Unheard Before The Wake – Humanity Burning

UnheardBeforeTheWake_RingMasterReview

It is fair to say that Humanity Burning took its time to fully convince, for its ideas and elements to fall into place within ears and understanding, but when it did, the new EP from UK melodic death metallers Unheard Before The Wake showed why the band is beginning to be strongly noticed within the British metal underground. Unleashing five intrusive tracks which devour the senses while intriguing the imagination, the band’s sophomore EP emerges as an attention grabbing trespass.

Formed at the end of 2013, the Sutton hailing Unheard Before The Wake has increasingly lured fans and keen interest through the release of their self-titled debut EP on 2014 and more so a live presence which has seen the quintet share stages with the likes of Xerath, Meat Train, and A Vulgar Picture. Their sound is a tempest of extreme flavours unafraid to entangle black and classic hues into its death and melodic metal bred invention. Humanity Burning is the band’s new national assault on ears, a release which maybe does not always fit perfectly with personal tastes but certainly left them with an appetite for more.

The EP opens with its title track and a nagging of riffs, their whiney hue like raw nectar swiftly grabbing keen attention further enhanced by the barbarous torrent of beats and the great gnarly tone of the bass. As its predatory nature continues to ignite the appetite, the track rumbles and grumbles like an awakened beast, subsequently stretching into its prowling gait and animosity as the heavy throaty growls of vocalist Chris Rossiter enter the scene. At this point the guitars of Dylan-Thomas Chinchen and Ryan Adams expand their own tapestry of enterprise and sonic flavouring, the song blossoming into an unpredictable and increasingly rousing proposition. On the initial listen, it almost seems to have too much going on in its rabid assault but with time each twist and turn skilfully flows and in turn impresses. The personal taste thing does kick in as cleaner vocals make their appearance, an addition which just does not work for these ears, though the only time something grates against rather than benefits the song.

Unheard Before The Wake Cover Artwork_RingMasterReviewLurker steps up next, again with an opening which demands attention. This time the invitation is a threatening collusion of sound and texture, almost asylum like in its tone and vocal cries. Framing the drama, drummer Jasper Brownlow and bassist Adam McGuinness again place wonderfully grouchy bait which only finds greater impact as a thrash bred surge of riffs and energy erupts. As its predecessor, the song also flows through intensive and slower predacious moments to keep expectations on their toes, especially the almost theatrical passage of the lyrical protagonist’s introspection which comes forward.

It is clear Unheard Before The Wake know how to compose a song to make an immediate impact, The Pluto God also stirring up ears in seconds with its fierce waltz of grooves within an intimidating rhythmic shuffle. In no time from that great start, the song is stalking the senses and psyche with the excellent heavy throated growling of Rossiter a potent lure in the corrosive storm. The twist of classic metal seeded vocals derail the track a touch again for these ears though it is soon back to its former glory with raw guttural vocals leading to a weave of tantalising craft and flavours.

The EP’s best track, Right To Die, comes next; it a maelstrom of intrusive rhythms and riffs bound in roaming grooves and melodic toxicity which swiftly inflames air and ears. Clean vocals do make another appearance but in spoken form to great effect, providing another texture in the resourceful blaze of sound and imagination.

Completed by an instrumental reprise of its title track, Humanity Burning is a release which takes its time but makes a thoroughly enjoyable persuasion of the potential and readymade qualities of Unheard Before The Wake. Their sound still feels like it is in evolution which only adds to their promise. The press release suggests Humanity Burning is something fans of The Black Dahlia Murder, Carcass, Dimmu Borgir, and Cannibal Corpse might take a shine to; something easy to agree with. As for the clean vocals, we suggest the band really does not need them with everything else boiling up rather nicely.

The Humanity Burning EP is released April 29th @ https://unheardbeforethewake.bandcamp.com/ and most online stores.

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Pete RingMaster 28/04/2016

Copyright RingMaster: MyFreeCopyright

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Plutonium – Born Again Misanthrope

Plutonium_RingMasterReview

Born Again Misanthrope is one of those great releases which maybe initially leaves ears and thoughts unsure but with deserved attention works its way deep into the psyche whilst proving to be one highly magnetic proposition. The nine-track engagement, with a tone and character living up to its name, is the recently released third album from Plutonium, a one man project from Sweden and an encounter which crafts and in turn captivates with a voracious theatre of raw and dramatic shadows.

Carlsson, more often known as Mr J,. is the creator of Plutonium and a sound which imaginatively merges extreme industrial and black metal, though that over simplifies the sonic adventure within certainly Born Again Misanthrope. Hailing from Karlskoga, the project emerged in 2003 with an early demo appearing the following year. Three years on and debut album One Size Fits All was unveiled with successor Devilmentertainment appearing four years on. With hindsight investigation of those releases, it is easy to assume Plutonium has drawn potent attention and support over the years, even if yet to find itself breaking into the broader spotlights beyond its homeland. Born Again Misanthrope though, might be the key; certainly it is the most imaginatively accomplished and unique proposal from Plutonium yet and given the time a sizeable magnet for ears and eager attention.

The album opens with its title track and a militarist nagging of beats which subsequently sparks a similarly toned parade of riffs. From there blackened toxic grooves spring upon ears and appetite as the dark rasping tones of Mr J. almost crawl through the enveloping muggy landscape. It is a ravenous confrontation unafraid to allow a seduction of melodic calm to join its persuasive trespass of ears and imagination. The collusion of industrial and extreme metal is a hellacious tempting with post punk and progressive twists icing on the pestilential cake. As suggested earlier, it provides a thick challenge initially, taking body and thoughts aback with its unconventional design and aggravation but over plays the song really blossoms into one dramatically compelling affair.

It is a journey and achievement which pretty much applies speaks for the album too, and second song Cortex Vortex whose intrusive invasion is at first a boldly unsettling incitement. Taking time to acclimatise to its creative animus of rabid intensity and a ravenously tantalising sonic undercurrent though, the song emerges as another captivating protagonist of the senses. Its unpredictability is as enjoyably ripe as the diverse strains of styles woven into the corrosive theatre of sound and intent; a soundscape as prone to melodic and avant-garde intrigue as it is emotive despair.

For personal tastes it is when tracks venture into that wrong-footing and seriously diverse scenery that they truly come alive and remove themselves from more recognisable black metal dilemmas. The Inverted Panopticon Experience is such an offering; though instantly taking a hold of the appetite with its death march of debilitating rhythms and corrosively wiry riffs and grooves, it is the industrial and sonic imagination that elevates its stature and lure even though its dominant incessant stalking of the senses never abates.

Casque Strength has that same nagging quality too though this time with a warmer melodic hue to its worrisome nature. Straight away it is working the senses though it holds it back somewhat as a great industrially coloured atmospheric mist descends before returning to its unbridled niggle soon after as the vocals offer venomous predation through it all. Already a virulent strain of persuasion, the track only grows in potency as an enthralling, almost indie rock bred melody and accompanying hooks perpetually vein the venture whilst sparking a bold swing to the torrent of sonic tempting.

One of the clear pinnacles of the album it is followed by the shadow rich drama of The Masque of The Green Demon. A sweltering reflective ambience envelops ears as guitars slowly spread their sultry lures whilst drawing on stoner and sludge bred qualities as the song bracingly shimmers on the senses. Vocally Mr J. never veers from his black metal inspired delivery yet it works perfectly with the heavy rock ‘n’ roll of the fiercely enjoyable track for arguably the most unique moment on the album.

The harsh cold landscape of Renuntiationem comes next; the track a wasteland of warmth and hope that spawns a dark and sombre hued drone laced with just as melancholy rich elegant melodies. It is a provocative and mesmeric flight of sound and emotion that, as many, flourishes with every listen, though time the outstanding Electric Barbwire Crown of Thorns has no need of. From its first electronic/metal seeded assault, the song has ears and appetite enthralled with a web of sonic enterprise within an industrial tirade of noise. Swiftly though, the song twists and turns through inventive detours and imagination fuelled escapades as addictive and infectious as hey comes. Along with Casque Strength and The Masque of The Green Demon, it is reason enough to check out Born Again Misanthrope and Plutonium.

The short instrumental of Alice in Plutoniumland (Two Minute Hate Part III) sparks the imagination next, playing like the haunted soundtrack to a psychedelic kid’s tale set in dystopian X-Files spawned surroundings. It is an ever giving piece for the listener to play with before Confessions Of A Suicidal Cryptologist aggressively leaps on ears and emotions with its furious smog of intensity and cancerous animosity. Fair to say though, the album closer has its own enthralling moments of boisterous catchiness and brazen rock ‘n’ roll endeavour, not forgetting atmospheric synth woven incitement.

The track provides a formidable and potent end to a thoroughly enjoyable adventure which simply becomes more impressive over time. With certain moments of majestic ingenuity backed by further creatively rousing craft, Born Again Misanthrope is a proposal that extreme and industrial metal fans especially should definitely explore.

Born Again Misanthrope is out now @ http://thetrueplutonium.bandcamp.com/

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Pete RingMaster 13/04/2016

Copyright RingMaster: MyFreeCopyright

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Éohum – Ealdfaeder

 

Eohum_RingMasterReview

In many ways taking over from where predecessor Revelations, Aurora of an Epoch left off, the Ealdfaeder EP is another compelling and fascinatingly invasive proposal from Canadian metallers Éohum. The release sees the Montreal based outfit continue to entwine traditionalist and cultural spirited sounds and explorations into a doom infused black metal devouring of the senses. Marked again by the suggestive majesty of French Horn, the latest release is another creative conception which ignites the imagination and backs up thoughts arising from the previous encounter that this is a band with very potent horizons ahead of them.

Formed in 2010 by guitarist Jeremy Perkins, Éohum (pronounced ee-o-um) has continued to hone their atmospheric infestation of ears and psyche whilst becoming a potent live proposition. Originally written as a literal, poetic project, the band and adventure only grew and evolved as Perkins brought in friends with metal seeded musical roots and backgrounds. The release of debut album Revelations, Aurora Of An Epoch in 2015 awoke ears and attention beyond their home shores, its dramatic character and voracious confrontation aided by guest contributions from the likes of Cryptopsy’s Matt McGachy and ex- Vinyl Hero Nick Wybo. Now it is the turn of Ealdfaeder to draw spotlights again the way of the band with one suspects, even greater success and acclaim in tow.

EOHUM-EALDFAEDER-EP_RingMasterReviewEaldfaeder opens with Eurocide and immediately has the imagination alive as resonating beats from drummer Luca Belviso unite with the suggestive hues of Annie Perreault’s flute. Thoughts of ancient civilisations and modern cultures arise to the simple but pungent lure as the EP begins its overall look at “… the loss of interest and connection between human cultures and the environment due to our greed filled, corrupt world of today.” In no time Perreault is surrounded by the more predacious riffs of Perkins and Sylvain Dumont as that initial rhythmic coaxing equally turns primal and intensive. Drama soaks the track even as it settles down somewhat, though it is still prone to explosive reactions within its intrigue guided prowl. The raw vocal squalls of Barrie Butler infest ears and atmosphere too whilst the resonation of Cesar Franco’s bass strings is as expressive as the flame of French horn laid within the maelstrom by again Perreault.

The track is bred of the same invention and imagination as the earlier album but already shows a fresh blend of classical beauty and pestilential temptation which carries on through the EP and Unmasking A World Of Deceit which follows. Even more ravenous and inhospitable, the track flies at the senses from its first insatiable breath, vocals and grooves harrying and fiercely engaging the listener as rhythms share a barrage of spiteful intensity and enthusiasm. It is a barbarous intrusion, black and death metal furies uniting within the heavily textured ambience as a hostility, led this time by the vicious creative swings of Simon McKay, assaults ears. As expected though, things only twist and evolve as again the mesmeric call of horns share the track’s atmospheric background.

Through the salacious character and nature of The Apathetic Plague and Ode To A Martyr, thoughts and emotions are seriously entangled and challenged for exhilarating experiences. The first also imaginatively merges unbridled brutality and unpredictable melodic resourcefulness within its blackened trespass of the senses whilst its successor is a torrential swarm of great swinish vocals from Butler matched in plague like concussive endeavour by the scourge of guitars aligned to Belviso and Franco’s rhythms. The second of the two tracks is glorious, the pinnacle of the EP and a hex on the body with its bracing collision of textures, contrasts, and sonic irritation. Once more the golden lure of horn from Perreault is just irresistible; Éohum’s merging of its never indulgent tones with voracious tempests more skilful and natural than ever, so much so that it seems like the horns rather than temper the storm actually encourage it.

Curative Undulations brings Ealdfaeder to an immense close; the track, as its predecessor, shaped and driven by McKay’s rhythms as it devours and seduces with creative and dramatic ingenuity. It immediately thrills and only impresses further across its inventive body and with every delving into its bold adventure. That success applies to Ealdfaeder as a whole too, the EP growing as it reveals new depths and craft with each listen.

Éohum has one of the most distinct and unique sounds in metal right now, only Floridian experimental death metallers Markradonn really exploring something remotely similar, and in Ealdfaeder they have unleashed a release which, whether it hits your sweet spot or not, will make a predominantly striking impact.

The Ealdfaeder EP is released March 18th via Mycelium Networks @ https://eohum.bandcamp.com/

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Pete RingMaster 18/03/2016

Copyright RingMaster: MyFreeCopyright

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Turbocharged/Ragehammer Split – Enlightenment by Bloodletting

turbocharged_ragehammer_cover_RingMasterReview

There is something about a split release which has the appetite licking its lips even before a sound is heard. It is hard to define why but when you are on the end of the kind of fiercely enjoyable proposition that Enlightenment by Bloodletting shows itself to be, the anticipation for another offering is all the more understandable. The two track encounter brings Swedish death punk metallers Turbocharged and Polish black metal thrashers Ragehammer together for one merciless and exhilarating ravishing of the senses.

turbocharged_RingMasterReviewReleased via Godz Ov War Productions / Mythrone Promotion, Enlightenment by Bloodletting is opened up by Turbocharged, the trio of vocalist/bassist Ronnie “Ripper” Olson, guitarist Old Nick, and drummer Freddie Fister imposing Bloodletting on ears. From the moment a wiry groove entangles the senses as concussive rhythms begin to cantankerously stir, attention and pleasure is ignited. As the song’s blasphemy grows, so does the thick lure of bass and riffs around the grouchy tones of Olson, backed in voracious kind by the rest of the band. At its core, the track is unbridled punk ‘n’ roll, a testy examination of body and emotions wrapped in searing sonic enterprise and irritable intensity driven to greater corruption by the merciless beats and dexterity of Fister.

The track hits the spot quickly and with increasing persuasion before making way for PanzerFaustian Enlightenment and its matching persuasion and success. Consisting of vocalist Heretik ragehammer_RingMasterReviewHellstörm, guitarist Bestial Avenger, bassist Corpsebutcher, and drummer Mortar, the Kraków hailing quartet similarly launch at ears with venomous intent. Instantly, barbarous rhythms collude with bitter riffery as Hellstörm’s vocals spill squalling toxicity upon the now contagious and compelling onslaught of sound. Again it is easy to describe the core of the song as virulent rock ‘n’ roll entangled in the invasive dexterity and invention of the band, but it is a description which really does sum up the galvanic and invigorating violation on offer.

Both tracks provide one tremendous half to a thrilling encounter but equally they offer irresistible bait to check out the bands further, especially Ragehammer and their impending new album, The Hammer Doctrine, scheduled for release April 8th.

Enlightenment by Bloodletting is March 30th via Godz Ov War Productions / Mythrone Promotion on 7” vinyl @ https://godzovwarproductions.bandcamp.com/album/turbocharged-ragehammer-enlightenment-by-bloodletting

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http://www.metal-archives.com/bands/Ragehammer/3540356536

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Pete RingMaster 08/03/2016

Copyright RingMaster: MyFreeCopyright

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Unbowed – Dogma

Unbowed_RingMaster Review

Two years ago Canadian metallers Unbowed grabbed thick attention and praise with debut album Collapse The World. It was a raw and ravenous slab of black metal atmospherics fused with death metal corrosion; blackened death metal with melodic tendencies that was unafraid to push it and its creator’s boundaries. It was also rich in open potential which has now been nurtured to striking effect for new EP Dogma. Offering four atmospherically primal and raw yet creatively elegant tracks, the release sees the Ontario duo breach a new plateau of songwriting and sound whilst opening fresh potential suggesting even bigger triumphs to come.

Formed in 2011 as a studio project by multi-instrumentalist Alex Snape and vocalist Ioan Tetlow, Unbowed proceeded to release a self-titled demo EP, the aforementioned Collapse The World, and bring together a live line-up which has played a host of shows and shared stages with the likes of Battlecross, Einherjer, The Contortionist, and Erimha throughout Ontario. Their bracingly invasive and imaginatively provocative sound has seen the band’s reputation grow within the underground spreading outwards and you suspect things are set to erupt with greater strength again as Dogma infests ears.

Unbowed Dogma - Final Cover Art_RingMaster ReviewThe EP opens with The Bleeding Throne; an enveloping of the senses and imagination from its first breath marked with a herald of melodies and atmospheric keys. It is a welcoming if portentous prelude to a rampant cascade of rabid riffs and matching rhythms within a wave of intensity as catchy as the thrash like canter that emerges from it. The craft and sound of Snape quickly impresses and works away on appreciative ears whilst the raw throated vocal squalls of Tetlow add a just as effective drama and predatory temper to the tapestry of provocative sounds around him. Thoughts of warriors, deceptions, and bloody turbulence are easy casting for the imagination as the song expands its sonic narrative, but equally there is an exotic beauty and expressive majesty to the song which grips the listener. It all further enhanced by the tendrils of varied metal and livelier variety in the vocals with blossom throughout.

It is a gripping and fascinating start which continues in the even more confrontational Besieged; though it too spins a web of guitar enterprise and rhythmic tenacity as infectiously alluring as it is barbarously intimidating. With sweeping melodies and expressive keys, you can visual the setting for the song’s drama and narrative. Broad and expansive, harsh yet beauteous landscapes are visualised, providing the canvas for the resourceful and enthralling imagination of the two musicians. As the first, the song bewitches as its trespasses, leaving a hunger for more which the closing pair of The Fall and Echoes of Cernunnos heftily satisfy. The first merges consuming textures and destructive virulence with flowing ambiences around epically poetic melodies whilst its successor provides an animus of ill-intent and immersive sufferance brewed with sonic rabidity. Both take unexpected and dramatically contrasting turns, the first especially enthralling with its melancholic and tainted reflections. The final song is more concentrated in its core attack but around its invasive spine, Snape creates a realm of celestial grandeur and earthbound intimacy coloured by the great vocal abrasion of Tetlow.

Dogma is superb, a release which only reveals more depths and corners with every listen. It leaves the band’s potent last album pale in comparison and equally many a black and death metal emprise heard in recent times.

Dogma is available from February 12th @ http://unbowedofficial.bandcamp.com/

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Pete RingMaster 12/02/2016

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Sekoria – Im Reich der Schatten

Sekoria-Promo_RingMaster Review

An invasive infestation of melodic black metal bred with symphonic adventure, Im Reich der Schatten is also a lingering persuasion which lures attention repeatedly back. The second album from German metallers Sekoria makes a potent first impression, increasing its attraction over each venture into its atmospheric trespasses whilst all the time laying seeds that draw an appetite to immerse in its ravenous landscape again; that a success in anyone’s book.

Formed in 2010, Sekoria had fans and press praising their debut of two years later, Iter Stellarum. Backed by a potent live presence seeing the band share stages with the likes of Milking The Goatmachine, Arroganz, and Vyre, the current foursome of bassist/vocalist Tobias Forneberg, guitarist/vocalist Felix Piroth, guitarist Matze Markwart, and drummer Mathias Törster have continued to expand and explore their melodically toxic and riveting symphonic black metal, the latest results bringing us the recently released Im Reich der Schatten.

It has become almost expected for dark and extreme metal release to open with portentous instrumentals epically harkening tempests of war or change, and Im Reich der Schatten is no different. It can be predictable but when it is done right with cinematic potency as in opener Einbruch der Dunkelheit, it can have ears and imagination eagerly involved. The suggestive starts leads straight into the album’s title track, a furious and rabid onslaught of swiping rhythms and harrying riffs bound in vitriolic strands of guitar and prowled by the insidious air and tone of the vocals. It is a voracious proposal quickly stirring up pleasure, especially as it imaginatively evolves into a rousing yet still rapaciously anthemic canter combining raw shadows and elegant tempting.

Sekoria_-_Im_Reich_der_Schatten_Cover_RingMaster ReviewImmediately the following Die Nachtigall shares primal intimidation with its opening menace, bass and riffs colluding in a bestial yet composed stalking as a symphony of emotion brews. As repeated across the album, it is a magnetic union of contrasts which blossoms further as keys bred ambience soaks the senses in the midst of a vocally ravishing confrontation. There is an air of hope and emotive safety too within the song’s closing and still savage passage which comes with thicker evocative hues in the guitar spun instrumental Ein neuer Weg. Its melancholy laced lure flows into the similarly tantalising Wesen der Zeit, before tumultuous intensity driven by rapier like beats and threat carrying riffs overwhelms the senses. Again though, as they get bruised and violated, the imagination is sparked by flowing melodies and atmospheric caresses whilst being further incited by throat scarring vocal squalls.

Through the immense ebbs and flows of Canticum Maris and its ear lapping and increasingly intensive waves of provocative textures and rancorous intensity and the fiercely tempestuous roar of Der Sturm, den ich rief, the album finds another fresh spark to entice and inspire thoughts with. Both offer a creative drama which fascinates and seduces as it defiles; a quality continuing through the caustic animus of Vendetta and the crushing intensity and infectious bad blood of Der Fall. Whilst each is an individual intrusion of murderous rock ‘n’ roll, they only increase in potency and effect as each listen reveals new layers to their hellacious depths.

Die vergessene Welt offers a land of dark secrets and sonic menace next before Thron aus Eis avails ears of its own forcibly alluring and corrosive temptation. The first of the two has a progressive nature to its melody infused shuffle, contagious exploits colluding with haunting symphonic drama, whilst its successor is a cold yet inviting storm abating with warm oases of melody and reflective enterprise.

Completed by the fluidly shifting but perpetually jaundiced heart and air of Ein letztes Mal, band and album leave ears and thoughts exposed and numb from its abrasive exploration, but equally contented. There seems like a running theme through the album which is hard to pin down not speaking German, but emotionally the release leaves no doubts to its creative grudge and inventively crafted examination of narrative and listener. Im Reich der Schatten announces Sekoria as a band on the rise and with the potential of even bolder imagination and variety to come.

Im Reich der Schatten is out now via Kernkraftritter Records.

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Pete RingMaster 27/01/2016

Copyright RingMaster: MyFreeCopyright

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Tranquillizer – Des Endes Anfang

Tranquillizer_bandfoto_RingMaster Review

Whether by design or just how personal appetite took to its rancorous yet feisty mesh of sound, fair to say Des Endes Anfang, the debut album from German metallers Tranquillizer, took its time to fully persuade. Convince it did though, from the first couple of listens unveiling an increasing magnetism that ears could only take notice of. With the discovery of more imaginative layers aligned to involved flavours and textures adding to its appeal over subsequent plays, the nine track blend of ruinous black and melodic death metal emerged a potently satisfying proposal.

Formed by vocalist/trombonist Johannes Guerken and bassist Madelaine Kühn, the Frankfurt hailing Tranquillizer endured a host of line-up shuffles as they forged a soon eagerly supported live presence leading to and from the release of debut EP Blutrot in 2011. With their first German tour following two years later, the band worked their sound and way towards the creation and recent release of first album Des Endes Anfang, an encounter seeing guitarists Aleksander Vetter and Fabian Wohlgemuth, and drummer Nico Dunemann alongside Gauerke and Kühn, drawing broader attention with its collusion of varied flavours with that core extreme tempest of sound.

Artwork by: ThornyThoughts Artwork&Tattoo

Artwork by: ThornyThoughts Artwork&Tattoo

Agonie is the first to entangle the senses and imagination; the brief instrumental brewing smog of sonic suggestiveness within a similarly sculpted portentous atmosphere. Soon rhythms are bringing an energetic coaxing to the mix, their anthemic prowess against the more caustic guitars a potent lure into the more irritable nature of Eine andere Welt. The throat stripping vocals of Guerken soon scar and infest the air, they the first strain in his varied delivery which differs in strength but always keeps ears guessing and thoughts satisfied. Around him the guitars spin a web of contrasting sonic enticing and savaging riffs, the bass of Kühn a provocative predator alongside. As in the first and repeated throughout the album, there is a contagious swagger and rock ‘n’ roll swing at the heart of the song, its success an accomplished temper to the more insidious elements in the band’s sound and tracks like the following Bestie Krieg. Unsurprisingly there is a primal air and bestial tone to the song as it climbs venomously through ears, the rhythms providing a rabid onslaught within the more deliberate stalking from guitars and vocals.

Werde Zu Staub conjures a more melodic if still antagonistic colour to its blackened rock ‘n’ roll, the guitars as much a suggestive flirtation as an intimidating fury within the fierce and catchy incitement. Even bass and drums fluidly switch between merciless menacing and magnetic guidance across the song’s volatile narrative of sound before Kapitulation grinds its nagging riffs and open bitterness into the psyche through a stormy and unrelenting challenge. The track is a tempestuous affair though that evolves in emotion and climate, never veering away from the darkest feelings and bad blooded intent but drawing on some tantalising melodies and melancholy drenched calms to enrich its emotive journey.

The insatiable onslaught of Blutrot grips and thrills next, its corrosive entrance evolving into another predacious stalking of the senses and in turn a cauldron of virulent grooves and toxic expulsions. Each element reveals its own infectiously involving swing no better epitomised than by the rich blaze of Guerken’s trombone making its first major appearance on the album and quickly elevating what is already a riveting encounter with its herald like calls.

That new element seems to spark new invention and unpredictability within the album even without the help of its presence. Welk bounds in next in a tapestry of diverse flavours and almost bedlamic ideation, whilst brewing belligerent animosity. The track, as its predecessor, swiftly stands above what came before and it is no coincidence that the album is at its pinnacle when the band gets bolder with their imagination and adventurous entangling of varied styles without defusing their devouring of ears with sonic and vocal jaundice.

Des Endes Anfang remains at its new plateau through the final pair of tracks; the carnal rabidity of Ins Licht first smothering the listener in murderous enmity. All the time though it is whipping up a contagious persuasion around the bitter range of vocal trespasses, the guitars step by magnetic step driving towards melodic escapades if still with the raw winds of corrosive virulence at their backs. Its impressive buffeting is replaced by the voracious yet less violent Seelenreiter; a tantalising whipping up of ears and imagination opening with welcoming siren like blasts of trombone before sculpting a maelstrom of swirling sonic tendrils and heftily resourceful rhythms.

It is a fine end to an album which only grows and impresses more with repeated plays. Wait twenty odd minutes after the last note of the closer and there is a more than decent secret track, but the best is already in the open, perpetually pushing Tranquillizer and their enjoyable scourge of a release to new attention.

Des Endes Anfang is out now @ https://tranquillizer.bandcamp.com/album/des-endes-anfang

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Pete RingMaster 26/01/2016

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