Mean Messiah – Hell

mm_RingMasterReview

As January shared its last days, Hell was unleashed in the form of the debut Mean Messiah album. It was the re-release of an invasion of the senses which left only one question in its furious wake. Just how did we like so many others, miss it first time around.

The release is an ear withering, pleasure igniting storm of industrial death/thrash metal with much more to its irritable heart and searing blaze of sound. To simplify things it is a tempest resembling a raging tapestry of Revocation, Strapping Young Lad, and Fear Factory woven with strands of the likes of Cryptopsy, Blood Simple, and Static X yet stands as something distinctly individual to the imagination and roar of Mean Messiah.

The Czech Republic hailing band started out as the one man project of multi-instrumentalist and producer Dan Friml, formerly of Sebastian, Apostasy and many other projects. The winter of 2005 saw him begin work on his first album, its release intended for the following year but delayed and delayed by numerous problems and complications before being completed in 2013. Since then its line-up has expanded, bassist Veronika Smetanová and drummer Honza Šebek joining Friml as he took Mean Messiah live, proceeding to play the biggest festivals in the Czech Republic such as Masters Of Rock, Czech Death Fest, Agressive Fest, Basinfirefest, and Gothoom.

With the band working on a second album for release later this year to follow 2016 EP Let Us Pray, Mean Messiah and Via Nocturna has uncaged Hell again for a formidable and compelling reminder and wake up call for fans and newcomers alike. With its concept themed by people´s varied complicated journeys and destinies inevitably leading to hell, the album makes a calm, welcoming entrance though dark clouds and portentous sounds are soon looming over and invading the imagination as opener Temple of Hell grows in ears. Melodies are enticing yet sinister, rhythms predatory but restrained until throwing off their deceit and storming the barricades. From there grooves and hooks seduce as riffs and beats persist in their invasive intent as Friml’s potent tones snarl. That earlier descriptive comparison is in full swing as the track shares its dangerous and captivating virulence.

cover_RingMasterReviewThe track is superb, using familiar textures in a new and fresh design before being matched in might and success by King Pathetic. The strong unpredictability underlining its predecessor is potent again, and across the whole album to be fair, prowling the vicious rhythmic tenacity and intoxicatingly venomous melodic and sonic web covering the song. Bracing and intrusive, things are punishingly catchy as thrash and death metal enterprise roar with angry rapacity as industrial essences beckon further involvement in the progressively toned fury.

As the second built on and eclipsed the first, Spiritual Resolution breaches a new plateau of persuasion next, scavenging and thrilling the senses with its nagging choleric character while The Death Song with matching toxic dispute stalks and savages the listener with raw infectious enterprise. The first of the two weaves progressively honed melodic suggestiveness while the second lets its bestial ferocity drive the thrilling show.

Hell is the perfect name for sound and theme within the album, the first echoing and fuelling the latter as found in The Last Ride which follows. In many ways the outstanding song is the least corrosive on the album, its swinging rhythms and magnetic grooves rousing infection but there is no escaping its instinctive animosity and barb littered acrimony. With orchestral beauty and atmospheric harmonies colluding with warm melodies, it is sheer magnetism, only intriguing and griping tighter as its growing imagination borders schizophrenic.

The Game gnaws on the senses next, its riffs and beats an enjoyably persistent abrasion colluding with lust igniting electronics. Its irresistible stomp provides another appetite inflaming highlight within Hell, one more to the growing list joined by the dark instrumental climate and dance of Saltatio Mortis and the fiercely catchy caustic devouring of ears and soul cast by The End. Folk bred hues unite with extreme and groove spawn endeavour in the first with its successor a brawl of truculent rock ‘n’ roll, both as imaginative and expectations defeating as they are, certainly in the case of the second, emotionally primal.

Completed by bonus track Remedy, another ridiculously tempting slab of thrash nurtured, creatively evocative music which needs no vocal side to excite and inspire the imagination, Hell grabs the listener by the throat and takes them on one brutally thrilling ride from start to finish. It also lays down a mighty benchmark its successor will be judged by but it is hard to imagine Mean Messiah failing to live up to the challenge with their now keenly anticipated second full-length.

Hell is out now through Via Nocturna across most online stores digitally and on CD.

http://www.meanmessiah.com   http://www.facebook.com/meanmessiah   http://twitter.com/MeanMessiah

Pete RingMaster 07/02/2017

Copyright RingMaster: MyFreeCopyright

Cleanse The Hive – From The Depths EP

Photo Credit - A D Zyne

Photo Credit – A D Zyne

If you have not head the buzz around Scottish metallers Cleanse The Hive yet, there is a pretty good chance you soon will as the band’s debut EP explodes in more and more ears. An irritable and dynamic fusion of death and groove metal with ravenous metalcore, the band’s sound shows all the qualities of a someone taking their time to evolve and hone their craft and imagination; a intent which here ensures the From The Depths EP is an introduction which not only grabs attention, it demands it!

Formed in 2011, the Aberdeen hailing Cleanse The Hive, as mentioned at the start, have not rushed to the moment to broadly unleash their inventive exploits though live the quintet has been a hungry incitement soon becoming eagerly followed and praised. Drawing on inspirations ranging from Lamb of God, As I Lay Dying, and Whitechapel to Periphery, Pantera, and Cancer Bats, Cleanse The Hive has earned a potent reputation for their explosive live shows and reputation building tours alongside bands such as Heart of a Coward, Nexilva, Carcer City, Exist Immortal and many more. Now they are ready to wake up a national, if not larger, spotlight upon themselves, a success already expected with the immense roar and persuasion of From The Depths alone.

The EP hits ears straight away with a wall of intimidating and prowling sound; riffs and rhythms colluding in predatory relish as a vocal growl erupts from the throat of Callum Hutchinson.  Taking a further moment to compose itself, Eviscerate then springs with greater zeal at ears, the guitars of Jordan Pacitti and Glen McMillan casting surges of ravenous riffs and sonic dexterity as Hutchinson’s vocals share varying shades of hostile and venomous squalling. In no time ears and imagination are gripped, further enthused by the broadening enterprise of the guitarists amongst the brutal swings of drummer Greig Hadden and alongside the pestilential encroachment of John Campbell’s bass riffs. Lamb of God is easy to offer, Cryptopsy too, as a hint to the maelstrom of craft and sound assaulting and exciting ears yet already something individual to the band is emerging and continuing in its successor.

cleansethehive large_RingMasterReviewCities Of Gold is arguably even more primal and inhospitable than its predecessor; vocals spewing malice with every syllable and the instantly captivating grooves spreading toxicity with very swing of their body within another tempest of emotional and aural animosity. To that though, a perpetually virulent infectiousness flows and in time, a melodic seduction from keys and guitar which is as bracing and invigorating as the animus of confrontation surrounding it. The opener grabbed ears and appetite, its successor trapped both, and by The Reign Of Tyrants, it is fair to say that band and EP had these ears enslaved. Thrash metal is never too far from the textures of death and extreme metal, and drives the third track with open eagerness, though things soon become a part of A thick tapestry of flavours and rabid intent as unpredictable as it is enthralling. Compared to the previous pair, it also has less urgency to its devouring; a more reserved violence to its assault that only makes it more dangerous and captivating.

The EP’s title track descends on the listener next, it too a less vicious attack initially, preferring to build its intensity and savagery over time as grooves and melodic acidity vein its evocatively volatile landscape. As the previous song also, it does not quite make the same impact as the more boldly eventful trio of tracks starting things off though its adventurous nature, as melodic mystique coats guitar imagination, only leaves a want and appetite for more in place.

The dramatic dance and intimidating theatre of Terror Rising brings the release to an impressive close. Again a siren-esque hue wraps melodies; their middle eastern scent a masterful temper to the cantankerous invention and resourcefulness soon driving riffs and rhythms. Emerging as the most imaginative and diversely sculpted track on the EP as even more metal bred styles are included in its emprise of sound and invention, Terror Rising alone provides plenty to use as a reason to get excited about Cleanse The Hive and for the UK metal scene ahead with them in it.

It is hard in modern metal to make a mark on your debut powerful enough to pull attention away from all the other emerging bands do the same thing, but take it from us, Cleanse The Hive have done so and how.

The From The Depths is out now @ https://cleansethehive.bandcamp.com/releases and across other online stores.

https://www.facebook.com/CleansetheHive/    https://twitter.com/CleansetheHive

Pete RingMaster 20/04/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com

Éohum – Ealdfaeder

 

Eohum_RingMasterReview

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

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

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

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

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

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

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

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

https://www.facebook.com/pages/%C3%89ohum/821823887910583   https://twitter.com/eohum

Pete RingMaster 18/03/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Isolated Antagonist – Affirmation of Entropy

Isolated Antagonist - cover bluntforce_RingMaster Review

Our ears were first stirred up by Massachusetts duo Isolated Antagonist, through their offering to the excellent compilation album 27 Tons of Metal New England, which came out last year on Bluntface Records. Their song was undoubtedly a standout proposal in, to be fair, nothing but attention grabbing artists and offerings. Now the band unleashes their new album Affirmation of Entropy; a striking proposition showing that their track on the earlier release was just an impressive scratch on the surface of the band and their sound’s depth and imagination.

Isolated Antagonist is the creative union of vocalist/lyricist Glen Mitchell and multi-instrumentalist/vocalist Nate Exx Gradowski. Its seeds began with Mitchell in the blazing heat of Middle East deserts with his unit where at the urging of Gradowski, who began creating the musical landscape soon after back in the US, he began writing the background story to what would become the band’s debut album. Officially formed in 2014, Isolated Antagonist released their first EP, Engineered Audi Hallucinations the following year and also debut album, The Isolated and The Antagonist. Now pushed further in their new incitement on ears and imagination, the band’s sound is a provocative fusion of industrial metal and death metal with progressive/electronic suggestiveness; it further invigorated by the evocative entangling of raw and clean vocals.

Affirmation of Entropy continues the tale of the first album and its story concerning the last man on Earth, the lead up to that situation, and the battle for survival “on a planet that has turned against him so thoroughly that the dirt beneath his feet was even a danger.” A creative emprise from Mitchell’s own imagination rich Sci-Fi universe, it is further blossomed and broadened, as the band’s creativity and music, within the new encounter and fair to say that from the stunning artwork through to the clarity of note and emotion, the album grips ears and attention.

The scene is set with the muggy and intimidating ambience of Into the Dark. It casts the image of a hostile place with the lost ghosts of the past nagging from the background, yet it has a raw beauty bred in the sonic invention of Gradowski. A compelling and unsettling start, the instrumental piece seeps away for Void to engulf ears with its equally restraint yet portentous air. Swiftly though, it is a smothering trespass of sound around the potent growls of Mitchell but raw intensity that blossoms celestial keys and zealously prowling riffs and rhythms within its storm. Carrying a death metal like animus in sound and voice, the track menaces the senses but also opens up an oasis of shadowy elegance as clean vocals from Gradowski are cradled by charming melodies and ear warming keys. At times Numan-esque and in others Godflesh like, there is no escaping the dark majesty posing as a song working on body and psyche.

The following Trapped similarly merges predatory animosity and invasive atmospheric grace whilst again the already impressive craft and imagination of Gradowski’s sound is enhanced by the entwining extremes of the pair’s respective vocal styles. Again Gary Numan is a spice that springs out, but a scent which as all across the album, is transformed into something individual to Isolated Antagonist, and repeated swiftly in Receptor and its thrilling Cryptopsy meets Nine Inch Nails like antagonism. As in previous songs, destructive textures begets sonic calm, melodic and atmospheric tempting begets industrial volatility; it all to enthralling effect.

New Light Now Made is a sinister treat, its Fear Factory inspired stalking of ears coming with a Die Krupps like infection. It is a predator; a primal yet virulently catchy offering which grows in strength and persuasion minute by minute with exotic hues and tempestuous energies as exciting company before making way for The Archetype Defined. If its predecessor hunted the senses, this song instantly tears into the listener, infesting body and thoughts straight away with its fierce drama and volcanic sound. Of course, as shown by those before it, the song is a maelstrom of contrasting energies and sonic colours that is gloriously unpredictable and increasingly fascinating.

The spatial aired yet simultaneously intimately invasive Dark Nomad surrounds ears next, its magnetic presence soon outshone though by The Infernos Son and its emotionally gothic and sonically vampiric proposal. The song sucks adventures out of the imagination, its Type O Negative meets Sister of Mercy breath feeding on the dark emotions at its and the listener’s heart to leave the senses exhausted and emotions blissful.

The following Words Beyond Time just fails to match up to the ingenuity of its predecessor but with its rapacious character and persistent nagging of metal cultured riffs and rhythms, it only leaves thick pleasure in its wake before The Protagonist Denied hits another pinnacle for the album. Bordering on carnal in its first assault, seductive in its Celtic bagpiped exploits next, the track is irresistible, especially when merging both for progressive/industrial metal at its most instinctive and suggestive best.

The album’s title track is like a momentary summing up next. It is an atmospheric oasis giving thoughts the moment to recap in the arms of calm vocals and the acoustic prowess of guitar as a storm wells up in the background, a tempest which hungrily brews further within The Last Death. The song’s haunting ambience is the vessel for the poaching of the senses by carnivorous riffs and hooks as vocals trap ears and imagination in their suggestive cage. As compelling as it is though, the track only becomes stronger and more engrossing as synth breezes bring immersive melodies to wrap and entice ears.

Synth pop meets industrial insidiousness is the best way to describe Gather The Past, the track gnawing on the senses at one moment and flirting with them through a contagion of irresistible hooks and infection soaked melodies next. As mentioned earlier, there is a great unpredictability and bold uniting of extremes across the songs of Affirmation of Entropy, and arguably nowhere better than on this exceptional incitement, though the closing pair of Prototype for Babylon and Celestial gives a fair showing with almost matching success. The first is thrash/death metal meets eighties electro/industrial psychosis in a venomous but again often fiercely catchy intrusion whilst the closing song explores a soundscape echoing its title, if one also equipped with rabid rhythmic traps and vicious sonic hostility.

It is a magnificent end to what is quite simply an impressive and dramatically stimulating album from a band which feels as if it is still evolving; still realising their potential and not yet the band and sound they are surely destined to be. That is no bad thing as it means that Isolated Antagonist, already one exciting fresh presence within the industrial metal scene, will have plenty more major treats in store for us ahead.

Affirmation of Entropy is available from February 16th via Bluntface Records @ https://isolatedantagonist.bandcamp.com/album/affirmation-of-entropy or http://www.bluntfacerecords.com/

https://www.facebook.com/isolatedantagonist   https://twitter.com/isolantagonist

Pete RingMaster 14/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

The Order of Elijah – War At Heart

TOOE_RingMaster Review

In sound and word there is a real bite to War At Heart, the new album from US Christian metallers The Order of Elijah, which makes you pay attention. It is an unpredictable cauldron of varied metal bred flavours which savage and confront the senses as potently as the lyrical side incites thought with its bold and uncompromising exploration of all sides and shades of faith and life. Predominantly though, it is one rigorously enjoyable incitement which impressed on first listening and only grows more potent and compelling with each subsequent involvement.

Formed in 2009 by vocalist Shannon Low and guitarist Bryan Cox, the Joplin, Missouri quintet have only grown in sound and determination since the release of debut album Dethrone of 2013. According to the press release with the album, The Order Of Elijah have found themselves “being shunned by many peers, churches, and religious communities for the message they bring,” reactions to the band’s look and accusation at the “over-obvious corruption that many churches and cultures have adapted to the words of Jesus Christ.War At Heart shows that the band has only used any opposition as more fuel to their creative and emotional fire. The release is a tempest of anger, confrontation, and hope with a sound which alone leaves no doubts about the intensity and passion within The Order Of Elijah imagination and heart.

the order of elijah album art_RingMaster ReviewOpening with the dark vocal introduction of Heresy, band and album swiftly move to involve ears and imagination with its title track. War at Heart opens with a mesh of wiry guitar and attitude loaded rhythms, they soon joined by clean vocals which quickly reveal their raw and grouchy side. That fluid ability to swiftly change attack and character is echoed across the whole album in sound and invention, the metalcore meets heavy groove metal and electro resourcefulness of the song expectation defeating, even with its use of familiar textures at times.

The excellent track is matched in potency by Tyler Durden, where the guitars of Bryan Cox and Myk Lee Fodor create a gripping splattering of choppy bait initially as the voice of Low again swings from tone to texture with inventive ease. Like Slipknot meets Cryptopsy with a slither of Emmure involved too, the song is an impressive intrusion, those essences twisted into something maybe not dramatically unique but certainly distinct to The Order of Elijah.

The scything beats of drummer Josh Newlon open up God’s Unwanted Children next, his enticing assault wrapped in an electronic breeze which as expected soon erupts into a more volatile and tempestuous environment. The electronic smoulder of the song lends itself to thoughts of Silent Descent but again with Low in the throes of vocal adventure, things quickly take on a personality of their own which only invites deeper attention. Like a bear awoken from hibernation, the track roars and spits with unbridled antagonism, leaving ears ringing with content as the melodic calm of From the Dusk washes gently over the senses. The brief instrumental allows a breath to be taken though the excellent presence of James Copley’s bass ensures shadows are still courting thoughts and emotions before From the Dawn emerges from its beauty to inflame air and the senses again with a fiery and anthemic tempest. Vocal harmonies contrast grizzly tones and melodic suggestiveness tempers violent rabidity as the track blossoms into another crushing highlight of the release. Once more very passing minute brings a new twist to be caught unawares by and fully enjoy; electro spices alone colluding deviously with the primal metal resources fuelling the encounter to offer a whisper of The Browning in certain moments.

All American Plague lurches and invades next, throwing its elements around like a dervish but with a control which ensures no twist or texture is wasted, whilst Jennifer Mckenzie vs The Vampire Slayer straight after is a punk infested animus of fierce sound and agitated attitude. Featuring Zachary Scott of It Lies Within, the slightly Korn/Betraying The Martyrs like track is a ravenous contagion, which only sparks more greed in the appetite for the album, a hunger given more to happily chew on by both the hellacious onslaught of Haunted and The Art of Forgiveness. Admittedly neither track quite sparks the same thickness of excitement as their predecessors but each easily fattens up satisfaction before leaving the reflective intensity of Beautiful to bring things to a close.

If asked after the first couple of listens or so, War at Heart would have been labelled as impressive with the ability to lure attention back, but over time it has emerged as one fiercely delicious enjoyment which is seriously hard to leave alone. Not all will be as taken with it obviously but every metal fan should seriously think about giving the new creative bellow from The Order Of Elijah deserved attention.

War At Heart is available via Luxor Records from 8th January @ http://www.victorymerch.com/merch/label/luxorrecords

http://theorderofelijah.com/   https://www.facebook.com/theorderofelijah   https://twitter.com/orderofelijah

Pete RingMaster 07/01/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

[Evertrapped] – Under The Deep

Photo - credit - Luc Delorme

Photo – credit – Luc Delorme

As much as the melodic enterprise and accomplished brutality of Under The Deep breeds major satisfaction it is the rabid gnawing of the senses from start to finish of each and every song which sealed the deal for ears and thorough enjoyment of the new album from Canadian melodic death metallers [Evertrapped]. It was the ebbing and flowing but persistent underbelly of the album which caught the imagination and appetite most securely, it in turn allowing the craft and invention of the band to create their absorbing narratives over and around it. The result is a release which might not turn the metal year on its head but definitely gives it another highly pleasurable and flavoursome kick.

The Montreal-based [Evertrapped] first emerged in 2007, its name intentionally written with enclosed brackets “to signify the trappings of modern life for all of us and how people, despite their best attempts to break out of the mould are still affixed to a simple controlled existence and futility.” Consisting of guitarists Frederick Dupuis (ex-Daggerfalls) and Vincent Benoit, drummer Eric Lemire (ex-Apocalypsys, ex-Ice Castle), bassist John Yates (ex-AraPacis), and vocalist James Brookes (ex-Ammonia, ex-One Final Moment, Continuum), [Evertrapped] has earned a formidable reputation for their live presence which over time has seen them share stages with bands such as Kittie, Deicide, Cryptopsy, The Catalyst, The Agonist, Slaves On Dope, Dark Century, BornBroken and numerous more.

Album Cover - Evertrapped - Under The Deep_RingMaster Review     2010 saw the release of debut album Tales From The Supermax, with its successor The Anomaly unleashed two years later. Now the band has uncaged the primal yet precisely sculpted ferocity of Under The Deep on the senses, its exploration that “of the deepest reaches of human madness. Not clinical madness, but simply the darkest regions of the soul and the blackest part of the human heart from a mind found to be socially functional, but is really way too far gone. And thus it seeks to explore what is underneath the deepest depth, hence no matter how deep you descend there’s always another layer that can be torn away.” As suggested earlier, physically and sonically it shows no mercy or restraint but lines and veins its hostility with a nest of writhing grooves and atmospherically wrapped melodies that not so much temper the tempest but give it fascinating substance and drama.

From the dark ambient intro of […], the album explodes with Arise From The Ashes, its violent roar set up by the climatic voice and bedlamic finale of its predecessor and quickly ravaging the senses with antagonistic nostrils flared and predatory recriminations spewing from the guttural ire of Brookes. With that great unrelenting nagging at the heart of its storm, the track explores a web of sonic endeavour cast by the guitars and marshalled by the barbarous incitement of bass and drums. It is an enjoyably formidable start matched by the even more vocally rapacious and musically carnivorous Underneath The Deep. Like the raw soundtrack to a vicious version of the movie Falling Down, provocation sparking a game changing reaction, the song twists and swirls like a malicious dervish as again trails of melodic vapours and sonic imagination add to the creative tapestry holding its own to captivate ears and imagination in the throes of the fury.

From one highlight of the album to another as Palace Of Injustice in similar vein but with its own character, bullies and entices in equal measure. The band has been compared to the likes of Arch Enemy, Unearth, Whitechapel, Soilwork, and The Black Dahlia Murder, and it is easy to hear why across this magnetic offering alone, suggestions again backed by the blistering lyrical and physical causticity of Hypnotized By Hatred. A song themed by the scenario of relentlessly being told one is worthless until it becomes belief; it is a torrent of intensity and rhythmic pressure which seems to return after each evocative melodic turn with even greater animosity and violent craft.

Fair to say each track, and the album, has much more in their depths than seemingly shown at face level, a wealth of textures and resourceful individual and united invention which needs time to find the light. The rewards in turn are plenty as proven by the excellent Blood Of The Fallen. One of the more immediate thick persuasions and thus another pinnacle of Under The Deep, it too still reveals over listens skilful nuances and contrasting hues to its corrosive bellow to become only more compelling over time.

Both Lethal District with its virulent swing within a dystopian savagery and the middle finger defiance of Burning Through Vengeance keep ears and appetite full and fiercely content whilst Reaper ignites an eventfully searing blaze of attitude, emotion, and sonic temptation boiled up into a torrential onslaught of whipping beats and carnal riffs. Entwining it all though is more of the tantalising craft of Dupuis and Benoit, their weave of suggestive melodic toxicity and erosive endeavour framed perfectly by the ruggedly rousing bass lure of Yates and the scything swings of Lemire.

The album concludes with Embrace The End, a final tsunami of spite with a no punches pulled reflection driven superbly by the continually impressive diversity and emotion of Brookes’ vocal delivery. The song is an enthralling and exhausting close to an album which just seems to blossom further with every dive into its heart. You, like we suspect many, may have yet to focus your attention on [Evertrapped], but it is a missing out easily remedied by a long look at Under The Deep.

Under The Deep is out now digitally via Hellstorm Recordz and @ https://evertrapped.bandcamp.com/album/under-the-deep

http://www.evertrapped.com     https://www.facebook.com/evertrapped

Pete RingMaster 20/10/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Éohum – Revelations, Aurora of An Epoch

 

10426225_921061234653514_3284405519738039512_n

The debut album from Canadian metallers Éohum is a fascinating proposition which manages to startle and surprise whilst simultaneously ticking every box on a personal want list from any weave of music. It is as if they instinctively knew what turned us on and explored those elements with relish. It is fair to say that Revelations, Aurora of An Epoch will not find the same level of reaction from everyone but it is hard to imagine many not breeding some kind of appetite for it and the band’s creative adventure.

The Montreal based and 2010 formed, Éohum (pronounced ee-o-um) is the creation of guitarist/bassist Jeremy Perkins, a “traditionalist and spirit oriented” band embracing a black metal breeding with anthemic grooving and doom cultured atmospheres. Equally in songs inspired by poems written by Perkins on the current state of humanity, rich elements of death and progressive metal are woven though not quite as dramatically and excitingly as the almost exotic roars of French horn which also inflame the album’s earlier tracks. The band’s live line-up sees Perkins joined by guitarist Sylvain Dumont and Annie Perreault on French horn/trumpet as well as bassist James Heymans, drummer Simon Bambic-Mackay of The Agonist and vocalist Barrie Butler. For the album though, Perkins enlisted the help of friends alongside himself, Dumont and Perreault; guests which include vocally Matt McGachy of Cryptopsy and Nick Wybo (ex-Vinyl Hero) on drums. It all sounds a fluid and unpredictable canvas the band works from and certainly flows over into the music and character of Revelations, Aurora Of An Epoch.

The album surprises and fascinates from start to finish, increasing in stature and success with every listen as more of its depths are revealed. The opening Leaving Harbour is maybe not quite the same but only because once the sultry scenery around a vocal piece of scene setting prose narrated by Lana Edwards is absorbed and appreciated, the tendency in every subsequent listen is to cut to the chase which begins with the next track Rooted Deep Within. An eruption of battlefield mayhem hits the imagination first but is soon swallowed by the imposing muscular and portentous intensity of death spawned riffs and rhythms. That alone grips attention but with the heralding horns blown by the lips of Perreault, an epically honed atmosphere makes its suggestive intrigue known before the track explodes into a virulent pestilential charge of venomous grooves and scarring riffery. The tempestuous instrumental track is like a hellacious dawning, one of danger and excitement employing wrong-footing experimental twists and progressive ideation.

Eohum Revelations Album Cover copy   The piece simply grips and inflames the imagination, not to mention ears, before Equatorial Rains takes over with a more temperate climate and confrontation. A deliciously throaty and resonating bassline from Perkins seduces ears and appetite straight away, swiftly aided by the flames of brass from Perrault and the caustic enterprise sculpted by the guitars. The breaking blackened malevolence and uncompromising rabidity in gait and aggression brings further appetising flavours and textures to the ever moving volume of sound and invention, as does the ferocious and cleaner rasping tones of McGachy. It is a formidable and relentlessly eventful provocation feeding ears and emotions potently with those horns the icing on the emotive antagonistic cake.

     Defined Sacredness comes next, opening on a predatory prowl of rhythms and riffs, each almost more theatrical in their stance than vicious but only helping lure the listener into the waiting slightly demonic narrative of fierce corrosive sound and rage bleeding vocals. Stabs of brass and heavy sighs of horn colour the hostile persuasion further, their toxic hues as virulently alluring as the riveting presence of McGachy.

The album’s title track has body and thoughts enthralled from its first breath; a roar of French horn announcing the tempest to come like a war cry, casting a challenge to be met before the song swiftly begins savaging the senses with sheer malicious contagion and intensity. It is a call continuing through the superb track, those golden flames of the horns an inescapable web of seduction within the destructive and to be honest equally addictive torrent of scarring grooves, abrasing riffery, and merciless rhythms. Bracing and arousing, like an anthem bred in hell, the track is a hymn for the lost and bellow for the despoilers, and quite breath-taking.

In many ways this is where Revelations, Aurora of an Epoch goes in a different direction, or certainly a less provocatively adventurous one. Wiser Every Sunrise which features Phillip Rieder on vocals is a collusion of heavy, groove, and death metal with hardcore/punk belligerence. Strangely familiar for unsure reasons, the enjoyable track is a brawling and volatile slab of animosity but even though it has ears and satisfaction heartily contented it does not live up to the previous tracks, feeling slightly out of place alongside them, which also applies to a lesser degree to Thus Spewed Thy Infectious Reign, a death spawned ravaging with a doom fuelled gait guided by an unpredictable creative menace. As its predecessor, the song only leaves good thoughts, inspiring them to contemplate the end of days/humanity but also hankering for the glorious horns and imagination seeded swing of earlier tracks.

Closing on Give Us O’ Rain, another piece of prose sung by Lana Edwards, Revelations, Aurora of An Epoch provides one predominately unique and intoxicating introduction to a band you can only imagine getting bigger, creatively grander, and more impressive over time. As suggested it might not light everyone’s fire as ours but if the likes of Emperor, Dimmu Borgir, Trepalium, and We All Die (Laughing) for example spark your juices, then so will Éohum.

Revelations, Aurora of An Epoch is available now via Mycelium Networks @ https://eohum.bandcamp.com/album/revelations-aurora-of-an-epoch

https://www.facebook.com/pages/Éohum/821823887910583

RingMaster 09/04/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/