A Breach of Silence – The Darkest Road

ABOS - 2013 promopic 1200x1200

Though the tightness of its grip fluctuates across its fourteen roars, The Darkest Road is a creative fury easy to breed a greedy appetite for. Unleashed by Australian metallers A Breach of Silence, it is a tempestuous slab of varied styles and flavours which has been labelled as “powercore”. Melding the potent flavours of metalcore through to post hardcore, heavy metal on to melodic death metal, and we are missing out many more spices, it is a compelling proposition which never gives ears and imagination time to settle or spawn expectations.

The Darkest Road follows the successful and acclaimed debut album Dead or Alive which was released a year ago. With having Australia’s prestigious Q Music Award in the Best Heavy Song category (2012) under their belt, which helped lead the band to signing with Eclipse Records, their first full-length pushed A Breach Of Silence into a new intensive and global spotlight, backed potently by the band’s live presence which has seen them share stages with the likes of Born of Osiris, Adept, The Amity Affliction, and Upon a Burning Body. Earlier this year the band released their controversial Night Rider ‘first-person shooter’ music video which took inspiration from their obsession with FPS video games and 1960’s classic westerns such as Hang ‘em High and The Good, the Bad, and the Ugly. Now The Darkest Road is upon us to stir up ears and thoughts whilst making another impressive step in the ascent of the Brisbane quintet.

Recorded with producers Fredrik Nordstrom and Henrik Udd (Bring Me the Horizon, Arch Enemy, In Flames), The Darkest Road as suggested ebbs and follows in the strength of its certainly unrelenting captivation, sometimes throwing a spanner in the works of getting a handle on songs and the release, but it only adds to the welcome and inventive unpredictability and constantly intriguing nature of the encounter. The album certainly starts with furious gusto and anthemic irresistibility, opener T.P.N.E shoving group shouts through ears before wiry grooves and heavy rumbling rhythms join the emerging storm. The raw and caustic vocal squalls of Rhys Flannery swiftly more in with antagonistic and skilled intent which in turn seems to light a fire in the creative swings of drummer Andrew Cotterell and the similarly vivacious motion of the grooves conjured up by Mat Cosgrove and Kerrod Dabelstein. It is a gripping and incendiary blend which is capped off by the throaty lure of bassist Blair Layt and more so by his outstanding clean vocal delivery. The song offers richly flavoursome and agitated metal of the highest order and an inescapable lure into the creative lair of A Breach of Silence, an entrance backed powerfully by the following title track.

The second song caresses ears with the impressive tones of Layt right away, evocative keys coaxing the invitation before riffs and acidic grooves erupt to trap and steal the passions all over again. As its predecessor, the track is a formidable Printencounter which is unafraid to bewitch and bewilder, seduce and rile, with a unique character seeded in the likes of All That Remains and In Flames. Its stature and temptation is matched by Vultures which strides confidently in next. Another certain anthem with its group calls and raging rhythmic confrontation, the song blazes sonically and vocally from the start, the extremes of voices a perfect union within the similarly blended canvas of predatory and melodically smouldering sounds.

Through the intensive yet warming examination of Silhouette, as the others songs upon The Darkest Road, a hope rich and potent roar against life’s obstacles, the band reveals more of their technical and imagination driven resourcefulness. A scent of Bullet For My Valentine hints throughout the evolving and inventive offering before Hang ‘em High sets its own individual fire within the release. Riffs and rhythms spew anger with their intensive and physical intent whilst Flannery almost brawls with ears through his uncompromising and pleasing vocal antagonism. It is a potent and engrossing song if without the spark of those before it, a comment which can be placed before In Reality We Trust also, though as always with the album it is mostly down to personal taste. The song storms and bleeds spite over the senses with skill and enterprise but it is mainly the vocals from both men which steal the plaudits.

From here the album does not have an identity crisis but definitely wrong-foots with persistence. Though all the tracks so far employed a diverse and varied spicing, they were bred from a fierce extreme metal canvas. The excellent Lost at Sea brings a new bloom of sound, immediately expelling a ‘folkish’ tinge to its air as well as a glorious melodic croon across its potent harmonies and sonic narrative. It is a loud whisper of something different in some ways but helps seed a new hostile and captivating breath to the album, and makes for an enthrallingly textured and majestic slice of persuasion.

   This is the End comes next and instantly spins an engaging sonic and rhythmic web around ears. It is a contagiously compelling weave, guitars and bass a simultaneously welcoming and menacing enticement over which the vocals merge hostile and catchy elements with a classic metal spiced attack. Every chord and rhythmic swipe brings a surprise and unexpected twist, the song emerging as another pinnacle and treat for the album, something Immortal is not. To be fair again it is just a personal thing but its heavy/power metal balladry complete with the genre’s trademark vocals warbles and squeals, just does not find a welcome in these ears though it is easy to hear its qualities and know it will be a favourite with classic metal fans. The song is another unique identity within the character of the album, though to call The Darkest Road schizophrenic would be going too far.

The excellent Hannibal is more from the template of earlier songs, its metalcore voracity and melodic tenacity an infectious and voracious treat which parts for the even heavier and harsher A Place I Know. The song also expels fiery melodic endeavour, again with a more classic spicing, before exploring slimmer post hardcore scenery punctuated with probably the most intensive beats and riffs on the album. It is a song which sets a fire in the belly at times but also lowers its temperature in others, but for intrigue and bold invention it is another notable moment.

Dead and Destroyed is simply brutal, a wall of angst and viciousness which still makes room for vocal croons whilst Krazy Bitch seems to pull in all the things which excites and personally frustrates in the album for a still rather pleasing encounter. The pair leaves the piano and voice sculpted ballad Time Still Remains to close the album, the song a more than decent piece of melodic metal but easy to skip by to get back to the pungent heights the album started on all over again.

The Darkest Road is a striking release, with to be honest any issues found coming from just the individual likes and dislikes we all have in our metal. It is easy to see A Breach of Silence becoming a big player in world metal if this thrilling tempest is anything to go by.

The Darkest Road is available now on Eclipse Records @ http://www.eclipserecords.biz/a-breach-of-silence-the-darkest-road-cd/

https://www.facebook.com/abreachofsilenceband

RingMaster 10/10/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

 

 

When We Were Wolves – Heartless

When We Were Wolves

At the end of our review of the deeply pleasing The More Things Change, The More We Stay The Same EP from Welsh post hardcore band When We Were Wolves, we added that this was “still a band in the making”. Now the Bridgend quintet unleash its successor in the stunning shape of Heartless to show that they are a creative tempest which has arrived at its first pinnacle whilst still offering the potential of even greater things to come. The five track fury of invention and intensity is a startling encounter exploring a broader and more mature landscape than its predecessor yet still passionately driven by the band’s now distinctive and imaginative post hardcore intent.

Formed in 2011, When We Were Wolves has built a rich reputation for their live presence, which has seen them play alongside the likes of Bury Tomorrow, The Blackout, Devil Sold His Soul, Malefice, Born Of Osiris, Exit Ten, Betraying The Martyrs, Martyr Defiled, and Carcer City. Add that to the success of The More Things Change, The More We Stay The Same and it is fair to say that anticipation for its successor was ripe and full, a hunger swiftly sufficed as Heartless rampages through the ears.

Opening track Dying On The Inside straight away lays a feisty glaze of riffs over ears, their lure fusing a punk and metal attraction before the rampaging beats of drummer Josh Baker uncage their full weight upon the sonic turbulence. The bass of Matt Shaw prowls the gripping brawl of sound with relish whilst vocalist Mitch Bock roars with emotion and animosity. Riffs and grooves spill equal animosity through the craft and invention of guitarists Steve French and Rhod Evans too, their intensive proposal alone creating a riveting baiting of thoughts and emotions within the song. It is a stunning start to the EP, the track twisting and embracing the senses with enthralling imagination whilst further inescapable temptation is expelled through the outstanding and impressive vocal delivery of Bock. Like a collision between While She Sleeps and Slipknot with a twist of Cancer Bats, the song is an irresistible contagion.

Coating ears in an initial melodic yet fiery embrace, the next up The Devil You Know soon twists into a ferocious beast of vocal hostility and sonic antagonism. It is a demanding and compelling start but taken to another level as Bock PromoImageunveils more of his superb clean and melody rich vocals which had already enhanced its predecessor. Equipped and skilled to merge both extremes, he proves himself on Heartless to be one of the more exciting frontmen around. An essence of Dead Til Friday prompts thoughts towards the song but again a mere whisper to a sound undeniably belonging to When We Were Wolves. Predatory and seductive, it is a riveting adventure matched immediately by the voracious Blind. A sonic haze starts it off before grooves come out of the woodwork with insidious intent as pounding rhythms bring their equally enslaving thunderous textures. Vocals also explode with wide variety and unbridled passion across the destructive maelstrom smothering the senses. It is an exceptional savagery with a lingering spite ensuring it is one of the pinnacles of the release.

The following Confession takes its spark from the previous track, staggered riffs and venomous grooves an intensive and welcome intrusion as rhythms cast their heavyweight provocation. There is no respite from the vocals either initially, the fighting tones of Bock showing no mercy until his seamless slip into the equally impacting clean and velvet delivery he possesses. The encounter is a masterfully invigorating tempest which like most of the songs, perfectly sculpts its relatively brief length for the most dramatic impact before making way for the closing title track. Lighter in its presence in comparison to the last couple of tracks, Heartless is a radiantly emotive song, a melodically fired croon of sonic enterprise and vocal intensity which steals attention and ardour with Bock again exceptional though well-matched by the skilled sonic and rugged rhythmic charm of the rest of the band.

The Heartless EP is a major triumph for When We Were Wolves and the British post hardcore scene. The Welsh band has not only found its own voice but set out a new vat of promise and invention to inspire even greater anticipation for their next offerings.

The Heartless EP is available digitally through all stores on Monday 22nd September.

https://www.facebook.com/whenwewerewolves1

RingMaster 21/09/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

 

WHEN WE WERE WOLVES reveal their ‘Heartless’, on 22nd September‏

When We Were Wolves
EXCITING SOPHMORE EP FROM WHEN WERE WOLVES RELEASED AND UK TOUR ANNOUNCED!
 ‘The Welsh quintet hold nothing back here, ensuring that their heavy parts are scathingly so and imbuing their melodies with heart-rending ethereal grace’ KKKK Kerrang!
Impressive South Wales Post-Hardcore quintet ‘When We Were Wolves’ unleash their explosive new EP ‘Heartless’, through all stores on Monday 22nd September. The rising bruisers will also tour throughout the UK this September.
Reared on a healthy diet of A Day To Remember, Slipknot and Parkway Drive, and adding to that genuine craft and an imaginative approach to penning highly engaging slabs of post-hardcore, ‘When We Were Wolves’ have sculpted a sound that is whole-hearted, progressive, and above all, utterly gripping.
Born during the middle part of 2011 and hailing from Bridgend, South Wales, the band soon set themselves on a course for playing as many shows as possible, which saw the five-some quickly amass a strong and loyal following. Their unbridled determination to deliver a ferocious, dynamic live performance at every show has earned them a glowing reputation, and in turn, has led the band to share stages with the likes of Bury Tomorrow,Born Of Osiris, After The Burial, Betraying The Martyrs, Bleed from Within, Heights, The Blackout, Devil Sold His Soul, Malefice and The Amity Affliction, to name a few! As well as being a growing force on the live scene, the band have worked diligently on recording, witnessed by last year’s ‘The More Things Change, The More We Stay The Same’ EP, which secured widespread national praise from Metal Hammer, Terrorizer, Big Cheese and Rocksound, through to radio airplay with XFM, Totalrock and Kerrang! Radio. The record also racked up a stunning KKKK in Kerrang!, as well as a new band featurette in the magazine. Further UK and widespread European touring followed in support of the record before the troupe decided to hit Bandit Studios (home to Devil Sold His Soul) to commence work on their new record, soon to be titled ‘Heartless’.
The band’s follow up EP certainly delivers on all fronts, exploding with innovate ideas and cut-throat riffs. The first track and lead single, ‘Dying On the Inside’, soon slams you in the gut with its infectious groove that stomps and sways before a killer refrain blows you over. The menacingly brilliant and adrenaline-fuelled ‘The Devil You Know’ pounds it ways into your head before ‘Blind’ continues to batter you into submission. ‘Confession’ is further evidence that When We Were Wolves knows how to execute an engaging slab of exhilarating post hardcore, packed with sheer intensity and gripping dynamics. Lastly, the EP’s namesake, ‘Heartless’, rounds off the record with a captivating and passionate vocal performance by Mitch Bock, who really pulls it out of the bag. ‘Heartless’ is an EP that is destined to be heard, and with a UK tour confirmed for September, there’s nothing stopping the band’s swift rise.
WHEN WE WERE WOLVES LIVE W/ Valiant – SEPTEMBER 18 – BRISTOL, The Gryphon; SEPTEMBER 19 – PLYMOUTH, Tiki Bar; SEPTEMBER 20 – WORKINGTON, Lounge Bar; SEPTEMBER 21 – NEWCASTLE, Think Tank; SEPTEMBER 22 – HULL, O’Rileys; SEPTEMBER 23 – STAFFORD, Grapes; SEPTEMBER 24 – SOUTHAMPTON, Unit; SEPTEMBER 25 – ADDLESTONE, The Cave; SEPTEMBER 26 – BRIDGEWATER, White Hart Hotel; SEPTEMBER 27 – CHELTENHAM, Two Pigs.
PromoImage

 

Where Giants Once Stood – Live Above EP

WhereGiantsOnceStood-Promo-LoganLights-1-HiRes

The word in the ear before making our introduction with Canadian metallers Where Giants Once Stood through their new Live Above EP was that this is a band striding the lip of major things. Having been buffeted and captivated by their new four track proposition it is easy to see why the keen buzz around the Toronto quartet. The release brawls and seduces with equal success and potency, its tracks each an unpredictable and exhaustive adventure which lingers to inspire swift and regular returns to their persuasion. The band merges a wealth of styles and flavours into their imagination igniting metal and though some tracks excel with the passions stronger than others, there is no escaping the constant magnetism and voracious enterprise of the band.

Drawing ever increasing attention and acclaim through their live shows, which has seen them share stages with bands such as Born of Osiris, Veil of Maya, Chelsea Grin, Iwrestledabearonce, and Beartooth, Where Giants Once Stood made a powerful mark with The Changing EP. It set the band out as having the potential to ignite major fires within metal and Live Above does nothing to deter that suggestion, instead pushing the band’s sound and presence to even richer heights. Produced by Jon Howard from Threat Signal, the EP roars with passion and invention from its first breath, driven by metal which is as transfixing as it is aggressively bruising.

New single Living in Security opens up the fury, its heart soon raging from within the initial sonic coaxing which starts the track off. Riffs swiftly create an imposing wall of vicious stabs aligned to the hostile beats of drummer Austin EP COVER - Where Giants Once Stood - Live Above 2014Hamilton, before exploding into a magnetic stride with a swing to the grooves and rhythms and raw passion to the vocals of Reshaun Page. It is a blistering persuasion which continues to twist and evolve with every passing stretch of chords and sonic endeavour, and increase in temptation as the impressive angst soaked squalls of Page pass over parts of the song to the outstanding clean vocal tones of guitarist Jordan Turnbull backed as potently by those of rhythm guitarist Scott Major. Entwining melodic and progressive bred metal with metalcore ferocity and antagonism, the song is as resourcefully contagious as it is dramatically sculpted, Turnball igniting its air and canvas with some delicious and exceptional creative string skills.

Every second of the track is an imaginative and startling emprise, never allowing thoughts and expectations to settle. It is as much an impressive part of the song as the sounds themselves; that ingenuity continued with Illuminate and subsequently the rest of the release. The second track makes a less hostile entrance, mellow croons casting the first tempting before Page rages impressively from within the swirling warm maelstrom of sound. Expanding with tempestuous animosity and seduction combined, the song squalls and seduces with its emotive and physical turbulence whilst engrossing ears and thoughts with the tenacious skills of each member. Maybe without the final spark which makes its predecessor so incendiary, the track still sparks another vein of hunger in appetite and emotions before drifting off for The Damaged to begin releasing its sonic lures and voracious narrative. A virulent infectiousness roams the chorus whilst a spiteful but riveting toxicity soaks every scarring riff and syllable of the vocal malevolence. As by now expected, the song moves through more revolutions and curves of sound and ideation than a swing door, again thoughts bewitched by the entwining strands of widely varied metal weaved into the masterful and irrepressible incitement.

The release ends with the exceptional Myths Lies And Crimes, a track which is mouth-watering in its tapestry of sound and invention. At its core, the track is like a meeting of August Burns Red and Trivium under the influential potency of My Chemical Romance at their early best. It is as fascinating as it is dominating, a sensational encounter which like the EP as a whole, leaves ears ringing, thoughts full, and emotions greedy for more.

Whether the Live Above EP is your introduction to Where Giants Once Stood or the next instalment on the journey already embraced, it thrusts the band to a new dramatic and impressive status within metal. Canada’s creative sons could and should be devoured by the wide metal world thanks to the EP and if it is not now, certainly it is easy to expect it at some point in the near future.

The self-released Live Above EP is available now @ https://itunes.apple.com/us/album/live-above-ep/id907144882

https://www.facebook.com/wheregiantsoncestood

9/10

RingMaster 04/09/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

The Room Colored Charlatan – Primitives

DSC00932

Every now and then we come across a release which certainly impresses and is very easy to recommend but at the end of the day just does not excite as much as it should and that is just the case with Primitives the new album from US metallers The Room Colored Charlatan. Musically and emotionally the encounter is glorious and technically bewitching but for all the moments which have thoughts basking and imagination captivated without reserve, for us it fails to light a fire in the passions. It is still very easy to suggest exploring its stylish merger of progressive and technical metal filtered with the voracity of extreme metal aligned to soaring ambiences, as it is a fascinating and striking adventure.

Hailing from Indiana, the quintet has been compared to the likes of Between The Buried And Me and The Contortionist, two bands which indeed have inspired The Room Colored Charlatan along with the likes of Painted In Exile, Born Of Osiris, Veil Of Maya, and Animals As Leaders. Listening to the new album you can see what breeds those references though equally there is plenty about the release which sets the band apart. Building and increasing their reputation live, playing with bands such as TesseracT, Veil of Maya, Born Of Osiris, and The Contortionist over the past years, the band brought concentrated attention upon themselves with debut album Between Mirrors: The Quantum Immortality in 2012 which was released, as the new album, on Subliminal Groove Records. Primitives take all the qualities of its predecessor into new expansive dramas and evocative climates, across sceneries which roar and claw at the senses whilst seducing with a melodic and atmospheric beauty. Inspired by the theme ‘that humankind is not as civilized or as modern as we like to think’, the album is an epic imposing journey broken up into individual musically poetic chapters.

A chilled breeze around a lone guitar opens up the album and Instinct, and it is a beckoning soon full of melodic intrigue and rhythmic Primitives-covresonance as the song grows into full view. It is a hypnotic entrance potently luring in attention before the grizzled vocal delivery of Jared Bush brings a raw imposing into the creative elegance already cast by guitarists Justin Seymour and Brent Edelson, his presence seemingly a spark for an expanding intensity which stalks with djent seeded stabs, oppressive breaths, and rapacious shadows. The weave of melodic enterprise becomes more acidic but still seduces within and tempers the more vocal tempest of sound. It is an enthralling proposition, the composing and craft of the band alone gripping as the soundscape of the sonic narrative consumes the imagination.

The starter evolves into the brief and invigorating instrumental Native Habitat, guitars and drums sculpting a mouthwatering terrain for thoughts to explore before it then flows into the following Apex Predator. The rhythmic enterprise of Adam Dixon swiftly has its heavy skilled hand on a definite appetite for the impending adventure as a sonic web spins an absorbing and perpetually shifting picture, one nicely courted by constantly dark and agreeably imposing bass hues from Michael Miller. As the track permeates thoughts the aggressively caustic growls of Bush fail to sit easily but to be fair it is just down to personal taste, just like eyes maybe lack a kinship to the colour green, at times his delivery fails to persuade our ears. It is no reflection on his presence and attack but to our loss it does defuse some of the might of what is an impressive track, especially its vivaciously ravenous climax.

The intensively bruising emergence of the title track has senses rocking back on their heels next rugged riffs and similarly predacious rhythms badger and assault before an entrancing melodic mesh wraps the heart of the song, caressing and soothing the sores spawned by the formidable and pleasing storm. The subsequent body of the track does not quite inspire as its entrance but again the individual skills combine for an almost romantically colourful view of an intimidating premise.

Keys make another potent and important texture to the album, none more so than within Questions of Origin, their vigorously simmering dazzle impregnating another virulently aggressive, almost rabid exacting landscape. With guitars searing as they simultaneously entwine the senses in melodic beauty, the track is one which lights a fuse to more keen ardour alongside again nothing but impressed respect for the album so far; oh and note Bush is exceptional too, his bordering vicious snarl resting very nicely in the ears, yes we like to be contrary.

The sweeping synth grandeur within the following Survivalist Notion soon captivates whilst beneath riffs grind and chew through ears, the fusion a riveting endeavour which is only accentuated by the first appearance of clean vocals, something the band should definitely explore more ahead. The bass of Miller has its finest hour here, though maybe it is just it is allowed a little more space to enslave away from the smothering tempests it so richly helps create. Like many of the songs, there is very little to criticise or question, though for a still indefinable reason, as the album, it does not ignite the heat of passion it probably deserves.

The Atlas Artifact from its first touch floats and rigorously pursues an epically honed expansive progressive flight, though it is soon perpetually buffeted by clinging almost hostile eruptions and vigorous creative rabidity. The song again unveils exceptional harmonious vocals which once more impress thoroughly whilst the guitar invention and imagination between Seymour and Edelson is breath-taking at times; everything combining for a gripping and highly enjoyable emotively driven conclusion to the main thrust of the album.

Closed by the outstanding bonus track Nexus Point, which as good as steals the album’s pinnacle moment, its voracious enterprise and outright creative aggression savaging and firing up ears and emotions, Primitives is a fine album which only offers impressive bait to acclaim and eager recommendations. The Room Colored Charlatan is potentially a major force in the making, the album makes that easy to say and who knows they might even get us over excited at some point too.

Primitives is available via Subliminal Groove Records and @ http://theroomcoloredcharlatan.bandcamp.com/album/primitives

https://www.facebook.com/TRCCBand      

8/10

RingMaster 23/05/2014

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

 

Nexilva – Eschatologies

Promo2

If Eschatologies is the portent or soundtrack to mankind’s ultimate destination as a species it is hard to know whether to be engulfed in bliss or unbridled fear. The new album from UK progressive death metallers Nexilva is a maelstrom of brutal invention and exhaustive experimentation, a tsunami of sound and vindictive intensity which is as excitingly unpredictable as it is frighteningly intrusive. It is an encounter which is almost too involved and adventurous for its own good, smothering the senses with so much imaginative mayhem and creative exploration that even after a dozen or so rampages through its hellacious depths new corners and facets are still emerging. The accompanying promo suggests the release is for fans of bands such as Born of Osiris, The Faceless, and Fleshgod Apocalypse, something you cannot disagree with and certainly it will not sit easy with every metal bred heart because of its vast experimentation but if technical violence and an unrelenting examination of senses, psyche, and imagination ignites fires for you than Eschatologies is a scintillating must.

Hailing from Sunderland and formed in 2009, Nexilva released their first demo The Viral Annihilation that same year before more dramatically stirring up attention with debut album The Trials of Mankind a year later. Followed by the Defile the Flesh of Innocence EP in 2011, the releases showed a band with not only massive potential but also the ability and bravery to cross pollinate numerous extremes of metal into one threatening yet compelling fascination. Their live presence was no less potent and exhausting either, the band gaining strong recognition as they shared stages and tours with the likes of Exist Immortal, Aliases, and The Algorithm as well as their own shows and festival appearances over time. Eighteen months in the making and mixed/produced by guitarist Andy Mallaby, Eschatologies is the next mighty step for Nexilva. It is a journey through scenery draped in technical, death, progressive, and black metal to simplify the landscape; climates of the fantastic, realistic, and portentous investigating the end/rebirth of man.

Released via Ghost, Eschatologies opens the first chapter with I: Teste Humanitatem Mori, a short piece which unveils an initial dark nexilva-coverand welcoming ambience soon lit by a wonderful caress of guitar, its classical melodic touch soothing and inviting. All the while shadows are converging adding their menace to the rising vocal harmonies and warm melodies. They eventually break through with roaring caustic growls and stabbing riffs though they still court the elegance which voiced the start. It is a respectfully dramatic piece bringing clouds and uncertainty into view ready for The Misdirection of God to erupt with seemingly insidious intent. Immediately the vocals impress; the diverse ever shifting style and delivery from Gary King, very ably backed by that of bassist Ryan Banks, magnetic within the equally revolving and evolving tempest around them. The rhythms of drummer Connor Jobes rampage with crippling sinews and ferocious agitation from their every beat whilst the guitars of Simon Atkinson, Rownan Tennet, and Mallaby cast a simultaneously vitriolic and enticing web of sound around ears and thoughts. As mentioned previously there is so much accosting and intriguing senses that you cannot at first take it all in over one song let alone the album, but as traverses of and time exploring the song unveils irresistible bait like the classically honed keys with at times stand to the fore and in others flirt from a hollowed distance, the adventure just gets stronger and more spellbinding.

Both Our Progenitor and This Is Humanity, distinct in their characters and offerings are bred from the same almost bedlamic onslaught, though it is all controlled and precisely sculpted. The first of the two again concocts a lethal and enchanted storm for the beleaguered senses to immerse within, its predacious intent as rabid as it is contagious. The keys again seduce from within the uncompromising voracity and not for the last time whilst slipping easily aside the malevolent raging they provide a wonderful discord fuelled friction which just lights the imagination and pleasure further. Its successor takes a more premeditated preying of its recipient, grooves and keys seducing whilst riffs and rhythms cause havoc within the irresistible caressing. Twisting and turning not only itself but the psyche, the song adds hardcore vocals and progressive flights to its savagery, like the album making expectations redundant.

The melancholic II: Scientaia Tenebris opens up the next movement of the album to provide a respite before the venomous Necromancer seizes control whilst still employing the emotive melodies of its predecessor within its serpentine toxicity and rapacious enslaving of ears and emotions. Like all tracks, the song leaves you gasping for breath in body and thought, every turn a new extensive exploration to be taken within its whole endeavour. The Collapse immediately proves to be the same and with equal potency and success before the outstanding title track raises a new pinnacle for the release. The track spews malice and hostility from its first vocal and rhythmic touch, aligning them to punishing sonic and rhythmic frenzies. As all tracks to describe everything within would need a page per song but needless to say Eschatologies is a nonstop bordering pestilential rampage.

Cybernetic Lucidity disorientates and lacerates the senses next, its flailing rhythms and riffs a welcome distraction to the intensive suffocating invention broiling synapses from within their cage whilst after the dark and wildly simmering peace of III: СКЕЛЕТ, the band unleash the classically walled, viciously vehement Premonitions which features a guest appearance from Ricky Lee Roper. The track parades riffs and rhythms with a horde like mentality and appetite upon ears whilst its successor Invasion, lashes and chews on the wounds with sonic invention and a combined riff and rhythmic rabidity.

The album closes with first the tremendous Evil Will Prevail featuring Exist Immortal vocalist Meyrick De La Fuente, the song a ferocious blaze of spite, antagonism, and creative imagination. The track bewitches as powerfully as it annihilates, the expressive clean vocals and melody crafted passage towards its end a seduction within the masterful turmoil that lingers long into the final instrumental IV: Non Magis Adrogantiam.

Eschatologies is a thoroughly demanding and intensive proposition which only expands and broadens its hold and depths with every listen. As said there is a multitude of inventive exploits within every twist and turn which at times makes it a difficult listen in regard to taking it all in but unrelentingly thrills and invigorates as it bewilders and exhausts. It is a glorious maze of sound and invention from Nexilva, simply a ravenous fascinating aural kaleidoscope.

https://www.facebook.com/nexilva

9/10

RingMaster 08/04/2014

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

 

 

RISING EURO METAL CREW PROMETHEE RELEASE EXPLOSIVE VIDEO SINGLE!

Promethee Online promo photo
Up and coming Swiss slayers ‘Promethee’ set loose their spanking new video single ‘Life/Less’, out now.
Pitching ‘Born of Osiris’ against ‘Job For A Cowboy’, and merging the melodic death metal craft of ‘Darkest Hour’, Promethee are here to shatter your world with their stunning blend of original modern metal.
Formed in Geneva, Switzerland, Promethee started life back in 2008. The metal upstarts soon began to play shows throughout their native land, and in 2010, the quintet struck out to France, Germany, Austria, Belgium, Switzerland and Hungary, including an influential appearance at the Greenfield Festival playing alongside HIM, Rammstein, The Prodigy and The Dillinger Escape Plan, among others. Not ones to rest on their laurels, the industrious five-some continued to progress and played a successful mini-tour in Canada before releasing their debut EP, which secured creditable praise throughout the UK and mainland Europe.
Last year the band released their debut album “Nothing Happens. Nobody Comes, Nobody Goes” and it helped to redefine the noise-niks’ place as Swiss metal leaders. The record also garnered widespread acclaim in the UK from Kerrang!, Metal Hammer, Rocksound, Terrorizer and Big Cheese magazine, and by undertaking rampant European touring and high profile festivals, including the Loudfest 2013 (Heaven Shall Burn, Architects, August Burns Red) and the Aries Festival (Knuckledust, TRC, Cutdown), the band’s stock has firmly risen to a European scale.
Promethee are now continuing their climb with the release of their explosive new single and video ‘Life/Less’, taken from ‘Nothing Happens. Nobody Comes, Nobody Goes’. The single is a powerful slab of ferocious edgy metal that clearly showcases the band’s devastating brilliance. Future festival appearances will follow this summer in support of the release, along with extensive touring of Europe.
* The stunning video for ‘Life/Less’ is out now and can be viewed at – http://www.youtube.com/watch?v=q58hSsXgs_Y&feature=youtu.be *