Crawling and romancing the shadows with Gnostic Gorilla

Hailing from Toronto, Canada, Gnostic Gorilla is a dark electronic project which wears unpredictability as easily as imagination in its ear gripping sound. Recently we had the chance and pleasure to talk about the solo project with creator Dean Mason, exploring its origins and music amongst many things as well as picking at Dean’s thoughts about music in general.

Hello Dean and thanks for taking time out to talk with us.

Thank you. My pleasure!

Can you first introduce the project and give us some background to how it all started?

Sure. As a teenager, I began exploring the idea of recording music. I was of course a major day tripper…I mean…day dreamer. Hahahahaha! So I ventured out to record two songs, Dark Hallway and Golgotha for a single. I had some excellent musicians join me in the studio (Dave Davidson, Tony Bourdeau, Shaun Saunders and Chris Byrnes) and with the help of my parents I released the 45 rpm under the so called label name “Lonely Ghost Productions”. That was my first experiment with recording music. I left it at that and went to school to find some sort of career. In 2012, I returned to recording, as a hobby and recorded exclusively electronic music with a dark bent. (Gothic/Dark Wave/Industrial) I released a few singles on iTunes etc. and then in 2015 I released the first album (St. Basil’s Asylum) using the project name “Gnostic Gorilla”. Before that I was using the project name “The Lonely Ghost Project” but that changed once I learnt there was an American band called “The Lonely Ghost Parade”. I wanted to avoid confusion. So that’s a brief history of “Gnostic Gorilla”.

What inspired the name “Gnostic Gorilla”?

As I mentioned earlier, initially my project was called “The Lonely Ghost Project” but I changed it to “Gnostic Gorilla”. I had a song called Gnostic Gorilla (now renamed Eye for a Lie) and I decided to use that name for the project. The idea behind the name is a sort of convergence of two world views: the religious ‘creation’ story and Darwin’s theory of evolution. “Gnostic” means “knowledge” or “to know”. That is a reference to the “tree of knowledge”. Obviously, “Gorilla” is in reference to the idea that we evolved from some sort of ‘ape’ species (not specifically the Gorilla of course) and here we are. “Gnostic Gorilla” is not about Gnosticism as some may think.

Was there any specific idea behind the forming of the project and also in what you wanted it and your sound to offer?

In many ways a lot of it was allowing the creative process to dictate where I wanted the project to go and how I wanted to sound. I started off doing simply instrumental/soundtrack type recordings. Then I decided to try and do a complete song with lyrics/vocals. The first song I did as part of this new electronic music pursuit was a song called Requiem for the Prophet of Doom which was a tribute to Peter Steele of Type O Negative who passed away in 2010. There were two versions of that track. https://www.youtube.com/watch?v=YEnSgqaI3JA & https://www.youtube.com/watch?v=V0N7Uxzg7ac

That was released under the name “Dean Mason of The Lonely Ghost Project”, as singles. Soon after this, I began to really become more interested in a sound that was more industrial and Gothic or Dark Wave and eventually after a few more singles I recorded St. Basil’s Asylum which is now rereleased by Cleopatra Records. Most of my music has been industrial or Gothic since then.

Do the same sparks still drive the project or have they evolved over time and equally since your early days, how would you say your sound has specifically evolved?

Sort of continuing on from the previous question…yeah…there was definitely an ‘evolution’ of sorts. I look back on what I did in 2012 and some of it doesn’t send me far, with the exception of Nietzsche’s Cyborg. I will always be proud of that song. It was a game changer. It’s on St. Basil’s Asylum even though it was recorded in the fall of 2012 and St. Basil’s Asylum was released in 2015 and then rereleased by Cleopatra Records in 2018. But back on track here, I guess for me, I became more interested in an abrasive and weird industrial sound. (Psalm for the Lost was actually more of a retro Goth/New Wave type deal though) My latest album, Freak’s Mind is in my opinion one of my strongest in many ways. The next album to be released by Cleopatra Records (Shaman Rave) will blow your socks off! Promise!

Has it been more of an organic movement of sound or more you deliberately wanting to try new things?

A bit of both… I don’t want to be boxed into a specific genre to be honest. So, I go through phases where I really like menacing and weird industrial and then other times I prefer a more velvety Goth or Doom Psychedelic type mood in my music. I have been inspired not only by other artists but also by some soundtracks like, the soundtrack for Sinister which is absolutely mind numbing! So sometimes I watch a movie like that or like Queen of the Damned and it gives me inspiration. So, yeah, there is an evolution of sorts but I never deviate too far from being a dark electronic act.

Presumably there is a wide range of inspirations; are there any in particular which have impacted not only on your music but your approach to and ideas about creating and playing music?

Well, one of my first inspirations would be Gary Numan. I mean, I was a huge KISS fan when I was still in diapers hahaha …but Numan was the one that inspired me to consider doing my own thing in music. That said, I don’t write and record in the style of Numan. I owe more to Ministry, Skinny Puppy and Rammstein as far as recording style goes. I also am very much inspired by Peter Steele of Type O Negative and Jim Morrison of The Doors, especially for their unique lyrical style. Did you know that the first time the term ‘Goth or Gothic’ was used in reference to a rock band was when someone did a review of The Doors, the day after (or close anyway) that Morrison had met Andy Warhol? Anyway…I owe a lot of gratitude to Nash The Slash for being an inspiration as an indie artist as well.

Is there a certain process to your songwriting?

I usually begin a track with a general idea of the kind of mood/style I want to pursue. Then, usually, the song ends up being something totally different than want I first imagined. I usually start with either synth riffs/loops and/or beats/drum patterns and build from there. Kind of difficult to explain how a song evolves and usually I look back and think, “how did I even come up with this”?

… And where do you draw the inspirations to the lyrical side of your songs?

Many of my songs address the human struggle. I never write ‘love’ songs or ‘sex in the corvette’ songs…there are ample of those so …why compete right? I usually write in sort of ‘mystical’ story form. I use a lot of imagery and I allow the listener/reader (of lyrics) to decide for themselves what it means to them, even though I may have a specific idea in mind. I often use religious imagery and also imagery of ‘battles’ or ‘war’ but not in the sense that they are LITERALLY about armed combat. The imagery of ‘battle’ is more of an emotional/psychological journey of that inner struggle. I use a lot of religious imagery, but I don’t push ANY sort of religious point of view…for or against. Again, I let people decide for themselves what any song could mean. I address the issue of mental illness and depression and even the tendency for despair. I don’t encourage ‘despair’ but that experience of wondering where there is hope is quite universal. As well, I often, in veiled language, address the ‘tribalism’ that we humans seem to cling to. I have a real personal distaste for hatred of any kind and the world is full of that. Religious people bashing and rejecting others for being ‘different’ or of the ‘wrong tribe’ and all the bigotry and racism and all the phobias that still exist in a so called ‘evolved’ modern world. That ‘tribalism’ isn’t just from those of a religious persuasion but it also exists among ,many ‘atheists’ and ‘secularists’ who can be just as hateful towards those of the ‘other tribe’. We just don’t know how to leave each other be do we?! Hatred of any kind is for the birds. Wait…not even the birds want it!

Give us some background to your latest release.

The latest release is Freak’s Mind. It’s very abrasive and weird and even at times ‘gothadelic’ (a term coined by Peter Steele by the way). That album is the album that wasn’t supposed to be. I never really wanted to record anything new but one song at a time, and I ended up recording an album’s worth of dark wave/industrial/Gothic madness and I’m really proud of this album. It touches on all those subjects I mentioned earlier. Womb To The Tomb is one of my favourites on that album. It’s a strange combo of wild 60’s psychedelic with raging industrial sounds. Veil is a powerful song, which was recorded in 2013 actually. It’s a good album and I’m not the type that easily says things like that about my own music.

Could you give us some insight to the themes behind it and its songs?

Womb to The Tomb is about the cycle of life more or less, but also looks at the life of a corrupt village and all its citizens, including the powerful who take advantage and the victims who are taken advantage of. It’s kind of inspired by modern day events, without being specific. Chaos Frankenstein is sort of a ‘mystical’ telling of conflict and chaos and suffering and deception. Finally, (I won’t dissect every song) Freak’s Mind, the title track, is more or less about someone struggling with some sort of psychological or emotional turmoil.

Tell us about the live side to the band?

At present, Gnostic Gorilla is not planning on any live shows. I’d need to lasso a bunch of musicians to do that and I don’t see it happening. I don’t think so anyway…Maybe a one off someday.

It is not easy for any new act/artist to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods? Are there the opportunities to make a mark if the drive is there for new bands/artists?

You’re so right. It’s not easy. I mean, as far as having an impact is concerned. It’s a different world… a different industry and there are many factors that make it very difficult to make a dent anywhere, even locally…especially if you’re in a bigger city. Technology and the age of communication (social media) make it so that anyone can set themselves up and do music and even videos and put it out there. It makes for a VERY clogged reality in cyberspace. There is SO much out there. Everyone wants to be considered the next big thing…Fair game. But here’s the thing, it’s all been done. After KISS and Sabbath, and Manson and Depeche Mode and Numan and NIN, Slipknot, Cradle of Filth, Madonna, Lady Gaga, Ice T, Eminem, Shaggy, Run DMC etc. …how does one come up with a unique style? I don’t want to be a pessimist but let’s be realistic. It’s VERY difficult to make a dent because it’s almost impossible to snap people out of an oversaturated “yawn…I’ve seen it all before” mindset. You can’t impress people easily. You can barely shock people unless you are involved in some sort of controversy or are pretty like a Barbie/Ken doll. Legends/pioneers are no longer being made and I know that would piss a lot of people off to hear that, but it’s true. As for my own situation, I must confess that as I proud Canadian, I am very unimpressed with the way I’ve been treated by the reps/labels in Canada. I have a label deal with Cleopatra Records (LA) for two albums, a deal with KL-Dark Records in Germany and Nowhere Now Records in Australia and have never even received a reply from the Canadian labels I sent music to. Kind of disappointing but I guess they’re all waiting for the second coming or RUSH or Justin Bieber or Gordon Lightfoot.

How has the internet and social media impacted on your project to date? Do you see it as something destined to become a negative from a positive as the project grows and hopefully gets increasing success or is it more that bands/artists struggling with it are lacking the knowledge and desire to keep it working to their advantage?

As I said before, the world has changed dramatically in more ways than one. The internet and social media have forever changed MANY things, not just music. Look at what it’s done to the world of politics! (not always for the better) Even the Pope has a presence on social media. Hahahaha. But more specifically related to the music industry…it’s a mixed bag I suppose. It’s great to promote one’s music/art but also you’re not the only one doing it. Millions are doing it. With regards to the reality of ‘streaming’ though, as an example…that too is a combination of blessing and curse. What’s happening is people don’t feel like buying music is even a concept. It’s not their fault. It’s the way things evolved. (There’s that word again…hahahaha) Younger people grew up knowing nothing else and so, even the concept of music as art is kind of challenged. It’s rarely seen as ‘art’ and just part of the regular noise and scenery of cyberspace all mixed in with the latest ‘app’. It’s like music is there for the taking the way fruit on trees is there for the taking…it’s just a part of the way life goes. It’s all there to snatch and rarely pay much more than a standard monthly fee or something and have unlimited music. Hey, I do it myself, so I’m not criticizing. Also, it needs to be said, with reference to struggling artists: there are also different organizations that promise ‘hi-fi mega stardom’ for a fee! Some of these take advantage of artists, even some of the big labels have jumped on that bandwagon. Don’t get me wrong, there are some decent, honest organizations that genuinely want to assist struggling artists, but there are also a lot of vultures out there cashing in on Wendy and Charlie’s dreams of “making it”. I guess in the end, like anything else, it’s what you do with it right? Maybe it’s just another challenge for artists to be creative, even with regards to promoting and marketing.

Once again a big thanks for sharing time with us; anything you would like to add or reveal for the readers?

It is I who thank you! All I can say is that if you are a struggling artist…be true to the art, to being creative. I know that sounds like hippie bullshit, but it’s true. As soon as your goal is to become a ‘celebrity’ you’re setting yourself up for deception. Don’t dream about being a ‘star’. Instead, be creative and express yourself and be true to yourself…regardless of who does and who doesn’t approve. The rest will follow because in the end, authenticity speaks louder than the need to be ‘worshipped’. That’s what I believe.

Explore Gnostic Gorilla further @ https://www.facebook.com/gnosticgorilla/

Also grab your copy of the Various Artists Compilation album, Nowhere Now Volume 2 on Nowhere Now Records @ https://nowherenowrecords.bandcamp.com/album/nowhere-now-volume-2    featuring Last Call (Heed The Drones) by Gnostic Gorilla

Pete RingMaster 12/04/2019

Copyright RingMaster: MyFreeCopyright

Living Dead Girl – Still Life (Deluxe Edition)

Backing up the potent presence of their new single Still Life, British duo Living Dead Girl has just released a Deluxe Edition of the magnetically haunting encounter. Now a six track seduction, the single continues to captivate as richly as on its first introduction, showing itself one of those encounters which seems to reveal new shades and nuances in its emotion and character listen by listen.

Hailing from Guildford, Living Dead Girl consists of Jessica English (lead vocals, synth, piano, and programming) and Jonno Lloyd (guitar, bass, synth, programming, and backing vocals), the latter also guitarist for Ventenner who themselves have provided 2017 with some striking moments. The pair cast a dark electronic pop sound embracing inspirations of artists such as Massive Attack and Portishead but as the single alone shows, influences which are mere hues in the band’s own individual siren-esque explorations.

Instantly Still Life calls to the imagination, the collusion of wistful keys, skittish rhythms, and an upright bass like stroll gripping ears and attention before the elegant crystalline voice of English warmly wraps sound and senses. Note by note the song evolves and rises up, its atmospheric climate and haunting beauty fuelled by an infectiousness which swiftly gets under the skin. There is a synthpop breeze reminding of German outfit Propaganda to the song too as it glistens and melodically swarms over the senses with gentle but masterful intent. Noir lit drama lines every subsequent note and vocal kiss of a proposition which leaves the imagination basking and appetite hungry for more.

Killing Time provides that sustenance. The song is a beguiling gothic lit shroud of sound, its wrap as bright as it is shadowed. A darksome throb groans as agitated rhythms again court the serenade of English. It is a sombre pulse though which is as welcoming as it is portentous, Lloyd weaving an atmospheric theatre of suggestion with guitar and bass, the colour of the drama provided by the equally compelling portrayal of emotional espionage from keys and voice. With every venture into its obscure scenery the song escalates in intimation and flavours, bewitchment growing to fascination and ultimately lust.

The single is completed by a quartet of alternative versions. Still Life undergoes a Weebl Remix and subsequently PreCog Remix before closing up the release with its Quiet Version while among them there is the Little Death Machine Remix of Killing Time. Each song offers a fresh shade in their respective songs with the final track of the single managing to be even more haunting than its original with its minimalistic yet almost invasive supernatural breath.

An ethereal reflection grounded by a dark questioning within jazzy suggestiveness Still life is pure manna to ears and imagination, their awakening further stirred by the emotional examination brewed by Killing Time. Both tracks alone suggest that Living Dead Girl is a bright light within the British electronic scene which is only going to glow brighter and brighter.

Still Life (Deluxe Edition) is available now @ https://livingdeadgirl.bandcamp.com/album/still-life-deluxe-edition

https://www.facebook.com/pg/livingdeadgirlmusic     https://twitter.com/ldglive     https://www.instagram.com/livingdeadgirlband/

Pete RingMaster 14/12/2017

Copyright RingMaster: MyFreeCopyright

Das Fluff – Flower With Knife

When checking out a mere week or two ago the band’s latest single, Far Gone, we suggested the forthcoming new album from Das Fluff “should be very highly anticipated”, as too for newcomers the source of the single, their current and third full-length which recently had its vinyl release. At the time it was still an unrealised pleasure for us but now having heard and devoured Flower With Knife, we can say that intrigue and hunger is now greedily lying in wait for that new album currently being created.

Das Fluff is the brainchild and creative vehicle of Berlin/London-based vocalist/writer/producer Dawn Lintern. The project’s first two albums, in 2011 debut Would You Die for Me? and Meditation And Violence two years later potently built the reputation for highly danceable and inventively dramatic propositions with songs never accepting the predictable. Fair to say though it was Flower With Knife which saw Lintern’s writing and sound blossom into an invigorating trespass infesting body and imagination like a lustful virus. Linking up with guitarist Steve May, and the electronic experimentation of Christian Ruland, Lintern brought the richest drama and deepest tapestry of sound to the Das Fluff psyche; the result a release which plays like an aural psychological movie whilst grabbing the listener like a puppet forcing feet and hips to indulge.

Flower With Knife opens up with Popstar User, a track featuring a different guest guitarist as too upcoming album songs in Nothing and Pleasure, which prowls ears with seductive menace as Lintern vocally pouts and entices. The throbbing bassy electronics similarly tempt as synths simmer and flame as the guitar spins its own inviting web. It all colludes in a riveting slice of electronic rock providing the perfect doorway into the following shadow clad, noir lit, and creatively mercurial adventures.

The furtive gothic/post punk walk of Fuck The Trees swiftly has its grips on attention and thoughts next, Lintern purveying the raping of beauty by the intent of modern thought and deed. The pulse of the song is accusation, its gait almost predatory before Someone I Adore outdoes both the first pair of tracks with its striking electro punk saunter. Again there is menace in the air, an Au Pairs meets Siouxsie and the Banshees scent tempering yet equally adding to that confrontation within the senses arousing treat.

In turn it is then eclipsed by Pleasure with its gorgeous Slits meets again Au Pairs like dub lit temptation. Within moments the hips of song and listener are swaying in unison, thought locked up in the provocative turns of voice and word as music infuses its own inventive dance into ears and appetite. More than living up to its name, the track is the pinnacle of the album’s theatre but closely matched around it and indeed by that recent single Far Gone. Almost unnerving in its psychosis fuelled canter, bass tones and scything key bred strings cinematically Hitchcock like, it is the driving rhythms and intensity of the song which brings it all gloriously together for another mighty incitement.

Through the mellower but just as dark and rapacious Enemy, a song tempering its threat with open reflection and emotion, and the hauntingly enchanting jazz kissed beauty of The Stars, the album’s adventure evolves and turns down new avenues again. As the tracks before them, each is a new adventure to sink into, all connected by shadow clad risk and perilous influences. Both songs beguile with the second especially bewitching, while the grittier growl of Love and Peace snarls and intensely throbs like a predacious temptress bred from the thickest tempest.

Throughout Lintern’s voice magnetises as it reveals an array of depths and expressions, her bold and magnetic tones seeded in the similarly adventurous writing at the heart of songs and the trio’s creative imagination as epitomised in the heavier rock of Nothing, a track embracing a host of styles to its melodic and electronic bosom. It simmers and boils with energy and emotion second by second, Lintern the vocal ringmaster within shaping song and thoughts breath by syllable.

The album concludes with the electronic asylum of Strip Down, a proposal which harries thoughts with dark flirtations and sinister airs as pulses and melodies suggestively invade and swim the senses. The track is pure drama, an irresistible fire of emotion and intensity borne of daring imagination…and that pretty much sums up Flower With Knife as a whole; a release which stretches the listener as much as itself as a kind of psychosis hugs its heart. Most of all, it is a release which has the body bouncing and pleasure brimming…roll on the next album.

Flower With Knife is out now and available through the Das Fluff website @ http://www.dasfluff.com

https://www.facebook.com/dasfluff/     https://twitter.com/DasFluffTwit

Pete RingMaster 23/09/2017

Copyright RingMaster: MyFreeCopyright

King Satan – King Fucking Satan

mde

In a world bent on self-destruction from the intimacy of relationships through to the broader intolerance of religion and the greed of those governing it up front and behind the scenes, never has there been a more suitable and insidiously compelling soundtrack to it all than the new album from King Satan. Recently released by the  Finnish outfit, King Fucking Satan is a ten track devouring of the senses and an insatiable trespass of the psyche as flirtatious and contagious as it is emotionally pestilential.

Originally a solo project for vocalist, multi-instrumentalist, and producer King Aleister Satan (aka fra. Zetekh, the frontman of Saturnian Mist) when it emerged in 2015, the band has subsequently expanded due to live show demands with Kate Boss (vocals, synths, piano), John Oscar Dee (guitars, bass), Martin Shemhamforash (synths, bass), and Magister Demaniac (beats, additional instruments, programming) completing the current line-up. Musically King Satan creates and fester a senses consuming, body inciting fusion of black and death metal with dark electro, EBM, aggrotech and more besides whilst lyrically and emotionally, nothing is left out from being invaded and violated; the album exploring themes “found within occult philosophy, psychological mind-fuck and even sociological satire hand in hand with renegade rock ’n’ roll spirit that surely bows to nothing and no one!”

Dance With the Devil pretty much sums up the experience of listening to the album as well as providing the title for its opener. As a dark atmosphere crowds around ears, a vocal trigger brings hungry beats and synth cast temptation upon the senses. Equally predacious and alluring, with increasing addictiveness and virulence as melodies and hooks play, King Aleister Satan’s vocal trespass bullies and harries, every syllable explored and sharing primal instruction. Like a mix of God Destruction, Skinny Puppy, and label mates Barathrum, the track infests and incites, its infectiousness and inviting hooks as loaded with viciousness as its boldly direct animosity.

It is a great manipulative start soon matched and overshadowed by As Above So Below, a song managing to be even more primordial and catchy as nagging rhythms pound and synths cast their toxic melodies and hooks; an infectious trait matched in the swing of the punk/black metal scarred vocals. Within moments bodies are bouncing and hips swinging, something we have seen in close attention, as thoughts are twisted and stretched by the corrosive vocal and lyrical intrusion. Addiction appears inevitable so be warned as indeed in regard to Enter Black Fire which though not quite having the body as firmly in its puppeteer grip keeps things feverishly pulsing as thoughts are taken on a tour of ascending oppressive power and its escape.

Psygnosis has everything lustfully involved and enslaved next too, its musical psychosis the fuel for more unstoppable infectiousness and lyrical humour honed drama. Physically exhaustive and imaginatively tenacious refusing to leave the listener alone with its creative bordering psychotic enterprise, the track is superb, a new major highlight though instantly eclipsed by Sex Magick. Stomping over the senses with every beat a haymaker and each synth nurtured sortie of ears a rebelliously sexual coaxing, the outstanding track grows into a relentless and licentious tide of industrial/ EBM contamination adding J-Pop like ingenuity with the vocals of Boss glorious and a devilry akin to something Mindless Self Indulgence might expel.

The predatory instincts of Satanized course ears next, its infectious electro canter a bold niggling of the senses around the raw air and tone of vocals and word before Of Internal, Eternal & Spiritual War, with its haunting Cimmerian crawl through an ominous atmosphere woven around darkly whispered vocals and harmonic siren cries, envelops the senses.

Recalcitrant causticity gets its head in the electro punk epidemic of Spiritual Anarchy straight after; defiance and vocal antagonism a potent contrast to the quenchless dance and devious endeavour of synths and guitars while Destroy the World is a calmer but cancerous embrace of the senses. Suggestive melodies vein an invasive smog of sound and intent which dowses the listener in emotional and sonic malignancy.

The album closes with a similarly toxic climate and reflection, though Kali Yuga Algorithm has a thicker sinuous texture to its layers and black industrial, rancor coated wake-up call. The track leaves a lingering imprint on the senses as pretty much all within King Fucking Satan, a release which enthrals on the verge of rapture and provokes to the point of brutality for seriously one of the most rousing and enjoyable stomps this year so far.

King Fucking Satan is out now via Saturnal Records and available @ https://saturnalrecs.bandcamp.com/album/king-fucking-satan

http://www.kingsatan.net/    https://www.facebook.com/kingsatan616/

Pete RingMaster 20/06/2017

Copyright RingMaster: MyFreeCopyright

Project Silence – Flesh Of The God

PS\- Reputation Radio/RingMaster Review

Though less than two years since Finnish industrial metallers released the rousing and impressive single One Way to Hell, time seems to have gone particularly slow waiting for the next instalment of their creative ravishing of ears and imagination. The wait is now over as the band unleashes new single Flesh Of The God, a track building on the potential and gripping qualities of its predecessor and those bred in the band’s previous debut album, and with ease revealing itself as the Kuopio quintet’s finest moment yet.

cover\- Reputation Radio/RingMaster Review   Project Silence began as 2008 opened its eyes, originally as a dark electro /aggrotech seeded solo project for founder and vocalist/programmer/keyboardist Delacroix. Towards the end of that first year drummer Silve_R alongside guitarists J and Mr. Sanderz were brought into the project with the following summer seeing the band begin work on their first album. Its creation and songs saw a stronger industrial and melodic metal flavouring evolving in the band’s sound, one reinforced by the rabid throaty tones conjured by new bassist Sturmpanzerjäger who joined up at the start of 2012. 424 was released in the winter of that year, its sprawling brawl of intense promise within a conviction of brutality and rabid enterprise soon awakening attention and acclaim. The album was as diverse as it was uncompromisingly contagious, a potent base from which One Way to Hell grew its own fresh and creative fury across two songs. It was a new stretching of the band’s imagination and bracing sound but now shown as also one step towards the fiercer and more skilfully incendiary design of Flesh Of The God.

The new single makes a low key yet ominous arrival around ears, keys brewing a sonic mist and warning from which the song erupts with rampant riffs, rousing rhythms, and rugged creative terrain. The keys continue to weave an alluring atmospheric coating around song and imagination, within which the vocals of Delacroix, aligned to equally volatile sounds, pounces with emotive growls and venomous expression. Melodic persuasion is just as potent and persuasive in the tempest too, bringing a warmer climate and tempering to the hostile emprise trespassing and thrilling the senses but simultaneously emphasizing its power and uncompromising attitude.

Electro, metal, industrial, symphonic and more are textures and spices all entwined within the creative maelstrom of Flesh Of The God, the result Project Silence’s most inventive, explosive, and virulent offering to date.

Flesh Of The God is out now @ http://projectsilence.bandcamp.com/album/flesh-of-the-god

http://www.projectsilence.info/ https://www.facebook.com/projectsilenceband

RingMaster 16/06/2015

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://www.reputationradio.net

 

Project Silence – One Way To Hell

PS

    Project Silence is a sonic and invasive scourge from Finland which ignited a lasting passion and hunger in us for their presence through the album 424 which unleashed its extreme toxicity last year. The album was brawl of intense promise which shared a brutality and bewitchment that overwhelmed and seduced the passions. The band now return on December Friday 13th with new single One Way To Hell, a two track creative fury which confirms all of the intensive promise and stature of the previous release whilst stretching the band’s imagination and abrasive qualities even further.

Hailing from Kuopio, the band was formed in 2008 as initially a solo project of Delacroix (vocals, programming, keyboards),  who began brewing up a distinct dark aggressive design from ferocious essences bred in the likes of industrial metal, dark electro, trance, aggrotech, and black metal. A demo emerged soon after the project was unveiled followed to relative success by the single Voices the following year. 2012 saw the line-up of Mr. Sanderz (guitar), J (guitar), Silve R (drums), and Sturmpanzerjäger (bass) alongside Delacroix before debut album 424 was uncaged on the world to strong responses from fans backed by equally enthused critical acclaim from within the underground press alongside radio play on shows like The Bone Orchard at Audioburger.com. The experimental muscular confrontation of the new single takes the heights set by the album not maybe to new plateaus but certainly to intriguingly different and just as impressive corrosive adventures.

One Way to Hell emerges from an enveloping sonic mist; one soaked in menace and brewing industrial toxicity speared by one way to hell coverincreasingly intimidating beats and an asylum bred laugh. As soon as it has comfortably coaxed attention and intrigue from its recipient the band expels a squall of heavy duty rhythms and equally muscular riffs stalked magnetically by the shadow dwelling keys and malevolent vocal growls bred in even darker places. The track does not go for the jugular but instead bears its full weight upon the senses to immerse the whole of the listener and thoughts within a bruising and merciless yet seductive pestilence. With a deceptively contagious chorus and a just as virulently tempting swagger to its stride, the song initially does not make the same immediate impression as many tracks on the album did but with startling imagination and twists, like the excellent full stringed almost folky lure crafted by the guitars, the encounter evolves and increases its persuasion through its first and definitely across multiple returns. It is a slow burner in many ways but soon finds the flint to spark an enthusiastically hungry appetite for its bold adventure.

The track is accompanied by Death and Madness, an onslaught which carves a swifter impact on and submission from the passions to reinforce the thrilling potential and striking evolution of sound as presented in One Way To Hell. Production is less precise and clean on the second track which only adds to the throaty lure offered by the bass and mutually predacious guitar riffs punctured by just as threatening rhythms. Coursing with infection dripping grooves and rabid hooks, as well as dangerously alluring melodic seducing from the keys, the track is an epidemic of incendiary pestilence and destructive enterprise woven with threads of wanton beauty and classical elegance. Masterful and creating an even greater creative alchemy than its impressive co-provocateur, the song is a towering predator and excuse for all newcomers to check out the uncompromising might of Project Silence.

https://www.facebook.com/projectsilenceband

8.5/10

RingMaster 11/12/2013

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Dark Energy Discoveries: The Cosmic Light EP

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    The Cosmic Light EP is an intriguing two track release by Dark Energy Discoveries which combines the shadowed corners of dark electro and industrial with the shimmering radiance of electro pop and warm ambience. It is a deathwave fuelled encounter which challenges and mesmerises in equal strength and mystery and leaves a certain desire to know and hear more.

The little info which seems to exist about the project declares that ‘A clan of inter-dimensional beings have joined forces to explore the ever-expanding reaches of existence through the intersticed galactic portals of the Ravener and record those Distant Wisdoms they uncover. They will encounter strange, enthralling worlds and realms of science, magic, and arcane knowledge. This team of abnormal sages is known throughout and beyond time and space as Dark Energy Discoveries.’ Now for personal tastes this poetic kind of story only raises more options to ignore than investigate but it would certainly be a mistake in regard to Dark Energy Discoveries. Their EP is a free release to lead into  debut album Distant Wisdom and as said an intriguing as well as magnetic invitation into the band itself.

The title song emerges from a brewing ambience of crystalline ambience complete with heated melodic brilliance and compelling electro resonance. Once into its stride the track expands to embrace the senses with firm heady beats and a consuming dark wash of emotive breath wrapped in the continuing golden electro persuasion. The dual vocals are the first element to ask questions of thoughts and reactions, the clean smooth vocals accompanied by a restrained yet caustic malevolent delivery offering a black metal vein to the now enjoyably imposing piece. To say the track is Ultravox meets Cradle Of Filth with Ghost In The Static and God Destruction in attendance would not be that far from the mark even if still vague in revealing all that is going on within song and release. It is a compelling track which lingers and continues to tease thoughts long after its departure as does its companion.

Beyond The Ashes is a gentler caress though no less impacting in sound, imagination, and in the craft to inspire uncertainties, delight, and questions. The harsher vocals this time have a more spoken narrative to haunt alongside the once again impressive clean delivery as well as the glowing electronic shards and rays of aural flames and sunlight. As its sister track, the song immerses ear and thoughts in a soundscape of glorious sonic colours and vibrant shadows which float across and around the heat of the piece.

The Cosmic Light EP captures the imagination with ease and leads to a keen desire to keep close attention on band and their forthcoming album.

Check out and grab the EP at http://soundcloud.com/darkenergydiscoveries or http://darkenergydiscoveries.bandcamp.com

https://www.facebook.com/DarkEnergyDiscoveries

7.5/10

RingMaster 27/03/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com