Hollow – Mordrake

Hollow - Press Photo

There are some debut albums which impress, some which raise a depth of excitement sparking a long term connection, and then there are some like Mordrake from Canadian death metallers Hollow which simply have you shouting feverishly from the rooftops. The release is an extraordinary maelstrom of startling invention, mouthwatering imagination, and enslaving hostility which simply blows thoughts and passions away. There has been talk of great things about the Montreal quartet from their live performances and previous release, the six track EP Cynoptic Eschaton, but it is fair to say we were not expecting something so devastatingly brilliant for our first introduction to the band.

Formed in 2009, Hollow has earned a fine reputation and potent presence across Québec and Ontario moving across their homeland through their live incitements which has seen them excel alongside the likes of Voïvod, Suffocation, Sword, Jungle Rot, Iwrestledabearonce, Blackguard, The Agonist, Beyond Creation, Marduk, 1349, Tyr, Orphaned Land, and many many more. Cynoptic Eschaton drew further strong acclaim and attention with its release in 2010 which Mordrake is sure to emulate in much greater strength and expansion. Bringing new character to some of the tracks on the previous EP and plenty more new breath-taking encounters within its twelve song body, the Kevin Jardine (Slaves on Dope) produced, with Dan Lauzon (Entropy) and the band, album was recorded with an uncluttered ‘analogue’ like approach which brings a raw and honest dimension to the proposition allowing music and individual craft to paint a stunning fiercely textured adventure.

Opener Lament Configuration emerges upon a sonic prowl which is almost lumbering in its gait and thoroughly engrossing in its Album Cover - Hollow - Mordrake 2014 - smallsearching sonic exploration over the senses, the fingers and strings of guitarist Cadaver already capturing firm attention. Pungent rhythms add to the portentous tension brewing within the dramatic coaxing whilst orchestral melodies and harmonies soak the oppressive atmosphere lying thickly over the evolving scenery. Eventually the band step from the initial evocative smog with a surging stride of riffs and concussive beats from Blaac which vocalist Mott roars over with every muscle of his malevolence. It is an impossibly contagious charge which is just as compelling in its imaginative twists and enticements, not forgetting individual skills, as in its turbulent catchiness. The track is the thrilling declaration of things to come, a tempest of bewitching ingenuity and lethal aggression within a blackened pestilential beauty of sound and creative intent.

It is a staggering start which both Cryptic Howling and A New Life explosively reinforce. The first is a voracious torrent of rhythmic rabidity matched by an unbridled hunger in riffs and outstanding vocals, Mott gloriously unpredictable in his venomously corrosive varied delivery. Within the scourging onslaught, bassist Snow finds an even more intensive bestial voice from his strings to add to the hellacious web, a tone which is as at home sculpting a carnal texture to the vitriolic attack as it crafting deliciously haunting lures to the enthralling melodic hues which seduce robustly later in the track. The track is a severe examination of senses and psyche with more riveting rewards in its single body than most death metal bred albums offer across their full lengths, a treat repeated by its predecessor. Entwining ears in a climbing vine of sonic imagination which is soon under a tsunami of pungent antagonistic intensity and ravenous enterprise, the track adds to its surprises with contagious grooves which lead to a heavy metal endeavour beneath a symphonically seeded elegance. This is all around a heart which is predatory in the extreme and soaked in a simply irresistible rapacious appetite.

It should be noted that whatever description tracks are given here they only hint at the whole picture, so much going on and being sculpted that it is impossible to truly represent their brilliance and impossible to take all in on just a few encounters ensuring the album is a constantly giving proposition with every assault. The next up rampage of Landscape is instant proof, its ferocious vehemence in sound, vocals, and imagination a senses eroding, thought provoking ruin which wrongs foot with majestically flighted harmonies of keys casting seducing melodies. As ever it is just a twist in the soundscape of the song’s blisteringly shaped and exposed narrative, the track a purposeful sublimely designed meander that chains mind and soul from start to finish, whilst lorded over by the just as impressive vocal diversity of Mott, more of which coming later.

The pair of Iscariot and Sunriser throws senses and imagination into further exacting furies, both again intensive weaves of addictive hooks and toxic grooves upon exhaustingly adventurous and demanding canvases. As with every track on Mordrake, each is a distinct individual with the first finding a poetical grace in the keys within a uncompromising plague of voracity whilst Mott brings a brief but just as impressive clean twist to his vocals amidst another range of guttural and poisonously squalling growls. It is a glorious track which is followed by the just as staggering triumph of Sunriser, clean vocals given another outing whilst standing in a storm of demonic toxins from the raw throat of the frontman. The bass of Snow is also a real highlight in the foreboding drenched climatic air of the song, though to be fair to all the encounter is a scintillating blur of inventive animosity and imaginative pestilence for which all deserve the outmost credit.

     The emotively driven Vlad comes next, a track we assume inspired by a former band member from the band’s first days who passed away unexpectantly. With keys and violins an insatiable seduction, the song is another which rabidly suffocates as it inflames senses and emotions before making way for the provocative epidemic of sound and fascination that is Anomie, a track bringing orchestral flumes into an entanglement with heavy metal wantonness; keys, bass, and guitars conspirators in a savagely hued, magnetically cultured creative virus.

Generally in an album so incredibly gripping and awe striking there are going to be lulls or weaker moments but honestly Mordrake holds no such inventive languor, the following innovatory alchemy of both the chilled Snow where those cleaner tones of Mott are given extra time and the hypnotic maze of Birth, rhythmically and sonically as spellbinding as anything on the release. The same applies to closing tracks Hate and Death, two final incendiary expanses of fertile minds and musical ingenuity.

Mordrake is simply remarkable, one of the most promethean debuts in a long time and certainly within death metal this year, though Hollow have a sound and presence which you cannot confine to a single genre or singular mind-set. A brilliant album from a brilliant band, what more do you need to know?

The self-released Mordrake is available via http://hollowcanada.bandcamp.com/album/mordrake

http://hollowofficial.com/

10/10

RingMaster 30/05/2014

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

 

 

 

Chariots of The Gods: Tides of War

Chariots of the Gods -Tides of War official (group)

     Exploding out from the depths of the underground, Tides of War the debut album from Canadian metallers Chariots of The Gods, is quite simply sensational, a metal album of the highest order. It offers no indulgency or pretences to mislead on paper or aurally, but openly knows what it is good at and delivers those aspects with a passion and force which few other bands certainly recently have matched. Fusing diverse textures and sounds from melodic metal, thrash, and death, their music and album is simply a tour de force of metal.

Formed in 2007 by guitarist Mathieu St-Amour alongside bassist Christian Methot and guitarist Christian Carrière, the Ottawa band grew into a quintet with the addition of drummer Rich O’Neil and vocalist Renaud Jobin. Soon impressing live, the band released to very strong responses their Reverence EP in 2010. The release pushed them onto another level locally and sparked better opportunities live for the band, though the end of the same year going into the next saw the departure of Methot and Carrière. Moving forward though Chariots of the Gods brought in long-time friend and guitarist Dimitri Gervais and bassist Payam Doryani and set about laying waste with their towering sound. The band has bruised stages alongside the likes of Misfits, Voivod, Despised Icon, Kataklysm, Blind Witness, Misery Index, Martyr, Fuck the Facts, Blackguard, Neuraxis, and The Agonist, over the years and now burst into the world with their triumphant first full length release.

The Glen Robinson (Gwar, Annihilator, Queensryche, Voivod) produced album is a thrilling tempest of insatiable riffs, rhythms Tides of War - Cover - High Reswhich make demands no one should be forced to take but do willingly, and deliciously confrontational vocals. Spread throughout there is also a melodic and sonic enterprise which burns like an invigorating furnace and combined the result is one of the most impressive metal albums in recent years. Self released, Tides of War immediately from its dramatic and compelling opening instrumental Overture has a hold over the ear and thoughts. It is brief yet the perfect atmospheric lure into the epic intensity and drive of the album starting with the ravaging Seventh Weapon. The first seconds consists of thumping beats and sizzling guitar twists around the ear before expelling a ferocious breath through the squalling scowls of Jobin and an avalanche of rhythms. Now settled into its fearsome charge the track towers over the senses with the intensity and expansive reach of a storm. Across its bristling sinews and colossal breath, the track unleashes a whip lash triggering attack from O’Neil, exceptional and fiery melodic persuasion from the guitars of St-Amour and Gervais, and an irresistible raptorial vocal devouring.

As in the first full song, Blind Assassin reveals the prowling might of bassist Doryani; it is not always an aspect with as much clarity as the other elements but removed would undoubtedly leave a big gaping hole and when the heavily consuming notes find clarity of voice, the songs just bulge with impressive shadows. The third track is a less forceful entity than its predecessor with a sonic elegance which lays rough caresses over the ear, though it is not lacking any demanding spirit or heart either. It arguably pales a little against the previous track but outshines so many efforts from other artists.

Each and every track is immense and in varying degrees offers hints of the influences which vein the sound. Within the likes of Ambrosian Wings, the Russian Revolution inspired pair of the crushing Revillusion (1905) and the voracious Severing the Bloodline (1917), and the violently smouldering Red Skies, as examples, essences of the likes of In Flames, Norther, Testament, Lamb of God, and August Burns Red are apparent and add extra spice to the rich sonic menu of the band. As to be expected some songs reach the highest pinnacles and the biggest highlights on Tides of War come firstly with the title track. It is a thunderous rampage of sizzling guitar magnetism and invention driven by again the tumultuous and outstanding rhythms of O’Neil.  It is the perfect blend of aggression and melodic persuasion which chews up the senses whilst treating them to a fine dining of sonic imagination. Further lofty heights come with the senses grasping and obliterating Collapse of an Empire with its delicious spearing flames of melodic intrigue, and the corrosive and glorious Unbound which also features Aleksi Sihvonen from Norther.

The album is not just intensity and brawling aggression though as to perfectly break up the onslaught there are a couple of compelling instrumentals in the enthralling shapes of Snow Falls On The White River (1914) and Nebula, both beautiful pieces of music in their very different guises and far from interludes and fillers.

Tides of War is an exceptional creative ambush for the heart with a rage of the fullest rewards and an expressive depth of unbridled undiluted metal. You may not have heard of Chariots of The Gods before now but that is sure to change very soon as their album is exposed to the wider world.

http://www.chariotsofthegods.net/

RingMaster 29/01/2013

Copyright RingMaster: MyFreeCopyright