioned some moments create a bigger blaze in the emotions but from start to finish Wrathage has delivered one impressive encounter to revel in and to heartily recommend.

Discipline is available from March 30th via Maa Productions and at http://wrathage.bandcamp.com/album/discipline

https://www.facebook.com/wrathageband

RingMaster 30/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

 

Mortals/Repellers – Split 7”

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Offering the year another rather tasty split, Broken Limbs Recordings have brought together Brooklyn’s Mortals and Philadelphia’s Repellers for a four track explosion of fresh breathed metal. It is an encounter with reinforces the potent stature of one band and inflames the emerging presence of the other, both beginning what potentially can be a massive year for them in fine style.

The first offering comes from Mortals, a band formed in 2009 but with its seeds possibly growing well before then when drummer Caryn Havlik and bassist/vocalist Lesley Wolf met and played together in all-female Slayer cover band Slaywhore. At the same time Havlik and guitarist Elizabeth Cline were playing in a math-rock project. After the eventual demise of both bands, the three musicians regrouped as Mortals and by late 2010 had set about making a potent mark on the local metal scene and further afield. A tour with Mutilation Rites was the prelude to the band sharing stages with the likes of Eyehategod, The Body, False, Samothrace, Black Anvil, Toxic Holocaust, Howl and Lord Dying over the years, whilst the release of their Death Ritual EP in 2012 led the band to signing with Relapse Records and the release of their acclaimed Cursed to See the Future album last year. Ahead of a European tour with Skeletonwitch and Goatwhore, Mortals now fire up the imagination and EP with their lone but thrilling track 10 Years of Filth.

Possibly a statement on their stirring musical career to date, the song swiftly brews and smoulders with the intensive and darkly seductive blackened sludgy sound which Mortals are already Mortals_bandshotmarked for. Within as many seconds, the bass is roaming ears and psyche like an apocalypse gracing charger, striding with predatory intent as grooves and riffs combine for a nest of viperish intent. Similarly lively rhythms from the drums prowl and stroll across this already bewitching landscape, the seductive and melodically dynamic adventure one scene in a rich drama clad tapestry of dark intent and compelling intimidation. For all its predacious craft and hunger, there is an infectious charm to the track too, light and dark challenging each other whilst colluding in the creation of even more provocative hues in the tempestuous narrative. The dark side is driven by the guttural scowls and gothic animosity of the vocals whilst the guitar’s enterprise escorts lighter defiant elements which persist in their persistence until the ferociously boiling and venomous climax of the song. It is an enthralling and ruggedly enjoyable nine minutes easily confirming the impressive qualities and sound of Mortals.

Repellers bring three tracks from their creative arsenal of punk and crust infused metal, swiftly showing why there is a growing broader interest in the 2012 forming band. The two years or so since their arrival has seen the trio release The Coming Storm EP, partake in a split 7” with Georgia-based Dead Hand, and the drawing of multitudes of new fans through tours along the east coast and a constant source of impressive energetic shows. They are a growing force it seems and on the evidence of this release an exciting one.

Repellers   Descend is their first offering, a track which from a melancholic and darkly lit melodic embrace erupts in a predatory and thunderous stalking of the senses. The intensive rhythms of drummer Tony Secreto are vindictive in nature whilst the equally primal basslines of Rob Petraitis growl and leer intimidatingly within the doom drenched atmosphere of the imposing encounter. The guitar of Jon Rifenburg brings various shades of intimidation and temptation to the volatile but controlled tempest too, his enterprise equally sculpting a web of magnetic lures around the malevolently toned vocals. It is a captivating proposition which awakens intrigue and interest in the band before their second song From Jerico to Ai lays a more fascinating and thrilling invitation down. Bass hooks are aligned to acidic guitar grooves, it a mesh of enticement which continues to spear the increasingly ravenous atmosphere and character of the track. Heading only to a turbulent and hostile climax, the track is a riveting persuasion showing more of the depth and imagination in the band’s song writing and sound.

   False Solace is the same, its heavy melodic lures an initial tantalising coaxing which only seeds a subsequent hellacious hardcore bred brawl with the senses. The blackened, almost insidious tones of the vocals unleashes the dark heart of the song whilst the sonic grooves and bass predation provides infectious bait which seduces ears as the track’s lyrical and vocal trespass avail their toxicity.

The two bands make for a pleasing and exciting union with their quartet of thickly satisfying propositions, each confirming their impressive potency and potential. Both have only enhanced their reputation and relative statures whilst already sparking 2015 into being an attention grabbing year for them.

The Mortals/ Repellers Split is available through Broken Limbs Recordings and limited to 500 10″ copies (300 black and 200 red with black smoke).

https://www.facebook.com/mortalstheband   https://www.facebook.com/repellers

Mortals’ Upcoming tour dates:

April 4 – May 2 European tour w/ Skeletonwitch and Goatwhore

04.04.15 Sweden Motala @ Kulturakademin

06.04.15 Denmark Copenhagen @ Pumpehuset

07.04.15 Germany Hamburg @ Hafenklang

08.04.15 Germany Osnabrück @ Bastard Club

09.04.15 Holland Tilburg @ Roadburn

10.04.15 Holland Tilburg @ Roadburn

11.04.15 UK Manchester @ Sound Control

12.04.15 Ireland Dublin @ Voodoo Lounge

13.04.15 UK Glasgow @ Ivory Blacks

14.04.15 UK Birmingham @ The Oobleck

15.04.15 UK Sheffield @ Corporation

16.04.15 UK London @ Underworld

17.04.15 Belgium Brussels @ Magasin 4

18.04.15 Germany Köln @ Underground

19.04.15 France Eragny/Paris @ Covent Garden

20.04.15 France Angouleme @ La Nef

21.04.15 Spain Madrid @ Sala Lemon

22.04.15 Spain Barcelona @ Sala Razz 3

23.04.15 France Lyon @ MJC O Totem

24.04.15 Switzerland Zürich @ Dynamo / Werk 21

25.04.15 Italy Milan @ Lo Fi

26.04.15 Italy Rome @ Traffic Live

27.04.15 Austria Innsbruck @ p.m.k.

28.04.15 Germany München @ Backstage

29.04.15 Germany Leipzig @ Conne Island

30.04.15 Germany Berlin @ Magnet

01.05.15 Austria Wien @ Arena

02.05.15 Czech Rep Prague @ Exit-us

RingMaster 11/03/3015

Nachtreich/Spectral Lore Split: The Quivering Lights

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Like a compelling painting which draws eyes into vivid adventures and sparks thoughts to conjure complimentary background stories, The Quivering Lights, the split release from Nachtreich and Spectral Lore, takes ears and imagination on an equivalent exploration. Taking inspiration from the metaphorical struggle between Dionysus and Apollo whilst also investigating spiritual decay, the six-track release is a journey, at times a fall, through the darkest emotions and coldest climates whilst expressing a beauty which simply bewitches.

It is a split which offers much more than a trio of tracks from two bands; the proposition seeing Germany’s Nachtreich and Greek ambient black metallers Spectral Lore collaborating and entwining their individual explorations in one soul searching flight of blackened neo-classical drama. Challenging at times, bewitching in other moments, the album aligns the darkest corners of the soul to an emotionally startling landscape in an experience metal, progressive, and classical fans alike can immerse within.

Hailing from Koblenz /Nürnberg, Nachtreich was an instrumental band formed by the musicians P.H. and U.K. in 2003. Fusing dark metal with haunting harmonies and classical seeded orchestration, the band drew acclaiming attention with their intrusive dark romance of sound before splitting in 2010, though the two members continue to work together in different genres. Their companion on The Quivering Lights is the one man project of Ayloss which began in 2005. Spectral Lore is also no stranger to potent praise having released a quartet of intriguing and enthralling albums in I, II, Sentinel, and III. Now the two projects have united in arguably one of their most inspiring and gripping exploits yet. Released via the creative union of Bindrune and Eihwaz Recordings, The Quivering Lights is a perpetually shifting beauty, a soundscape of emotive and provocative imagination which not only evolves from moment to moment and track to track, but from each individual listen to listen.

Nachtreich begin the creative theatre with Lights, an instant seduction of piano and strings which whilst soaked in melancholic seduction also express radiant charm and soulful elegance. The instrumental piece is sheer mesmerism and equally adept at provoking thoughts as well as transfixing them with its potent shadowed expression and haunting touch. Climbing in weight and emotional intensity as raw air washing over the inventive poetry of sound, the track eventually simmers down again and drifts away to allow Spectral Lore’s Quivering to step forward, also on a piano sculpted embrace. Similarly there is a melodic beauty caressing ears but also an underlying coldness which shares a starker scenery further into its length; a chill become subsequently frostier and harsher as vocal squalls and doom laden terrains loom on ears and emotions. The track continually ebbs and flows with its imposing climate, exploring quieter darker corners as well as uncaging squalls of intensity.

Greyness and Ghost Lights from Nachtreich come next. The first ‘sings’ like a lone soul in a mournful field of reflections and doubts with a viola seducing for comfort. Its successor retains the grace and melodic classiness of the band’s other pair of tracks but takes it into a more sinister and predatory climate, epitomised by the low vocal growls which rub with torment against the evocative narrative of the keys. Both tracks are captivating and emotionally inciting, gloriously haunting and impressive shadows from the imagination.

Spectral Lore bring the album to a close with firstly the eleven minute of Vanishing, which opens with its own intriguing web of guitar imagination within an enticing yet slightly tempestuous calm. It is an atmosphere which is increasing in turbulence all the time, eventfully twisting into a broader and more hostile canvas of vocal sorrow and atmospheric causticity sculpted by heavy rhythms and corrosive riffs. There is a veining of sonic adventure and light though which pierces the revolving tortuous landscape of the song and adds stronger descriptive ambience.

Final track Reflection is musically as its name suggests, a sombre and thoughtful self-investigation brought by a sultry dance of fingers on guitar strings. It leaves the listener engrossed and equally as involved in their own thoughts as much as those proposed by the album. Making an immersive and dramatic proposition, the track brings the impressive release to a similarly potent close.

The Quivering Lights is something different from the usual few tracks from one artist and a few from another styled split release. It is a stunning travelogue of emotion and sound from bands combining and merging their individual investigations in one fluid and seriously rewarding journey. This is one album all black, ambient, neo-classical, and progressive metal fans should investigate.

The Quivering Lights is available now digitally @ http://nachtreich.bandcamp.com/ and on limited edition 12”vinyl @ http://eihwazrecordings.com/distro/index.php?main_page=product_info&cPath=2&products_id=1534

https://www.facebook.com/pages/Nachtreich-Official/134636053320790

https://www.facebook.com/spectral.lorebm

RingMaster 20/01/2015

Copyright RingMaster: MyFreeCopyright

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Crawling shadows and serpentine seductions: coursing the depths of Sidious with vocalist/guitarist Isfeth.

Sidious © Fabiola Santini

© Fabiola Santini

 

The recent release of Revealed in Profane Splendour from British blackened death metallers Sidious, showed that the band’s first EP Ascension to the Throne Ov Self was not just a flash in the fires of hell. It was also compelling evidence that the band had discovered and was exploring even richer depths to their sound and intensive invention. The time between releases also saw the band facing line-up changes whilst forging equally potent heights with its members other projects like Eye Of Solitude. Revealed in Profane Splendour provides an insatiable temptation of sonically carnal and uncompromising raw beauty which skilfully enslaves ears and ignites the imagination. It also sparked a thirst to explore the heart of the band and the corners of their release, so with big thanks to vocalist/guitarist Isfeth we looked at the origins of the band, the impact of the changes within it between release, lyrical inspirations and much more…

Hello Sir and thanks for taking time out to chat with us.

First up can you give us some background to the beginnings of Sidious?

Sidious was founded by Indomitus, Baalrath and I in 2012. We had collectively played together in various acts for many years – particularly in the case of Indomitus and I, for which it has now been 8 years. At this point we had been involved in various death metal acts, yet decided the time was right to pursue our true passion, black metal. The idea had been discussed continuously, but it had to be the right time. We infused our technical and aggressive death metal background with the grandeur and venomous roar of our black metal influences to create our sound.

Many of you are involved with Eye of Solitude as well as having other projects and experiences under your belts. Where or what specifically in Sidious and its sound did you deliberately start exploring which was different to the other bands you are involved in?

The will to create Sidious was always there, it was more a case of waiting for the right time and maturity in our collaboration to act upon it. We initially began exploring darker and more elaborate elements, maintaining the aggression but also focusing on atmosphere.

So the band and its music been brewing up inside in thoughts and ideas long before Sidious was born but was the coming together of the band more a swift let’s get together and see what we can come up with or a long-term process?

There was nothing swift about the process and founding of the band, it had been a long-time coming and had been thought through.

Your debut EP made a potent mark and statement upon its release last year and now you have unleashed the beast that is debut album Revealed in Profane Splendour. Immediately it sung sidious 2out in new adventure and exploratory evolution from its predecessor; how from inside the band do you feel your music and the album has moved on from the Ascension to the Throne Ov Self EP?

The line-up has changed since the EP, the departure of Void (vocals) and Fahim (drums) resulted in the recruiting of Khrudd (drums) and repositioning of myself to vocalist – whilst continuing my role as guitarist. I feel the music has evolved naturally during this process and we have further refined our sound. The album conveys a more intense array of emotions and certainly a wider range of influences.

In our review we described Sidious as blackened death metal but the album shows there is a maelstrom of flavours and elements which make up your incitements. Were there specific elements you went after on songs musically or was it predominantly an organic emerging of ideas and tracks?

When writing a song, it typically starts with an emotion or message we want to convey within its contents. An example I can give here is Infernal Reign having a barren and cold atmosphere to represent complete isolation from religious hypocrisy. Sections of the tracks, including speed riffs and the more technical elements, are added during the process, which are either brought in by a member or collectively written in a more organic writing session.

Are there any inspirations which you might say have added a colour to your music, or certainly sparked ideas within Sidious?

By majority we are all big fans of classical music. This has inspired our use of orchestral elements and added to our overall sound. Both Baalrath and Indomitus are classically trained to a high standard. Khrudd and I are big fans of depressive and atmospheric black metal, so there is also influence in that respect when concerning atmosphere and ambience. In terms of lyrical content I am inspired by literature concerning anti-theism, and Satanism.

Talking lyrically the album is as brutal and antagonistic as it is sonically, what was the core bait for your furies on the album?

My lyrics seek to denounce religious systems and ignite the realisation of self-potential and purpose. I am enraged by the continual recycling of ancient ignorance. There is no place for it. The masses pander to the foreboding call of failure; it sculpts the existence of the weak and leads them blindly into an inevitable void. Although the themes are consistent throughout, I present them in various forms. This ranges from anger and complete hatred, to the stating of principles and demands, many of which are based around my personal interpretation of Satanism.

Sidious coverTell us about the recording of Revealed in Profane Splendour; did you approach it any differently to the previous EP especially with new members involved and musically did you explore any different ideas and technics with the album compared to your other projects?

We recorded again with Russ Russell at The Parlour Recording Studio. Russ is a master of his craft and working with him is always an inspiring experience. We did explore a sharper and more aggressive guitar tone for the album and also spent considerable time finding the right sound for the orchestral and atmospheric elements.

Was the album mostly complete going into the studio or did it evolve more in that scenery?

I would say the album was 90% complete before entering the studio. We always leave a little room for improvisation and spontaneous ideas – from experience, being in a studio setting, particularly with Russ Russell, inspires all kinds of ideas. We always aim to create something authentic.

How long did it take to bring the album to life and was it difficult to bringing it all together because of your other bands any time restraints etc.?

The album was written over 6 months – within which we met up pretty much every other day. The recording process took a total of around 11 days. There was no difficulty in bringing everything together, we are always focused on what we want to achieve.

Sidious has seen a couple of changes in personnel as you mentioned earlier since the recording of the EP, how did that specifically impact if at all, on the band and more so the recording of Revealed in Profane Splendour?

The key song writers in the band have remained consistent throughout the line-up changes, so there were no major changes during the writing process. The addition of Khrudd (drums) naturally added a new creative element to the drum tracking. The realignment saw me take over vocals and therefore naturally gave me a dual role which I embraced completely.

Additionally taking on that role how does that affect songs with obviously no voice being the same; did you have to tweak existing tracks slightly in that department for your own tones?

For live shows I have certainly presented my own take on Void’s vocals from the EP. The songs have remained the same by majority, and we maintain playing various EP tracks during our live set.sidious 3

Is there any particular moment on the album which gives you a personal tingle down the spine? For us it is that opening rhythmic coaxing of Sacrilegious Majesty.

The intro to Annihilation Ov Abhorrent Credence and the mid-section of the title track are personal highlights for me.

Going back to Russ Russell, he seemed to find and understand in production the sweet spot between the hostility and melodic beauty which unites across the release?

Russ is certainly a master, he really takes the time to understand the intentions behind a song or section and through him we have been able to present our creations in their full intended form.

Tell us about the outstanding artwork wrapping the album.

The artwork was created by Giannis Nakos of Remedy Art Design. We had worked with Giannis through Eye of Solitude, therefore he was the number one choice. His art is outstanding and we are very proud to encase our music within it.

What is next for Sidious now the album has been uncaged?

We have so far played some nice shows including, main support for Anaal Nathrakh, Kaotoxinfest and Wrongstock. We were recently confirmed for Incineration Fest and are in discussions with another UK black metal band about arranging a tour for next year.

Thanks again for talking with us. Any last words or thoughts you would like to leave us with?

Thanks for the questions.

To readers: Check us out. Keep supporting extreme music. Infernal hails.

 

Read the review of Revealed in Profane Splendour @ https://ringmasterreviewintroduces.wordpress.com/2014/11/05/sidious-revealed-in-profane-splendour/

https://www.facebook.com/sidiousofficial

Pete RingMaster

The RingMaster Review 12/12/2104

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http://listen.kaotoxin.com/album/revealed-in-profane-splendour