Dissension – Of Time And Chronic Disease

Dissension Press Photo

If you are ever undecided which genre to grace your day with then veering over to the debut album from Canadian metallers Dissension could very well solve your indecision. Combining a core of thrash, black, and power metal with numerous other flavoursome essences from multiple metal bred aspects into a coherent and fluid rapacious adventure, the band is a striking proposition with a debut album in the shape of the thrilling storm Of Time And Chronic Disease which simply exhilarates and captivates. Certainly the release needs time to lay out its ultimately irresistible persuasion and imaginative narrative but the effort is rewarded with a thoroughly invigorating and scintillating fury of inventive rabidity and deeply satisfying enterprise.

Formed in 2007 as Set to Kill with a different sound to what evolved and rampages through the ear on their first album, the Montreal quintet of vocalist guitarist Nathan Afilalo, guitarist Matteo Conti, keyboardist Andrew Proppe, drummer Anthony Pulcini, and bassist Oli Aveline (since left to be replaced by Giancarlo Cininni), took little time waking up appetites and attention locally and beyond. Shows with the likes of Tyr, Threat Signal, and Cryptopsy and an appearance on the prestigious Heavy MTL stage in 2011 all enhanced and accelerated their brewing stature but you can only suspect that Of Time And Chronic Disease will lead Dissension to a loftier height of awareness and recognition worldwide such its impressive encounter.

Produced by Kevin Jardine of Uplift Productions, (Slaves on Dope, What Comes To Life, One) and mastered by Ryan Morey (Arcade Fire, Album Cover - Dissension - Of Time And Chronic DiseasePriestess, Half Moon Run), the album immediately tells you what it is all about with opener Thralls To The Crucified. The track opens with a sturdy thrash inspired regimented attack of riffs and rhythms, their restrained but firm stance opening up the senses for the evocative keys which lay a suggestive wash over the growing hunger. Opening into a scenic melodic and sonic landscape crafted by the excellent invention of guitars and keys, the vocals of Afilalo caustically growls and squalls over the enticing venture adding to the intimidation stalking the track through the bass of Aveline and the predatory beats of Pulcini. Never seemingly staying in one gait and certainly one style for longer than is needed to get the sonic point across, the track is a riveting expanse of ingenuity subsequently echoed across the whole album.

The following Graceless Death is a venomous charge of blackened metal with symphonic winds smouldering in the background whilst their frequent louder whispers make a fuller seduction from time to time. With an intensive twisted groove and a flight of predacious riffing the song steals the breath, soothes the violation, and steals it once again across its inventively startling length. As becomes apparent in all the songs, it is impossible to take everything in the first, second, arguably even the third and fourth listen but that just makes each confrontation a giving and ever evolving pleasure.

The likes of Blacksteel with its less demanding heavy metal breath, though the track soon menaces and threatens with muscular intensity and ravenous creativity, the magnetic merger of light and dark suasion Set To Kill, and the finely crafted Legacy continue the enthralling start. The last of the three opens with an elegant melodic descript before unleashing flames of technically expressive and compelling shadow drenched emprise, the track another which seamlessly bringing light and dark, melodies and savage intrusion into an absorbing and continually evolving provocative triumph.

Immense and enthralling from the start Of Time And Chronic Disease reaches another plateau with its title track, the first single from the album. From a potent and rich atmospheric soundscape impressively carved by riffs, drums, and bass, and coloured by as now expected precise and imaginative melodic hues from keys and guitars, the track slowly unveils its sinister serpentine like bestial intent, the vocals a dangerous portent against the excellent discord tainted piano. The track like the imagination is soon at the mercy of the malevolence at the heart of the song though once more the track is a thrilling scenic passage through the darkest corners alongside the brightest sonic torches.

Dissention and Apotheosis bring the album to a stimulating intensive close, both like all before exploring the darkest depths of human nature and its accompanying shadows. As mentioned the layers and creative depths of the songs and album are only really discovered over numerous engagements thus making it impossible to truly portray all that the album contains in written word but that the rewards are rich and plenty is all you really need to know. Of Time And Chronic Disease is an outstanding debut and declaration of an emerging force in Dissension which you sense could be inspiring many future bands as the likes of Children of Bodom, Dimmu Borgir, Darkthrone, Sepultura, Kalmah, Nile, and Amon Amarth inspired them.

https://www.facebook.com/DissensionMTL

9/10

RingMaster 11/09//2013

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Eibon La Furies – The Immoral Compass

Eibon la Furies 3

It is fair to say that The Immoral Compass, the new and second album from UK dark metallers Eibon La Furies is not going to be for everyone and will possibly draw as many unfavourable responses as acclaimed ones. It is extreme metal in its most provocative though maybe not for the reasons you would suspect. Bringing black and avant-garde metal into a devious league with dark symphonic rock, the quartet and their album challenge emotions, rising up against thoughts and expectations to deliver an unforgettable encounter, though not always memorable for all the right things. At times the release pushes one’s limits over the edge with an almost deliberately obtuse proposition but all the time there is a toxicity which lures in the senses and brews an intrigue that is hard to ignore.

Formed as a solo project by vocalist/guitarist Paul D Sims under the guise Lord Eibon Blackwood in 2006 and with the intent to create industrialised black metal and dark ambient music inspired by Victorian occult spirituality, Eibon la Furies released the demo EPs Something Wicked This Way Comes and Yours Truly…From Hell. The project next expanded to a trio with the addition of drummer Jamie Batt (as Battalion) and bassist Matt Cook (The Furious Host). Following an appearance at Bloodstock Open Air Festival in 2009 as the best unsigned progressive band, the threesome signed to Code666 who released their debut album The Blood of the Realm the following year. To help push their boundaries and creative ideas the band recruited lead guitarist Neil Purdy last year and set about writing their second album. The Immoral Compass is the result, a release which does have its ups and downs but is fuelled by riveting imagination and undeniable musical craft.

Inspired by the shadows in humanity the album is a melodramatic narrative lyrically and musically, its large melodic fires and sinew ELF Artworkdriven rhythms helping to sculpt songs which twist and turn on a whim and continually enthral like a sonic magnet. There are less successful times where you wonder what went wrong, but you never want to leave as when the album is on full song it is a dramatic rewarding beauty.

The opening instrumental intro The Compass Awakes is an evocative piece which paints an emerging dual sense of wonder and uncertain menace, the guitars and keys overpowering thoughts into creating their own dramatic revelation. The piece passes into the following Immoral Compass to the World, a track which takes an instant to cloak the ear in intensive guitar strikes and atmospheric keys from Sims whose vocals stand astride the emerging aural palette of suggestion with a gruff growl of a delivery. As the keys swoon and soar before the senses the track plays like a mix between Cradle Of Filth and The New Jacobin Club, but a paler version of what you would imagine their union to produce to be honest. Despite that the song is still a strong enough temptation to delve deeper into the album which repays with a mixed but persistently satisfying bag of adventure.

The opening song does instil one requirement when taking on the album, the need to engage in its confrontation numerous times before making a decision. There is so much going on in each track that you have to make many visits to dredge their depths and imagination, most emerging better and stronger the more you explore them as with second track Astronomy in Absences. From a celestial flight the song flexes its muscular riffs and even more ruthless rhythms, a thrash coaxed blackened tempest consuming the ear whilst the guitar of Purdy lights its skies with some stirring sonic flames and enterprise. The track does not exactly get the pulse racing but again there is plenty to investigate and devour for an increasingly greater flavour the more you immerse in its progressive temptation.     Imperial Jackal’s Head is the same though the song is the first more notable moment within the album. An initial almost like Rammstein call especially vocally, prowls along the galloping sonic blaze which cores the entrance of the song. A slip into a venom bred vocal tale puts a rein on things before expanding its evocative heat of melodic and sonic commentary. Musically the track boils impressively with hooks, grooves, and melodies all lingering treats but overall vocally the song does little to match the sounds, though at times they do work rather well.

The merger of beautiful potent classically shaped keys and again less satisfactory vocals marks Flames 1918 (A Song for the Silence) to give more doubts room to think but suddenly from this point the album seems rise many levels starting with An Enigma in Space and Time. Bordering hostility throughout whilst simultaneously being just compelling the track twists and turns through a maelstrom of textures, styles, and pace with a hunger and energy that intimidates and seduces contagiously. It crawls along the lips of rock opera it has to be said but with further impressive guitar work, rapacious bass lines, and flames of imagination the song is a pinnacle soon matched by both Who Watches the Watchers? and Conjure Me. The first swarms over the senses with a choir of glorious voices veined by dark hearted riffs and forceful rhythms before the serpentine grizzled tones of Sims add a delicious alien presence. It is a tremendous track, with only the flat sound of the drums something to moan about. Its successor dangerously beckons the ear with female siren calls whilst riffs and grooves swarm like hornets in her charm.  With familiarity to the predacious song which escapes definition it eagerly romps with a bedlamic breath and presence.

The sultry yet threatening voice of Ascending Through Darkness offers up another powerful encounter whilst the ballad The Vanguard with its spoken narrative and absorbing guitar elegance, just gets better with each listen, especially the folky march of rhythms and song towards its end. Final track The End of Everything… (Or the Beginning of it all) provides a closing wall of inventive and enthralling instrumental storytelling leaving thoughts and emotions wanting more of certainly the second half of the album.

The Immoral Compass is a very decent album that has to have time and patience to prove its case which for the main it does with strength and craft. Eibon La Furies may not have given us a classic release or one which you can take to immediately, but it is definitely an album given time which makes a companion you get the urge to return to.

http://www.eibonlafuries.co.uk/

7.5/10

RingMaster 27/08/2013

 

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Isvind – Daumyra

Isvind_Band_Picture

Revisiting and revitalising old school Norwegian black metal, Daumyra the new album from Oslo duo Isvind takes the senses and thoughts on a corrosive and exhausting ride through the darkest insidious shadows and coldest blistering realms. It is a release which sparks and captures the imagination, and though arguably it is not trespassing on new adventures it undoubtedly gives existing avenues a fresh and intensive examination.

Formed as a trio back in 1993 under the name Icewind, the band drew attention with its first two demos, The Call of The Icewind and Herskerinnen, the second release under the changed name of Isvind and down to the pair of Arak Draconiiz (guitars, bass, vocals) and Goblin (drums, vocals, keyboards). This was followed two years later in 1996 by debut album Dark Waters Stir, again on Solistitum Records. Apart from the release of a split with Italian band Orchrist in 2003 and another demo the following year, the band lay in the shadows for many years before returning with the album Inent Lever in 2011. The release saw the band still immersed and inspired by the early sound of the genre and earning strong responses, something the equally soaked in black metal seeding Daumyra is sure to emulate. The eight track Folter Records released album again does not deviate from the core sound and enthralling presence of the band which evolved in the early days but still manages to offer an inventive breath which feeds the hungry appetites of the modern flavoured fan.

Opener Kast Loss emerges from a blaze of harsh ambience and teasing fire, its wind a cold harshness stoking up atmosphere and chilling Isvind_Daumyra_Coverwaves within its scenery from which the track bursts with riffs and rhythms assassinating the remaining air with a carnivorous intent. Lurking within there is an addiction causing groove and heavy metal swipes which colour the dark rasping serpentine tones of the vocals and sonic temptation. The guitars niggle and graze from the first second of the song’s full expulsion, making an unrelenting provocation as intimidating as it is compelling and inviting.

It is a very strong start matched by the following Burn The Kings, the track again merciless in its grinding surge through the ear. There is a kinship between the first two songs; a similarity which binds their combined potency into a pleasing tool, and though they share individualism compared to other songs it only goes to reinforce the impact of the album’s entrance.

The thunderous Blodstorm raises the game before handing over to the pinnacle of the album The Dark Traverse. The first of the pair tears synapses with a sonic flame rich in alluring repetition and bewitching rapaciousness, whilst the drums cage its ferociousness in a steel clad mesh of continually shifting and intensifying confrontation. It is a provocative fury loaded with malevolent caustic vocals and their bestial narrative, and another slice of toxic bait hard to resist. That enthralling poison only intensifies with its successor, the track immediately snatching the senses into its savage claws of sound and energy. A tempest of crucial riffing, rhythmic predation, and riot of grooves, the song is a breath-taking avalanche of sonic majesty, the deeper into its jaws you are sucked the bigger and more immense it grows. Pure blackened evil and skilled maliciousness the track is a destructive tour de force of the album.

Both Djevelens Lende and Myra unleash a thick and suffocating blizzard of sonic, predatory, and rancorous austerity, their touch and presence, biting cold yet inflammatory, grave but contagious. Against their predecessor the tracks trail in its wake but nevertheless leave a touch which instils claws in thoughts and emotions.

Completed by the excellent Specculum, its initial rhythmic stomp and riffs charge changing gear into a primal examination of itself and the senses, and the callously unyielding Klabautermann, the album is a thoroughly satisfying and rousing encounter. Daumyra may not be the most original release to come your way, even compared to Isvind’s earlier work, but it does leave hunger and wants full and ready for more.

http://isvind.net/

8/10

RingMaster 15/08/2013

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In Silentio Noctis – Disenchant The Hypocrites

In Silentio Noctis pic

It has been three years since Finnish symphonic black metallers In Silentio Noctis impressed and drew acclaim from a great many with debut album Through Fragments of Christianity. It was a release with a distinct voice and striking presence bursting with equally vibrant promise, something which has been realised on the return of the band with their new EP. It has been three years since the previous record and now the Vantaa band equipped with a new line-up which features members of Rapture, Rain Paint, Carnal Demise and Spirit Disease, returns with a trio of tracks under the name Disenchant The Hypocrites which scream quality and imagination capturing grandeur.

Founded in 2006 by vocalist Armi Päivinen and guitarist Elias Vihma, In Silentio Noctis released the Symphonies of Death demo the following year to be followed in 2010 by the previously mentioned  Through Fragments of Christianity, the point the band began reaching an awareness outside of their locality. The band seemed to disappear after that release as another shift in personnel wrapped its disruption around the unit but now with guitarists Tuomas Leskinen and Samuli Reinikainen, bassist Aleksi Ahokas, and drummer Veikko Ringvall alongside Päivinen, their unique sonic stimulation is back to embrace the world through the potent source of the My Kingdom Music released Disenchant The Hypocrites.

Themed by a concept dealing with the hypocrisy of both God and his servants, the EP opens with the beckoning charms of Chapter I: TheIn Silentio Noctis cover Pit, an initial bridge of dramatic high walled temptation leading the senses into an expanse of formidable epic toned melodic scenery. Sonic fires burn fiercely within a rhythmic barrage, both providing a cage for thoughts and emotions to envisage and explore the melodic narrative vibrantly explaining its premise. Into an urgent stride, a folk bred burst of enticement breaking out thanks to and blessed by the guest craft of violinist Ville Koponen, the song feels the warmth and operatic might of Päivinen fill its air and heart, her tones and style evocative and at times sirenesque, which shows her immense presence as we admittedly do not always find an operatic spawned style of delivery an easy fit for personal metal tastes. The track continues to stretch and exploit the imagination with a blaze of inventive and richly hued enterprise from songwriting and its realisation.

The strong start switches up a gear with Chapter II: Of Deception, the dramatic heights and inquisitive quest being conjured continuing to engage and enthral as rigidly as the sounds colouring its passage through ear and thoughts. Each track has its own story to tell sonically and emotionally, this song combining melancholic strings with rapacious riffing and rhythmic subjugation to send the senses into a maelstrom of inventive provocation and symphonic mastery. As with the whole EP, the track needs numerous encounters to delve into and experience all of its rewards and corners but gives more to digest and enjoy with each meeting.

At this point the ride offered is at its most scintillating and firmly cemented by last track Chapter III: Haunted. With the keys of the other guest on the release Johannes Salo honing the atmosphere into a smouldering weave of calm yet forceful suggestion whilst the guitars vein and sear its tender wrap, the track is a spectacular flight through a tempestuous but stunning landscape of climatic beauty and a ravenous exposition of passion and incite.

Disenchant The Hypocrites is an outstanding release with the only minor issue one would suggest being the mix between music and the soaring harmonics of Päivinen, where at times she is almost swamped by the sounds, though as the promo was a digital file which does not help present the true clarity of things at times, it is not a major problem. The return of In Silentio Noctis will deservedly be devoured eagerly by fans whilst Disenchant The Hypocrites will recruit a great many more into their refreshing aural arms, all developing a greed as they wait for a new album.

www.insilentionoctis.com

8/10

RingMaster 09/08/2013

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The Pete Flesh Deathtrip – Mortui Vivos Docent

TPFD Photo1

Mortui Vivos Docent is not an album which set the passions into certain fervour but there is something about its crawling insidious touch and lingering fetid presence which leaves a need to share its venom on a constant basis. The new intrusion from The Pete Flesh Deathtrip, the album teases, taunts, and violates the senses but equally beneath its abhorrent breath there is a contagion of imagination and passion which is hard to deny. It needs time to make its persuasion, numerous plays we suggest, but the reward and enjoyment is there to devour even if the release probably will not make an impression on the year’s top choices.

Mortui Vivos Docent is the fourth release from the solo project of Pete Flesh (ex- Deceiver, Thrown, Maze of Torment), the previous three coming under the name Flesh. Using session musicians, notably here Micke Broberg for some of the vocals and Andreas Jonsson (Tyrant, The Black, Vinertand) for drums, the new album stalks cavernous halls of death metal with additional provocation of black and at times thrash metal. It is a heavy bruising and at times disorientating assault but one which is unafraid to challenge and venture into discord clashing ventures. Released via Pulverised Records and recorded, mixed, and mastered by Peter Bjärgö (Tyrant, Crypt Of Kerberos), who also provided all keyboard and piano on the release, at Studio Beast in Sweden, Mortui Vivos Docent is an album which takes you on the darkest fearful journey. One you will take to or not but one which has to be ventured.

Opener Fallen Bliss goes straight for the throat of the senses; prowling riffs and tightly reined grooves crowd and chase the ear Mortui Vivos Docent Coverwhilst the vocals of Flesh snarl and chew on his prey with strong and expressive spite. It is an immediate hook which only grips tighter the further into the track you are sucked, rhythms rampaging with the guile and might of a battalion of Roman guards and the guitar scoring air and recipient with fine sonic branding and insatiable enterprise. Whether there is anything new going on is debatable but undoubtedly the craft and aural bait offered is impossible to resist.

The following fire of The Eternal Dawn is a varied and adventurous escapade through rhythmic enticement and melodic shadows, its gait reserved yet forceful and presence heavy but seductive. The vocals break some of the almost sirenesque attraction once their serpentine clutches dig into thoughts but the song continues to burn as  sonic ash drifts over the brewing intensity and roaming intrigue. The groove is a great niggling addiction which only goes to lure the emotions deeper into the now fully fledged tempest of sound and provocation as the song continues the strong start, impressively passing the leash to the thrash charged furnace of aural rabidity, Crave the Fire. Bringing more variety to the album, the track has a predatory intent which demands and receives every ounce of attention, and though it does not quite ignite the rich responses as its predecessor it is a bestial swarm of animosity that leaves lasting satisfaction.

The excellent haunting nursery room ambience opening up The Suicide End immediately marks the track as a must submerge within encounter. Doing so will leave you open to inner demons incited by the chilling textures and pit spawned malevolence lurking within every note and imaginative turn of the song, but it is worth the intrusion of the psyche.  Like the album it is a track which needs plenty of attention to truly discover and immerse within but another which drapes pervading fear over thoughts and emotions for a thrilling experience.

The intensively vexatious Burning Darkness and the blackened Ravens Reborn continue to hold attention firmly whilst the ravenous God of the Crawling Whore takes its pound of flesh from the senses with a brutality and sonic web that is inescapable. The trio do fall below the previous high standards, not by much certainly with the last of the trio, but arguably the element of surprise and originality within the album is lost at this point, though all only leave a wealth of satisfaction that is impossible to dismiss. Bleed which features additional vocals from Cecilia Bjärgö (Arcana) does stand out as a pinnacle on the release, its gothic temptation and absorbing presence evocative and thrilling.

Closing with the more than decent thrash sculpted Recycle My Death, the dark themed lyrically and aurally Mortui Vivos Docent makes for a compelling provocateur. It is irrepressible in its hunger and captivating in its imagination, making for a striking confrontation. Maybe not the release to thrust The Pete Flesh Deathtrip firmly on the death/extreme metal map it is one which will raise awareness for sure.

www.facebook.com/PeteFlesh

8/10

RingMaster 25/07/2013

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Overcoming nature’s fury: an interview with Mathieu of Sofy Major

4SM press

The events and drama which stood in the way of the recording of the album Idolize would have left any band lost in turmoil and self-pity, but for French metallers Sofy Major it was just an obstacle to climb over and use, with the help of similarly determined and generous people. What emerged was a beast of an album, a release which takes noise rock/hardcore/metal, whatever you wish to call the diverse mighty sounds explored on the album, to greater levels. We had the distinct pleasure of delving into not only the band itself but also the devastating events confronting the recording of Idolize and its aftermath with vocalist and bassist Mathieu. Also looking at touring and the music itself he gave us full insight into the past few months.

Hi and welcome to the Ringmaster Review, thank you for taking time to talk with us.

Hi Pete, I’m Mathieu doing bass and vocals for Sofy Major, here are the answers to your questions

You have just released your, may I say outstanding, new and second album Idolize, a release which faced a shall we say’ very testing time to be born’. The relief to get it out there must have been more intense this time around I am imagining?

Yep, we’re in the process of promoting the album now and the endless touring time is coming! Yeah!

Could you tell us about the dramatic obstacles you faced after travelling to Brooklyn to record the record?

Well, basically we were supposed to spend nearly 2 months in the US recording and touring. The journey originally had to start with a 3 weeks recording session. I remember that I left Europe first and alone as we were travelling in separate planes. As I arrived, no New-Yorker was telling me about a potential disaster or what so ever was coming. When I first met Andrew, our producer, when we arrived, he told me that a hurricane was on his way to the coast, but you couldn’t feel any panic all around in NYC. Probably because people out there know that it’s not supposed to be a common weather phenomenon regarding the location of the city. The day before we were supposed to begin doing the tracking work, we did all the drum set-up and we checked all the lines, everything was ready for an über blast. When we left the studio, it was already windy outside and I could see the industrial canal fronting the studio facilities having a super high level, literally as high as the parking lot was. The day after, when we came back to the studio (the first tracking day), the facility had already been a little bit flooded and it already had damaged some of the practice rooms. We tried to help the studio owners securing the building, putting sandbags in front of the doors and then we left as the water was coming to the building.

The hurricane happened at night and actually destroyed the studio in its entirety; you could see those old Telefunken mics in the middle of the parking lots… Sad.

There must have been moments where you thought it was never going to be possible to record it? Or did your determination refuse to accept defeat?

When it happened, I just didn’t know what to think. I knew that Andrew our producer was even more affected and I was just thinking something like: “man, we don’t want to disturb even more”… considering he took care of us as we were homeless after the disaster happened. The next few days, when we were walking from a place to another with our 30kgs backpacks, I guess I thought 2 or 3 times that we’d better go home, particularly when we didn’t know which place we were going to sleep in. This plus the fact that I felt like it was too much for the people to whom it happened, yeah that was a weird feeling. But Andrew is always a positive-minded guy, he told us: “You came here to record an album, you need to leave the States with an album”! Dave Curran assisted him, saved our asses and lent us the gear to record.

I read that the band lost its equipment as well as the studio; this meant all your instruments, amps etc.?sm 2

This means all the stuff we bought when we arrived (cabs, pedals, various stuff) and all the gear we rented (which means that they took the deposit for each item we lost and/or didn’t manage to save from the water).  All of this is nothing compared to what the studio’s owners lost.

How did that impact on the recording using equipment you are not used to and at one with in many ways?

Well, if you’re a musician you know what it is not to play on your own gear, when we’re on tour I usually admire drummers who are not playing on their hardware. Imagine you’re a guitar player and you play with another guitar with a different tune without having practiced on it. It’s like you’re running for a Formula 1 Grand Prix and they tell you you’re going to use a different car 5 minutes before the race begins. We were lucky to have the opportunity to record though, I cannot really complain about this. But yeah, I remember the gear at Translator Audio was perfectly fitting our needs until it happened.

The local music scene gave you great support and help to be able to do the recording after the disaster, showing the strength of the community out there. This must have added extra spice to your passion during the recording sessions?

Well, what is crazy is that those guys didn’t know us until it happened. That’s funny because when I think about this happening in France, nobody would be giving a single fuck, we don’t have that strong music community background here. Everybody showed us so much support, including bands whose gear was entirely destroyed as well, it was 100% sure this record would include a little bit of those people.

We called the album which did come out, Idolize carnivorous, in sound and intent, and wondered if the circumstances surrounding its recording added extra snarl, rawness, and venom to the music. Do you think that is so?

Probably. The reason we came to work with Andrew is that we like his approach of getting the organic and natural feeling a band can provide while recording. All the records he made had that particular thing, it’s like he always manages to catch the best he can get from the purest recording string. Also we were not playing on our own gear; this gave another harsh thing to add on this album.

Did the album emerge exactly as you imagined before travelling out to record it or do you write songs in the studio generally?

When we arrive in the studio, 90% of our music is already written, but we need those 10% of improvisation. If there’s a cool lead, or something we might want to add on the album and didn’t think about when we were pre-producing, we want to have the ability to do it. But yeah, usually everything’s is planned and written.

Your sound straddles numerous genres, from noise to hardcore, metal to psyche punk. What are the inspirations which have would you say initially fuelled your own distinct ideas?

We listen to tons of different genres, the extreme music field is wise, it can be Noise Rock, Free Jazz to Crust Punk and Black Metal. We don’t restrain ourselves to a specific genre when it comes to listening to music. We like to write consistent music though, but that doesn’t mean we’re stuck in something really particular. I’d say we’re punk rockers and metallers playing noise rock. The three of us have their own personal influences, but we do have the same roots. I mean all those scenes you’re talking about are connected to each other. Everything comes from the riffs, if the riff is cool, let’s just play it.

There is a passion to your sound which suggests the main directive of your songwriting is to create sounds that you like to listen to then everything else falls in to place…

I’ve always been willing to create something I could see live and say “cool, those guys are great”. The fact is that we’re also a live band, gigs and shows are part of the game, I’d be egocentric if I said that I would not care about what the audience is feeling while I’m playing. I do enjoy playing live for sure but this is not a competition. If you go on tour, you’re here to share it with the audience, not masturbating your guitar in front of 100 people, what’s the point? I don’t get bands who do not play live, there are so many. Life is hard for everyone those days regarding money, living conditions, etc… so I want to provide the audience something great, something which I worked a lot on, if the dude pays 5€ for a show, I’m here to give him what he came to hear.

There is also that rawness suggesting tracks are recorded live in the studio, is that the case?

Nope, that’s where Andrew did a fantastic job. The organic and live feeling was provided as we were recording separately. It’s like what the Melvins did with their last albums, the drums sound amazing. They manage to play those songs live and it’s like listening to the CD with more beers and more sweating.

coverhighThe album is out on Solar Flare Records, which I believe is the band’s own label? What inspired the creation of the label?

Well, the idea of creating Solar Flare Records first came early last year. Andrew and Dave did have the first Pigs record ready and I suggested to them: “Hey, I can help you release it”. I was a little bit nervous as it was the first time I was releasing something for another band. The funniest thing was that I didn’t even listen to the record before throwing the idea of releasing it. Well, I was lucky as this is probably one of the best records of 2012, that album is a gem and we all have to see this band live. I was already working on Sofy Major’s promotion and distribution and was doing a whole label’s work for my own records; I just did the same for another band. We’re in 2013, the time when bands got signed on major labels is now over, there are so many bands all over, you can’t wait to get into a super big label like Relapse or Sub Pop if you really want to release records and tour ; this will actually happen for 0.01% of the current touring bands. Many good bands are also doing everything themselves, I know that Big Business did their own label to release their records, that’s probably true for tons of other bands. Now I’m releasing the 11th record for Solar Flare Records and I still enjoy it, I’m glad to release records for bigger and less known bands. If I dig into your band’s music, there’s no reason you won’t be into the Solar Flare roster.

With the situation with the hurricane it must have stretched the finances for the label and yourselves to the limit?

That was terrible when it happened, but so many people helped us, we got donations and merch sales from all over the world. I did lose a shitload of money on this one, but I was glad I managed to make the trip happen anyway. Every single penny I’m earning with my regular job is injected in the label or the band, hope we can recover quickly.

After recording the album you went on tour in the US; that must have revived the spirits…

We knew what to expect. All our friends who toured the US told us it was really… particular. You don’t have the same touring conditions that you can get in Europe: no food, no sleeping place, not a lot of money, that’s probably one of the hardest country to tour and it obviously didn’t improve our financial situation. But we met many good people, great crowds and we left the US with tons of new friends. Also you have so many great bands there that it was a pleasure to share the stage with them. That’s hard for an indie band, not signed on a major label, to tour the US, especially when all the money you’re spending is coming from your personal funds. But when you’re working hard, almost everything can be done.

You are a band who loves to tour and lay waste to audiences obviously, more so than recording?

Nope, we love both equally. We love to tour as that sounds like the best way to share and promote our music, as simple as that. We could hit the studio, release a record and just wait for something to happen, but what’s the point again? We don’t have enough money to travel by our own or go on holidays; it also enables us to discover different cultures. That’s our main motivation about touring: promoting what we do and showing our work to the audience, and meeting other bands. Also, this is probably the best way to sell your records and make enough money to record new songs.

Can the rest of 2013 expect to see the band out there taking the album and sounds to the masses?

Sure! We’ll be supporting Pigs on their first European tour this fall on 20 gigs. Come see us, spit on us, have a beer with us.

Are you a band who is continually writing and already working on ideas for the next release?smnbfinale

Funny you’re saying this because we’ve already been writing a couple new songs; we love to move things forward. I guess we’ll be touring for a couple years now to promote Idolize.

I can assume you will be taking closer of inspection of the weather when choosing the next studio? Ha-ha

A friend of ours recommended us to record our next album in the Bahamas in the middle of August.

Once again Mathieu many thanks for chatting with us.

Any last thoughts you would like to leave us with?

It’s hot outside, don’t forget to drink beers otherwise YOU’RE GOING TO DIE.

http://www.sofymajor.com/

Read the Idolize review @ https://ringmasterreviewintroduces.wordpress.com/2013/06/01/sofy-major-idolize/

Pete RingMaster

The RingMaster Review 24/07/2013

Copyright RingMaster: MyFreeCopyright

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

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Sannhet – Known Flood

     sannhet     Known Flood is an extensive and challenging journey through desolate landscapes, pervading shadows, and far reaching sonic climates, but most of all it is an album which ensnares thoughts and passions with some of the most descriptive ambiences and sounds brought to metal. The album is the masterful work of Brooklyn band Sannhet, a trio who infuse the widest array of sounds from black, sludge, and doom to groove and post metal. They have created a flight of impacting and inspiring imagination through nine startling and enthralling instrumentals, pieces which captivate everything from senses and thoughts through to the heart. One would suggest the band with their debut is only starting out on their creative discovery and still have a depth of promise to explore, which makes the release all the more impressive and a future truly exciting for them and us.

Consisting of Christopher Todd (drums and samples), John Refano (guitar and loopers), and AJ Annunziata (bass), Sannhet first released Known Flood on vinyl through US Sacrament earlier in the year and now it receives its worldwide CD unveiling with ConSouling Sounds and it is hard not to expect the album to make a deep impact. Already the recipients of strong acclaim for their live performances which has seen them alongside the likes of Black Cobra, The Atlas Moth, Hull, Enabler, Yakuza, and Altar of Plagues, the trio looks set to take things to another mighty level once the Colin Marston (Krallice, Behold… The Arctopus, Dysrhythmia) recorded release works its magnetic and inventive alchemy on the globe.

    Absecon Isle opens up the dramatic adventure, the track immediately charging through to the imagination with urgent hungry sannhet[1]rhythms and scorching melodic acidity as the rugged land of the invading soundscape opens up its bleak yet wondrous arms. Powerful and captivating the song eventually slows enough for the listener to take in the sights within the exhausting soundscape and for visions to shape their own mystery and the picturesque intimidation around them. It is a riveting start soon built upon to deeper pleasure by the following Safe Passage, its bulging rhythmic invitation a towering beckon to start off another breath stealing venture. As the drums continue to cage and disorientate, the guitars create a sonic mist which invades every pore and thought whilst the lingering yet drifting ambience is a stark evocation with sinister overtones especially as vocal samples whisper in the shadows. There are a few vocals additives across the album but all are textures and further facets to the narrative rather than any beacon to cling on to and add further richness to the invention.

The second track moves discreetly behind chilling chanting into its successor Invisible Wounds which in turn darkens the skies and brings in imposing intense clouds and rays of sonic beauty within the rapacious rhythmic confrontation from drums and bass. The track offers up harsh and intrusive breath but at the same time mesmerises with a melodic colour which paints a refuge within the demanding scenery exposing its claws.

As the songs Endless Walls, Moral, and Slow Ruin, the first a tempest of bedlamic emotion and intensity with a wall of rhythmic hypnotism, lay down their individual raw vistas the listener is pulled deeper into the expressive and at times spiteful depths of the unforgiving but rewarding world being unveiled. Whether it is one massive unpredictable realm or a journey through separate majestic heavy and unrelated terrains is up to the individual to interpret but as the last two of these three songs show as they take the senses into their own coarse grasps, it is an easy and fluid transition from song to song which is borne of craft and imagination from three openly outstanding composers and musicians.

The tremendous Haunches which again blends a rhythmic seduction that is irresistible with a sonic flailing wrapped in melodic insidiousness, pulls the passions up to another lofty height. The track, featuring guest squalling and ravenous vocal sounds from David Castillo from Primitive Weapons, is merciless as it softens up the senses further before making way to the biggest highlight of the album Still Breathing. From its dark but restrained doomy beginning the song evolves into a gallop of again inciting delicious rhythmic compulsion within a sonic wash of emotive provocation from the guitars. It is a gentler and more vibrantly hued atmosphere which envelopes the ear but no less hungry and voracious than any other of the more caustically paraded track.

With Flatlands providing a final lingering corrosive embrace, it is an outstanding end to a richly impressive release. A venture inspiring new hopes and fears with each traverse of its invention, Known Flood is the declaration of a new emerging force, and one which will set benchmarks ahead you only suspect.

https://www.facebook.com/sannhet

8.5/10

RingMaster 08/07/2013

Copyright RingMaster: MyFreeCopyright

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

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Exposing Shadows: an interview with Accuser of Revelation’s Hammer

by Cecilie Molteberg.

by Cecilie Molteberg

With venom coursing its veins and a ravenous hunger to its invention and exploration, the self-titled album from Norway metallers Revelation’s Hammer is an enthralling expanse of compelling aural drama and rapacious antagonism, black metal at its more rapacious and provocative. A long time in emerging, the album is one of the startling high points of the year in metal so far and one we wanted to know much more about. Taking the opportunity to talk to its creator Accuser, we unveiled a long string of questions to explore more about his reason and intent on forming the project, the album and its long journey to finding its release, and much more.

Hi and many thanks for taking time to talk with us.

Reading the promo accompanying your debut album it is stated that Revelation’s Hammer emerged as not only a vehicle for your creativity musically but also to give a freedom to express your thoughts and passions. Could you expand on that for us?

Greetings Pete! First of all, thanks for your great interest in Revelation’s Hammer. The best way to express your true feelings regarding your surroundings or even visions of our chaotic world is in my opinion through something as simple (or insanely complex?) as music…At least if we think in terms of creativity and art. Clearly I don’t believe in this glorifying society of happiness where everyone is living in a fucking bubble gum valley, loving and praising each other every day. So when I write my art, I’ll search my soul for answers and strength instead of using time on a fictional God. It’s so much bullshit going on in our world, and my way of expressing my hatred against it all is through my music.

What were your inspirations musically and personally for the project?

I really don’t like to point out concrete sources for inspiration, or even analyse it…I think it’s really more relevant to focus on the result and its possible improvements rather than the progressing methodology. When I sit down with the guitar on my lap to create music, I don’t think of this or this band, or try to make a song similar to another band’s song…I do my own thing, in my own way…Focusing on the parts that immediately give something to your soul. Regarding personal inspirations I would rather say that the strong spirit of this band evolves from myself exploring my inner (ref: human) side. I believe there’s a hidden beast within every one of us.

You come from Sætre, a small town in Eastern Norway of course; did that setting make any distinct impacts on your thoughts and the atmospheric canvas for your startling sounds?

I guess everything is making an impact – really on a daily basis. As you form as a person every day, your creativity is developing based on your impressions, experiences and growing culture. Your ideas and passion gets stronger, and your own understanding of reality really affects you as an artist.

Was Revelation’s Hammer originally intended just as a solo project and if so when did you realise you needed to expand personnel?

by Cecilie Molteberg

by Cecilie Molteberg

I started the project on my own cause I didn’t know any musicians at that time that I wanted to work with. My original plan was to find full time members to the band ASAP, and personally only do the guitars on the album. About one year into the writing process, I met this drummer Bergh, and invited him to the line-up. Still, I was the only composing part of the band, and the only one really serious about it. I continued to look for other musicians while me and Bergh kept rehearsing…then, when I finished the writing of our first chapter in 2009, things didn’t go as planned with Bergh…We had a lot of complications and disagreements between us, and I finally told him to quit. So on I started to feel more interested in getting session members instead of permanent members to get involved. Myrvoll (NIDINGR) joined on session drums shortly after, and while we rehearsed for the first recording session, it got more and more obvious that I was going to play all the instruments except drums. Today, I feel slightly different about it. I really want to be able to do shows, and by that reason I want to gather three more musicians for future gigs. It’s not impossible that R.H will turn into a full band someday either, but then again, I really need to meet the right musicians before involving anyone into the inner circle.

You mentioned Myrvoll there, tell us how the link up with him, also the drummer of the excellent Nidingr, came about?

In fact, Myrvoll joined Revelation’s Hammer as a session drummer about two years before he got recruited by Nidingr. Their album “Greatest of Deceivers” got released seven months before R.H’s album, but was also recorded two years later. It was quite a coincidence that I met him actually. When I split up with Bergh in 2009, I needed a really good drummer ASAP, because the album was already about finished. It feels a bit like a coincidence, because I got introduced to him through a mutual friend of ours almost right after the split. Myrvoll was fortunately available at the time and really liked my music, so we figured out that we wanted to work together quite fast…

Was that the only aspect of your music you felt you needed or was able to bring in another’s craft and skill for?

As I mentioned a bit earlier, in the early days I really planned to get more musicians to play on the album to separate the roles a bit more…But I guess I finally realized the benefits about being my own boss? More time to focus and a whole less time on discussions. The whole revelation was also evolving more and more into an important part of my personal life, so at one point in the recording process I guess it felt kind of unnatural to bring in more people. But I did really try working with several vocalists and even went into studio with one of them, but the result just didn’t work. Maybe I’m hard to deal with cause I know how I want my music, I don’t know…But at one point, it was whole lot of easier to just decide that this was going to be a solo album with session and guest members only. I was already familiar with my own bass lines, so I just needed to figure out how I was going to do the vocals.

You have just released your outstanding self-titled debut album, a release it is fair to say that is an exhausting and thrilling confrontation of compelling aural drama and rapacious antagonism. The album’s recording was a prolonged experience from its first session in January of 2012, what held up its creation?

I guess you mean January 2010? You’re absolutely right. In fact it’s really ridiculous that it took us fucking 41 months from when we started to record until we actually got to release the album. But you know it was so many things that just didn’t work out and caused everything to get more and more delayed. It was different line up problems, troubles with availability of the people I wanted to work with, difficulties in getting hold of a decent studio to record the vocals, back and forward with the mixing and mastering results etc. Several unfortunate events caused a lot of bullshit.

Taking so long to emerge did it evolve further than you originally envisaged in sound and presence with that extra time to think about things?

I would at least say that it made me really conscious about what I was doing. Of course, each separate process was quite hardworking and exhausting in many ways, partly because of the total focus and dedication to the music. Even if I had a day off or didn’t really need to do anything regarding the project for a short period of time, I always found something to work on. I listened to the tapes over and over, and wrote a lot of notes for the next mixing or mastering session. Peter In de Betou actually started to master the album already in 2010, but I later realized I wasn’t satisfied with the first mixing result and then the whole process had to start all over. Hah! You know…I’m a man of perfection, and really wanted to make an album I was going to be able to stand for in the next ten or fifty years. I’m very much into details, push my own limits quite far and always make sure that I’m in control over the result.

by Cecilie Molteberg

by Cecilie Molteberg

As we talked of the band allows you to express your feelings and views on life and the world, so we can assume the album and songs are a deeply personal?

Yes, as I talked about in the introduction…Still, the exact motivation behind Revelation’s Hammer will remain untold. Everyone’s responsible for laying their own puzzle.

Do you think your songs will always come from personal seeds?

The only thing that I’m certain about is that my lyrics will continue to be based on different themes I either find interesting, engaging or even provoking. What the hell is the point with writing something you can’t relate to? That’s just meaningless, dumb and not interesting.

How do you generally create songs, what is your favoured process?

It really depends…But often, I find myself with the guitar on my lap, and instead of figuring out what to play; I let the music flow natural while I just play various themes. When I’ve found something to work on, I usually write it down, before I’ll test different assistant compositions with the other instruments (drums and bass). I usually arrange part for part with all instruments together. It’s important to hear how it all sound together, cause if one instrument sounds like shit, the whole song will sound like shit! In the final process, I add eventual final details; and maybe rearrange the whole composition in an attempt to improve its correlation. It’s a really hard process, but also a very giving one…

What is the core theme for the album and connecting songs?

A great keyword would be “ignorance”, but each of the songs has really their own core theme and tells their own individual story. The different themes can still happen to be connected to each other or share common values, but not necessarily. The six hymns represent the first part of a greater truth and a greater world. But since Revelation’s Hammer is not going to be revealed through this interview, I can’t say any more about it than that. Your delusions are often easier to handle than the truth!

The tracks on the album confront and provoke reactions in the listener emotionally and in thought, even with some in your native tongue which is testament to your potent songwriting and sounds. Did you aim for this rich effect within songs or was it something which was organically bred as tracks evolved?

First, I want to say that I truly appreciate opinions like that about our work. I think some of the best compliments you can give an artist is that they have succeeded in creating an emotionally or psychological disturbing effect with their work. Either shocked, or made someone feel terrible ill. It’s the same thing regarding the cinema industry…The really good movies are the ones that give you a true feeling. The feeling doesn’t need to be positive, and could easily have been that a piece of music caused you mental illness or insanity…Because then it clearly has really strong powers and will definitely be remembered. When you’re in the writing process I don’t think you’re able to aim at this concrete kind of art ideology… Because everything’s very subjective, and when you basically write music for your own mind, it’s even harder to be able to create something that causes other people reactions as for example sorrow or hatred.

There has been a wealth of releases utilising and exploring textures and layers within their sound recently but so often these are lost within one overwhelming aspect. Your album gives clarity and expression to all whilst seamlessly lying hand in hand with each other. How intensively do you have to work to achieve that success?

Personally, I appreciate both music and production that gives you the impression of being right in the middle of it. The concept of “less is more” doesn’t fit my song writing. So the result is probably a combination of my own way of composing music, and a lot of hours in the studio; Recording, mixing, mastering…You know, when you’re in the centre of a production like this, you really don’t think of all the effort you put in along the way. However, when you look back at everything, it sure was tough to get the result I had in mind. So I guess the answer to your question is “very intensively”?

The album was as you said completed a couple of years ago, have you been tempted to continue adding or evolving things since or are you a person to say when something is done it is done?Artwork by Ricardo Fernandes.

From the first recordings in 2010 to the final mastering and my personal acceptance of the album in 2011 I continued to add elements and evolve the whole expression almost constantly. Looked for changes and improvements while I tried to get it 100% as the vision I had while writing the material. But after the final mastering in April 2011, I said to myself… This is it. Now it’s done. Finished. And it gave me a psychological effect that truly worked. I finally managed to accept the album, and said stop to future changes. When I listen to the album today, of course I’ll find sections I know that could have been performed better or done in a smarter way, but in my head I treat the album as something that belongs to my past, and chooses to not bother. If I wasn’t able to think of it like this, I would probably have worked on the album forever and no one would ever been able to hear Revelation’s Hammer.

The release was mastered by the legendary Peter In de Betou who you mentioned earlier, was it easy to persuade the man to bring his craft to the album?

I sent Peter an e-mail where I told him about the project. I wrote that Børge from Toproom was responsible for the mix and that he had recommended him to me to do the mastering. He responded in just a few hours and declared that he wanted to do this. I got kind of surprised by his positive response, because he seems to be a pretty busy man with an often full booked calendar. He actually started to work on the project only four days later.

What then held up its actual release after the studio work was finished and release mastered etc.?

The final mastering took place April 2011, and after that I spent very much time looking for a trustworthy label that I actually wanted to release our album through. This process took a lot more time than expected cause the interested labels either had their release schedule full for a long time or offered me contracts with terms I didn’t feel satisfied with. I believe the music industry is really hard these days, causing more and more bands to just release and print everything on their own. Still, I chose to keep looking and got in touch with Francesco from Italian Dark Metal label My Kingdom Music in November 2012 and signed a worldwide recording and distribution contract with him in March the following year. I guess one of the positive side effects of all the delays is that we seem to have generated a group of followers over the years, and it’s really amazing to see that many of our early followers is still hanging around as they did several years ago. Hopefully our album met their expectations when it finally got released.

 What was it about My Kingdom Music which persuaded you they were the perfect vehicle for the album’s release?

We negotiated and communicated for almost five months, so we really got to know each other and understood what we both wanted. In fact, I’m really glad that we used a lot of time talking. I think it’s important to build trust with a partner you’re probably going to cooperate with for several years. I’m certain that an artist that basically signs everything he gets on paper really regrets it afterwards.

Tell us about the sensational artwork wrapping the release.

The artwork is put together by the Portuguese artist Ricardo Fernandes. I’m really happy with his result, and I think he did succeed in making really extraordinary art which symbolizes R.H’s vision of the world. We brainstormed several ideas and worked our way through several sketches to get to the final result. The cover art in front is really a collage built upon a careful selection of (anti)religious paintings. Ricardo’s friend Marcelo Rodrigues designed our logo…I think he’s primarily works as a tattoo artist in Portugal. And a Norwegian guy named Hans Jørgen Nygårdshaug inserted the lyrics and text to the booklet. The portraits is taken by Norwegian photographer Cecilie Molteberg and edited by myself.

by Cecilie Molteberg4How are things progressing towards the band performing live, have you anything in place to support the album live wise?

I’m definitely looking for live musicians, but haven’t any official information to share with you regarding this yet. You will be able to see our revelation live one day, but when really depends on how fast I’ll find the right kind of musicians to involve.

Such the gap between creating and releasing the album we assume you have more material or advanced ideas in the works for its successor. Anything you can reveal here and now?

Of course I have lots of ideas and thoughts around our next chapter, but it’s too early to reveal how the progress is going besides that everything is basically in a very early phase. But continue to follow our sites and I’m going to keep you all updated.

Once again thank you for sharing time and thoughts with us, and may we say all dark metal fans should check out Revelation’s Hammer band and album.

Any thoughts you would also like to leave us with?

Thank you Pete! Quite interesting interview and by far the longest I’ve ever accepted to respond to. Continue to spread our propaganda and keep fucking true to yourself. Blasphemy, fire, rebellion…This is just the beginning…

Buy our album at http://www.mykingdommusic.bigcartel.com !!!

Or order it directly from me at revelationshammer@gmail.com

Share our official album trailer: http://www.youtube.com/watch?v=Bi7w3fv_WA8

Explore our revelation online:

http://www.facebook.com/revelationshammer

http://www.youtube.com/revelationshammer

http://www.soundcloud.com/revelationshammer

http://www.reverbnation.com/revelationshammer

Read the Revelation’s Hammer review @ https://ringmasterreviewintroduces.wordpress.com/2013/06/05/revelations-hammer-self-titled/

Pete RingMaster

The RingMaster Review 25/06/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

Revelation’s Hammer – Self Titled

Revelation's Hammer pic 1

It may have pure sonic venom coursing through its veins but there is something irresistibly inviting about the arts and crafts of the self –titled debut album from Norwegian metallers Revelation’s Hammer. Skilfully sculpted and ravenous in its hunger driven energy and invention, the release is wholly enthralling despite its spiteful air and offers certain reasons as to why the band is being talked of as the next big thing in Scandinavian black metal. Six tracks of compelling aural drama and rapacious antagonism, Revelation’s Hammer is an exhausting, thrilling confrontation.

Created by Accuser (vocals, strings, and concept) in 2007 for his musical ideas, the project was joined by drummer Bergh. His departure saw the recruitment of Myrvoll from Nidingr with the beginning of the creation of the album began January 2010. The recordings expanded over ten months due to several setbacks, with the album being mixed by Børge Finstad at infamous Toproom Studio (Mayhem, Borknagar), mastered by legendary Peter In de Betou (Watain, Dark Funeral), and additionally featuring a guest appearance from Exilis from Troll on some tracks. March of this year saw the Oslo based band sign with Italian dark metal label My Kingdom Music and as its seditious charms stalk the world one suspects the album will set Revelation’s Hammer to the fore of and ignite the current stance of black metal.

     Obsessed Onslaught slowly crawls before the ear to start things off, its yawning sonic stretch and melodic call soon swept within Revelation's Hammer coveran avalanche of destructive rhythms and equally ravenous riffs. As the intimidating guttural squalls of Accuser stare eye to eye with the listener and unleash their propaganda of malevolence, devious grooves strike out to seduce the senses whilst being still ravished by the vocal and lyrical grazing. It is a weapon the band and album uses frequently and persistently it persuades defences to relax allowing the annihilatory breath and intent of tracks to win their cause. Across its expansive length there is never time to catch breath before the next shift and evolution in direction and persuasion is ridden, that relentlessness only adding to the epic feel of the sound. As intriguing and eventful as it is barbaric, with blast beats pummelling the senses throughout and the excellently varied vocals holding a satanic compulsion in whatever guise they use, it is a striking and scintillating start.

The title track opens with another riveting grooved temptation before the vocals assault with a bedlamic hatred, their malice opening up the song for its corrosive and towering intensity to douse the senses in primal sonic filth. As its predecessor the track twists and flays within its invention, every corner of its course opening another rage of further blistering energy and captivating imagination. The savagery steps back as the climax approaches to allow its nightmare to unveil a sampled stark scenario before returning with a furnace of a finale which scorches ears and sears emotions.

The outstanding Den Blåøyde dances on the already wasted nerves and senses next, though its waltz is one of viciousness and sonic manipulation honed into a brutality which again across a varied gait has only full greed guiding its purpose. Within its immense appetite of violence the track has a web of melodic temptation and insidious beauty which secures honest ardour towards its just as threatening epic breath and virulently creative alchemy. The best moment of the album it offers all the evidence as to why the band is being harped over.

Both Buried as Filth and Avgudsdyrkelse continue to openly impress, the first seemingly bred from a warzone wasteland, sonic teasing skipping over its grave to offer further insanity whilst welcoming hostile futures crafted from the rhythmic maelstrom and riff loaded wall of intensity, The second of the two saunters in with a confrontational attitude and determined will to exploit all, which with further excellent senses examining rhythms from Myrvoll and the kaleidoscope of apocalyptic sonic enterprise from Accuser, it does with ease, senses and thoughts willing victims.

The thrash courting The Crown Of Malice which evolves into a blackened vat of serpentine degenerate toxicity you can taste on the lips, closes off the album with impressive and invigorating power. From start to finish the album only challenges and tests the listener but most of all rewards with one of the most striking and exhilarating genre debuts in a long time. Dare you face the Revelation’s Hammer?

www.facebook.com/revelationshammer

9/10

RingMaster 05/06/2013

Copyright RingMaster: MyFreeCopyright

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

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Aborym – Dirty

Aborym2

Listening to Dirty, the new album from Italian industrial metallers Aborym, takes thoughts back to the early days of the genre when Ministry and Godflesh corrosively chewed senses and KMFDM had a true snarl to their sound. It was the time when the genre was at its purest, as generally any style is at its seeding time, and when there was a malevolence and creative spite which arguably has since dispersed over the past decade in the industrial arena. Formed in 1992 the band has continued and explored their origins, combining the essences of the genre from back then with blackened venom and extreme metal savagery. Aborym have set high standards across the years which have inspired and shaped the intent of a wealth of bands and it is with confidence that you can assume Dirty will continue that influence.

Released through Agonia Records, the sixth album from the ignites fires in the passions but as easily quells them at times too, it is an experience of mixed ideas and results but one which is thoroughly captivating and deeply intriguing from start to finish. Like their sound overall, the album unleashes a predatory expanse of what they call “hard-industrial-electro extreme metal”, an unpredictable confrontation which is lingering and at times irresistible. The trio of Fabban (vocals, bass, programming, synth), Paolo Pieri (guitars, keyboards, programming), and Bard Eithun “Faust” (drums), whose past and current invention is found in bands such as Emperor, Hour Of Penance, Mongo Ninja, and Blood Tsunami, take thoughts and senses on an intense and caustically carved journey through black hearted emotive depths and synapse challenging intrusions.

Opening track Irreversible Crisis has a tantalising beckoning to recruit thoughts from the start, its blend of sizzling metallic pulsesAborym_dirty_cover300dpi_rgb within a scrappy blistered ambience evoking instant thoughts before the ravaging blackened charge of sonic malevolence consumes the ear. It is a viciously driven persuasion with the vocals of Fabban squalling with serpentine intensity upon the rhythmic bombardment and quarrelsome riffing. It is not long though before the industrial veins move in to shift the emphasis and creative temptation, the vocals seizing a Marilyn Manson like enticement whilst the song itself moves from a black metal like scourge through to an electro industrial wantonness. Imagine Behemoth meets Ministry and Treponen Pal before engaging with Wiseblood and The Amenta and you get an idea of this outstanding track and start.

The following Across the Universe wraps its electro arms tightly around the ear initially before slowly stretching its metal sinews and resonating breath into another intensive provocation. Clean vocals set the narrative up with potent clarity whilst the melodic teasing of the song inspires thoughts before being drenched in a squall of blackened toxin. Though not as immediate in its persuasion as its predecessor, the song is a riveting sonic travelogue through rapacious and magnetic scenery which reveals and persuades more with each subsequent course.

Next up the title track is a filth clad tsunami of nastiness, its erosive breath working silently behind the violent hunger and insidious exploits created by the venomous maelstrom elsewhere. It is the brink of the abyss, its industrially sculpted ferocity a virulently contagious assault with an intensity and energy which is hellacious at best and primal destruction at its most rabid.

Both the scintillating Bleedthrough, a track which infuses a storm of blackened carnivalesque like sounds, diverse essences, and exhausting emotive warfare, and the nightmare that is Raped by Daddy, continue to keep the album on the highest plateau. The second of the two  breeds its deepest agonies  through a magnetic mesh of extreme and electro metal, rhythms chewing on bone whilst the sonic acid scars beside a seductive electronic coaxing. Once at the heart of its distress there is a bottomless pit of emotive torment impacting on every sense, thought, and emotion, making for an experience which is lingering and explosive.

From this point on things do not find the same potency and draw as the first half of the album, though songs like I Don’t Know, even with its dodgy clean vocals at one point, The Factory of Death and closing song The Day the Sun Stopped Shining never find less than full involvement from the mind and attention from the ear for their still inventive and expressive enterprise. Amongst them one more pinnacle does shine through. Helter Skelter Youth is a schizophrenic fire of industrial, avant-garde, and electro devilment, an insatiable fury upon the listener with a thrilling body of epidemically infectious invention.

Though not holding on to its full triumph across all its length Dirty is an outstanding album which feeds the appetite for the origins of industrial metal whilst refusing to neglect the experimentation and intensive adventure of the now. Also released with a second CD available only on digipack, double gatefold LP featuring covers of tracks by Iron Maiden, Pink Floyd and Nine Inch Nails, two completely re-arranged and re-recorded tracks older songs and one new track, the album is a must investigate release as a bare minimum for all fans of the genre.

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8/10

RingMaster 29/05/2013

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