Ethmebb – La Quête du Saint Grind

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The band’s Facebook profile tags their sound as epicleptic power death / progressive metal; a description which pretty much does sum up the anarchic fun of the Ethmebb if still leaving their imagination short changed. Their music is crazed, it is drunk on almost schizophrenic adventure, and at times it certainly leaves the imagination intoxicated but as shown by new album La Quête du Saint Grind, it is also a myriad of flavours, skilfully sculpted, and downright fun.

Apart from emerging in 2012, apparently from “the still-smouldering ashes of Grindcore band Ethmeb”, there is little more we can tell you about the Paris hailing quartet but then again their debut album does all the talking. Wrapped in the fine artwork of Nicolas Dubuisson, the release swiftly makes a potent impression, first track Tathor, l’Echalote de ses Morts soon feeding and adding to the intrigue already sparked by its cover.

Opening up a tale of a mighty warrior and his adventures as he tries to get back his Grind stolen from him “so he can get laid again”, the starter is an atmospherically suggestive, melody caressed instrumental. It is ‘similar’ to many imagination stroking starts that metal and progressive releases seem to hold but a vibrantly pleasing one, its more straight forward body a deception to the mania to follow.

ethmebb-album-artwork_RingMasterReviewrvbThat creative ‘insanity’ is uncaged through Lost my Grind. Riffs rifle the senses immediately, their enjoyable invasion soon joined by the dawning of melodies and floating harmonies as wiry grooves entangle the progressively nurtured blossoming of the track. A tenacious blend of power and death metal with that progressive nature envelops ears though it is only part of the picture as symphonic elements merge with grouchily aggressive and subsequently blackened essences, not forgetting various other unpredictable twists of fun. The vocals of guitarist Rémi Molette are a guttural trespass enjoyably tempering and complimenting the melodic quest of his and Victor Tunidjah’s guitars, their sonic web radiant and evocative within the epic nature of the song.

It is an excellent start soon eclipsed by next up Orlango Blum. From caressing harmonies it surges through ears with cantankerous riffs and majestically flourishing keys. The bass of François Santenoff throbs provocatively in the midst of the enticing tempest as the rapier like swings of drummer Damien Baissile pierce the folkish lined melodic death canvas. There is a touch of Trepalium to the song, 6:33 too, but quickly it stretches its already riveting tapestry of sound and imagination into something irresistibly unique and compelling. Melody soaked passages are oases in the storm yet every imposing second is a conjuring of raw aggression, creative ferocity, and seductively bedlamic enterprise.

The warrior’s quest continues through GPS: Gobelin Par Satellite and A la recherche de la découverte de la quête pour trouver le Saint Grind, the first a thrilling mix of the raw folk ‘n’ roll of Ensiferum and the creative psychosis of Carnival in Coal involved with plenty of other strains of imagination while getting involved with a great array of clean and dirtier vocals. Its successor is just as eclectic, from an acoustic stroll weaving a colourful intrusion of extreme and melodic endeavour all bound in an unhinged devilry.

It is fair to say that the Ethmebb sound is not going to connect with those only hankering for straightforward metal but for an appetite for creative boldness bordering on the meshuga; it is manna for the ears as proven yet again by next up Pirates of the Caribou. Concussive in its touch, promiscuous in its flavours, the folk/power metal fusion roars with drama and prowls with venomous intent, guitars spinning another inventive web as vocals anthemically unite and melodies swagger with boozy spicing. Its ebb and flows in intensity are just as masterful and alluring, as too its aggressive invention and multifarious nature.

Bruce Lee mena l’Amour brings the release to a close, the track probably the most loco of the lot though smouldering in persuasion initially before growing into its inventive skin with every passing minute to heartily convince. With a growing theatre of sound it is a fine end, though listen out for the Pryapisme like hidden track, to a thoroughly enjoyable and impressive debut album from Ethmebb and the beginning here to a greedy appetite for their insanity kissed world.

La Quête du Saint Grind is out now and available through https://ethmebb.bandcamp.com/album/la-qu-te-du-saint-grind

https://www.facebook.com/ethmebb

Pete RingMaster 01/02/2017

 

Trepalium – Damballa’s Voodoo Doll

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They can try to call it groove metal, progressive metal maybe, or even avant-garde death metal, but quite simply the Damballa’s Voodoo Doll EP is swing metal in all its fresh faced glory. The six track dance of voracious metal rabidity and ridiculously virulent contagion is the new hex cast by French metallers Trepalium, a band no strangers to unleashing some of the most blistering and imagination stretching extreme metal over the past decade. French metal is in the midst of an innovative heyday right now, with seemingly every corner offering a new proposition to devour. It is also producing some of the most startlingly inventive proposals, unique experimental /avant-garde offerings from the likes of 6:33 and Carnival in Coal through to Pryapsime, Hardcore Anal Hydrogen, and Toumaï. One of the most rabid and nastily inventive of them all is Trepalium and their death metal bred sonic pestilence.

The band across four albums has persistently pushed their and metal’s boundaries with a raw hunger to infest viciousness with a seductive multi-flavoured originality, an intent bearing the most compelling fruit on Damballa’s Voodoo Doll. Cloaked in the allure of arcane mysticism and bursting with the tenacity and energy of vintage New Orleans jazz and swing, the EP is a nonstop stomp through fiercely grasping shadows and insidious black-hearted temptations, commanding feet and emotions like a maniacal puppeteer.

Voodoo Moonshine sets the sorcery in motion, a violent barroom the scene for big imposing and alluring beats to tone up ears and appetite ready for the salacious flames of brass and the throaty vocal malevolence of Cédric ‘KK’ Punda. His tones, as the music comes with a swagger, a demonic confidence which even in short grunts has intimidation and temptation dripping from every sound. The guitars of Harun Demiraslan and Nicolas Amossé are soon spinning a web of grooves and swing induced revelry, every flirtation and melodic toxin embraced in the rhythmic contagion of bassist Ludovic Chauveau and drummer Sylvain Bouvier. Embraced in the seductive heat of a full complement of brass and caressing keys, the track is a festival of sound and creative devilment, like a brawling romance between Gojira and Cherry Poppin’ Daddies with Destrage and Mucho Tapioca in close attention to give some hint of its infectious alchemy.

Talking of the first of those bands, Gojira’s Joseph Duplantier appears on the following title track, another taking a mere breath to enthral with its swinging 30’s big bandUpdatedArtwork like entrance clad in a just as immediately imposing and ferocious but catchy aggression. As in its predecessor, grooves bind and vein the track like vines, creeping deep into the passions and psyche as keys conjure their own individual demons. Imagination and emotions are just as swiftly inflamed by the villainous tapestry of sound, every unpredictable note and twist as well as boozy growl, an epidemic of incitement, though it is soon over run by the dark majesty of Possessed by the Nightlife. Twenties seeded keys paint the landscape before beats and riffs prowl and lurch up on the senses, their danger and menace as inescapable as the anthemic bait provided by the increasingly punchy rhythms. The song is brutal and uncompromising. from the pestilential tone of the bass to the barbarous predation of the guitars a merciless threat but again pure viral addiction leaving feet exhausted and thoughts ignited.

     Guédé Juice provides its own enslaving irreverence next, rhythmic swings and acidic grooves the frame to dirty jazz colours and a feverishly sultry climate of enterprise and creative rapacity. By the end of the song exhaustion and bliss are in overload and the spell keeps being casted as Fire on Skin broodily appears. Offering an opening impression or certainly the spark to thoughts of Creole like prohibition and dark magic in an embrace of the Dirty Thirties, the track is a muggy affair initially before the fetid mists part and the band bursts through with a metal driven rampage. Still employing eruptions of jazz endeavour, the track roars and bellows with extreme metal hostility and melodic rock enterprise, though it is a devious savaging as again there is a swing to much of its intensity and a venom which simply seduces body and soul.

The closing Blowjob on the Rocks spills its own dangerous persuasion to being the release to a mighty conclusion. There is a shadow and underlying animosity to the track, a seeming secret which flirts with ears and imagination throughout as the fully stocked brass persuasion spreads a weave of tangy intrigue and noir lit drama. It is a dark theatre only enhanced by the spicy nature and invention of the guitars, the trapping weight of the rhythms, and the treacherous elegance of the keys.

Damballa’s Voodoo Doll is dangerous; it is bad for the health of the body with its ridiculously infectious tempting and lethal for the psyche with its serpentine seduction and mystique. Ultimately though, the EP is one of the most exhilarating and lustful things likely to be heard this year, the next, or whilst the sun still warms our souls.

Damballa’s Voodoo Doll is available now via Klonosphere @ http://www.klonosphere.com/trepalium/

https://www.facebook.com/TREPALIUMBAND/

RingMaster 10/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

Dark realms and shadowed emotions: an interview with Déhà of We All Die (Laughing)

 

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The union of musician and composer Déhà (C.O.A.G., Maladi) and vocalist Arno Strobl (Carnival In Coal, 6:33) for the project We All Die (Laughing) has resulted in one of the most extraordinary experiences and towering creative tempests of recent times. Consisting of a single thirty three minute track sending the listener on a continually expanding landscape of emotionally drenched progressive dark metal, the Kaotoxin Records released Thoughtscanning is a powerfully provocative and enthralling immersion for thoughts and emotions. Keen to learn more about the project we took up the offer to talk with Déhà, questioning him about the band and album as well as news on his other projects.

Hello Déhà and thank you for sharing time with us so we can dig into the creative world of We All Die (Laughing).

The first question is obvious, how did the union of you both come about for the project?

Just out of nowhere, Arno & I started to discuss with an artist/fan relationship because I am a huge appreciator of Carnival in Coal. I talked to him about my different projects and I sent him the first demo of WADL back then, he fell in love and we decided to make this true!

You both guested on The Deceit EP from Eye Of Solitude; was that actually working together or just happened to be both appearing on the same song?

Well… I kinda forced my appearance on that song, haha! I was recording Arno’s voice for this song and I was like “oh fokdatchit, I’m going to scream a bit and in any case, they can remove my stuff” and they liked it really much! Funny fact it was before we released the album so many people were just asking “what the hell is “wadl” ?” and that was someway a good thing.

So We All Die (Laughing) is the first time you have intensively worked together creatively then?

Exactly. And that was fantastic. We understood each other without a need to talk or else.

Was there a particular spark which brought the actual project to life and specifically determined its direction?

That “power” we have together was the sparkle that started the fire. This mood we had was just “the” stuff we needed.

A bit of a naughty question 😉 but has each other’s music been something which has thrilled and inspired your individual passions or has it been more an encounter which has artistically impressed without lighting feverish emotions?

As for me, despite everything you might hear on this album, I was not inspired by any other music at all. This is emotion, as cliché as it sounds…

 A quick mention about your other bands/projects if we may; 6:33 has been a lustful passion for us since discovering Arno and co through the Giggles, Garlands & Gallows EP in 2012 whilst admittedly it has been only recently with C.O.A.G and Maladi that we have been drawn into the imaginative aggressive fire of yourself, Déhà. For you is there anything from those and other of your projects which have helped spawn or inspire some of the We All Die (Laughing) sound?

Absolutely not. The most “influential personal band” on this album might be some “imber luminis” stuff (an own project of mine) but it’s not even that hearable.

You have just released the extraordinary Thoughtscanning, your stunning one track epic debut album. How have responses cover Artwork by Maxime Taccardibeen and have they matched your expectations?

We have absolutely nice reviews all over the world and this is really great! I was not expecting that much positive reviews as the music’s complex, but I am really happy and grateful!

I will be honest and we said so in our review that a single thirty minute plus track was a daunting and initially not the strongest lure…that was until we plunged into its depths for the first time.  Did you have worries about a similar fear and maybe assumptions about a single track album scaring people off or was that something which never crossed your minds?

It did, but I am used to composing long tracks for one purpose : the trip, the journey given by the music has to stop only when we state it. And this album, even if lyrically divided in parts, had to be one song because it’s a circle closing on itself. And we wanted to keep it that way.

Was the release always planned as one piece of music?

Absolutely.

Thoughtscanning is an enthralling, intimidating, and breath-stealing adventure, certainly challenging but equally a virulently stimulating and dramatic journey for the emotions and imagination. Tell us about the premise behind the album and its theme.

It’s emotion. I won’t say it’s the purest emotion I might release, since I have different projects and bands for my different emotions, but WADL is mainly this constant struggle between you and yourself, wanting to be healed and at the same time, you don’t want to be healed, you’re tired, or else. It’s a cliché, but to hell with it. People are all clichés.

How did Thoughtscanning emerge; did it grow and come to life as we hear it on the album or was it more like a movie, scenes created and recorded in random order to be shaped after into the sonic narrative we are confronted with?

From the beginning until the end, I would fuse your two metaphors : It’s a movie which was shot from start to finish

We imagined that the album evolved right up to its final moments, is that the reality or did you have it in a finished state before recording?

It was exactly like what you’re hearing.

How long did the album take to create?

The Composition took one year, the voices recording took 2 months of demo & 1 week for the final recordings

The first pressing of Thoughtscanning also included an Amy Winehouse cover; tell us about that and how you approached a song which is distinctively hers?

It was our label’s idea for this song, we had plenty of choices but we never really agreed. When Nico told us about this song we totally agreed in one shot, since we’re appreciating Winehouse’s music and it was a pleasure, since her lyrics went perfectly with our concept.

Can we assume We All Die (Laughing) is an on-going project or will you be disappointing us with little or no more releases?

On-going.

Portraits by Maxime Taccardi.What comes next for We All Die (Laughing) and for you individually?

An EP, at some point, and more stuff at some point. We’re not stopping. As for my side, you can expect releases for Merda Mundi, COAG, Imber Luminis, Maladie and Clouds.

Once again thank you for talking with us.

Any thoughts or last words to inspire or provoke the readers?

Act.

www.facebook.com/wealldielaughing

Read the Thoughtscanning @ https://ringmasterreviewintroduces.wordpress.com/2014/01/14/we-all-die-laughing-thoughtscanning/

Pete RingMaster

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

The RingMaster Review 11/03/2014

We All Die (Laughing) – Thoughtscanning

 

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     A long epic track going well into double figures time wise is never the most immediate persuasion here to be honest so it is fair to say that the debut album from We All Die (Laughing) with its single thirty three minute track was not the most instant appetiser and top of the list to cover. The fact that Thoughtscanning was released by Kaotoxin Records, a label which had a glorious year in releasing impressive inventive propositions in 2013, did encourage a dive into the proposition offered, plus the fact that the band consists of multi-talented musician and composer Déhà (C.O.A.G., Maladi) and vocalist Arno Strobl of Carnival In Coal and site favourites 6:33. It will prove to be one of the wisest decisions made this year at The RR and by anyone who immerse within what is an extraordinary experience and towering creative tempest. The album is a masterful enticement and admittedly challenging encounter but one all should bravely embrace.

    Creating a continually expanding landscape of emotionally drenched progressive dark metal, but with so much more to its 760137614821_TOX030_We-All-Die-(laughing)_Artwork_1400x1400-300imaginative adventure, Thoughtscanning is a piece of work which leaves the richest satisfaction and experience in its wake. We All Die (Laughing) first emerged as guest musicians on Eye Of Solitude’s EP The Deceit, their offering now reissued as a bonus track on the band’s recently released excellent album Canto III. Now the French-Bulgarian link-up fully unveils itself as a creative force to be reckoned with and incited by with their debut.

      A long guitar casts the first coaxing, its melodramatic voice and resonance a lone figure in a barren atmosphere but as potently evocative and imagination sparking as you could wish for. It has an essence of early-The Cure to its call which is enhanced with a wash of minimalistic melodic enticement and great earthy throaty tones from the bass. It is a deliciously magnetic entrance which is so powerful that when flames of skilfully sculpted guitar light the air a tinge of disappointment washes over emotions just for a second or two.

     From here on in the song slowly but clearly expands with its every second, the ever appealing vocals of Strobl adding another provocative aspect to the already compelling persuasion. Stretching further into its dark shadow drenched heart, the clean melodically built vocals merge with sanity bruising squalls whilst an intensity coats and increases the urgency of the sounds even when they find new avenues to slowly and elegantly investigate within the at times bordering on psychotic expulsion of emotional toxicity. It is impossible to clearly represent all that is going on and unleashed within Thoughtscanning but sure to say musically the track evolves through webs and mixtures of progressive and black metal, avant-garde and melodic death metal, doom and jazz metal with more besides, every minute a new recipe and provocation impossible to tear away from.

    As suggested earlier vocally the track also is a vibrantly shifting temptation, smooth melodic tones moving into guttural torrents with ease and in other moments creating a dark shadow through intensive deliveries which simply shape the syllables into an impacting and thought provoking narrative. Not for the first time in his career Strobl brings moments which are pure Mike Patton like to the persistently evocative adventure and in union with Déhà creates a maelstrom of seduction and venom which is as thrilling and compelling as the music surrounding their bait.

     The down side to the album?…well it is so long that it will definitely not suit all but it would be amiss not to say that there is never a moment where it is predictable and does not have senses and attention on alert for more breath-taking insurgences by the album into emotions and to be honest the track simply flies by, never feeling as long as it obviously is. Thoughtscanning is a thoroughly enthralling and impressive release which is a must investigation for all fans of anyone from Faith No More to Opeth, Periphery to Dark Tranquility, Tool to of course 6:33, in fact every metal fan as We All Die (Laughing) has something for all within their opus. With a limited-edition first pressing also containing a cover of Amy Winehouse track Back to Black, this is a must.

www.facebook.com/wealldielaughing

9.5/10

RingMaster 14/01/2014

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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