Black Space Riders – Amoretum Vol. 2

Though Black Space Riders teased us with the news that the successor to the outstanding Amoretum Vol. 1, released this past January, would also be uncaged this year maybe few expected it to swing into view within six months of its acclaimed sibling. But indeed it has and we for one could not be any more pleased because it is one stunning slab of what the German outfit does best and which is individual to anything else.

As Vol. 1 took the listener into the dark depths and thickly shadowed corners of the modern world with intimations of hope and resolution its successor “explores the tension between darkness (fear, hate, rejection) and light (empathy, love, acceptance).” Their title is a fusion of the words Amor and Arboretum, the band’s symbolic reference to the sanctuary of nature and love. The creative and musical link between the two is strong and open; no surprise with the tracks from both albums written at the same time in 2017 and recorded together, yet Vol. 2 has a devilment in its imagination and body which makes it an even more unpredictable and at times bewildering experience. The second book in the concept flourishes whether standing alone or as a continuation of the first. Its press release asks, “Is Vol. 2 the rebellious older sister of Vol. 1, or the young, untamed brother?” Often it seems like an alter-ego, a kind of Riddler to the first’s Edward Nygma or indeed both making up a sonic Magneto where light and dark entangle for varied shades of captivating character.

The quintet of JE (lead vocals, guitars, keys, electronics), SEB (lead vocals, keys, percussion, electronics), C.RIP (drums, percussion, digeridoo), SLI (guitars), and MEI (bass) have also conjured the most eclectic flavours within their sound across the fourteen tracks of Vol. 2; at times it blazes with punk like ferocity, in other moments trespasses with metal bred inclinations before seducing with pop rock irresistibility and psych rock magnetism with plenty more in store along the way.

Set over six chapters, it opens up with Before my eyes, percussion luring ears into the snarling jaws of the track. Punk, metal, and rock all collude in its grizzled climate, grooves aligning to crisp rhythms as vocals growl. In no time it had the body bouncing and vocal chords gurning, contagion soaking every second of its forcefully magnetic enterprise. The clang of post punk guitars only adds to the irresistibility before LoveLoveLoveLoveLoveLoveLoveLove Love (Break the pattern of fear) slips in on a dark saunter. Initially it shares a Bauhaus like breath before breaking into a garage punk meets alternative rock stroll though, as becomes the norm in songs, it begins evolving by the minute if not the second. If the opener was bliss to the ears, its successor was pure rock ‘n’ roll manna and it proved just the beginning of one exhilarating ride with Black Space Riders.

Next up is Walls away, a far calmer affair with a melodic temperament which captivated from its initial lure. It has a raw undercurrent though which accentuates its elegance breeding, that aforementioned unpredictability lurking at every corner while Slaínte (Salud, dinero, amor) has a Celtic lining to its infectious festivities; an Irish Gaelic inspiration which again had the body bouncing across its primarily instrumental canter sharing “good health”.

Assimilating love leaps in straight after, its punk ‘n’ roll grumble a collision with grungier textures and space rock dynamics as it harasses ears with rousing irritability before In our garden serenades the senses with its melancholic caress. Something akin to the dark rock of Dommin in an embrace with the neo folk of Death in June within an indie sunset, the song is as enthralling as it is sombrely radiant as too the following track, Leaves of life (Falling down). For us the song is part of the pinnacle of Amoretum Vol. 2, though such its lofty heights we continue to debate that point as thoughts change by the listen. It has an energy which infests body and spirit but equally a dark glow which draws attention and the imagination like a moth to flame, and there is a definite heat to the track as its intensity and contagion rises.

Its glory is then more than matched by Body move, a quite magnificent and addictive slice of creative manipulation which has the body swinging to its funkiness and vocal chords clinging to its virulent delivery. Pop, funk, trip hop, and infection do not come any better and wonderfully invasive than this; the imagination as firmly locked into its growing web of drama.

The dub lit and outstanding Take me to the stars had hips swaying without thought within moments next, the song another weave of individual flavours in a wholly unique yet strangely familiar bold croon while Ch Ch Ch Ch pt. I (The ugly corruptor) emerges from a sonic mist to cast psychedelic hues and intimation before Ch Ch Ch Ch pt. II (Living in my dream) draws ears through the former’s growing raw volatility into its own tempestuous heavy rock envelopment, those already in place psych flames and sighs cascading off its feral storm.

The album’s final and sixth chapter is made up of firstly the melodically wired but still gnarly Chain reaction which is followed by the devilish rock pop bred No way. The first of the two did not grab us as its companions but still leaves most tracks heard this year chasing its wake while the rousing second has a whiff of pop, psych rock, and death metal to its inimitably catchy almost fearsome clamour.

Finally The wait is never over concludes the release, the track another kaleidoscope of flavours with echoes of Ruts DC in its dub shimmers and Helldorado in its swarthy atmospherics. It is an initially low key close, a kind of epilogue but one which just transfixes from its irradiant start to its ravenously tempestuous middle on to its apocalyptic climax.

Well Black Space Riders has done it again, had us drooling at their ever startling endeavours. Quite simply Amoretum Vol. 2 is immense in every aspect. It is a treat from first to last wave of imagination and creative devilment but we suggest listening to both Volumes of Amoretum as one for a complete rush of inspiration and pleasure.

Amoretum Vol. 2 is released July 27th through Black Space Records / Cargo Records on double vinyl (w/ CD), digipack CD and digital formats; available @ https://blackspaceriders.bandcamp.com/album/amoretum-vol-2

 

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Pete RingMaster 26/07/2018

Copyright RingMaster: MyFreeCopyright

Her Despair – Mournography

Mournography is an exploration into the mysteries of tragedy, blasphemy, death, and love; both literally and figuratively…The mourning of some, the lust of others. These songs praise and pervert the Word of God simultaneously: providing a deeply unsettling spiritual experience set to a bleak backdrop of melancholia.”

The words accompanying the new EP from UK goth/dark metallers Her Despair perfectly encapsulate its tone, heart, and seduction. It is a journey into dark places as broad as they are intimate through a sound as melancholic, thickly shadowed, and mesmeric as the emotion laden words within.

Formed in 2015, Berkshire hailing Her Despair began as the solo project of J; the album Hymns For the Hopeless its introduction that April. It set down the seeds and template for the rich fusion of atmospheric and emotive gothic and dark rock with the trespass of punk and metal. It was a captivating raw mix within that first encounter but now with Her Despair a fully-fledged band makes for one richly compelling proposition within the new encounter.

With guitarists Dan and Jord, bassist Vikki, and drummer Lee alongside vocalist J, and recorded with Matt Bew at Whitehouse Studios in Reading, Mournography immediately strikes the imagination as it opens up with Blaspheme With Me. Straight away there is a tenacity and controlled urgency in rhythms as the guitars entangle their lures; an energy which fuels every aspect of the emerging song until it hits a boisterous stroll behind the enticing tones of J. Hues of bands such as Sisters of Mercy and Fields of the Nephilim collude with the uniqueness of Her Despair as the track grows, each essence adding to its captivation and seamlessly changeable gait. The outstanding song epitomises the band’s sound; it’s embracing of sturdier metal traits with its gothic instincts.

The following Valentine’s Mourning similarly has a raw energy and swing to its attack driven by the senses nagging boisterousness of rhythms with this time harsher punk essences infesting its character. Keys add to the melodic seduction and flames tempting within whilst as with the first track, an organic catchiness brings something akin to bands like Dommin to the imagination.

A darker calm caresses ears next with Within Tragedy; it’s almost funereal march an imposing yet rousing incitement matched in tone and intimation by the air and words escaping J’s vocals. The track is pure seduction with heavy drama in its tone and an immersive lure to its rich web of almost threatening romance.

Charming keys and harmonic calm opens up Damnation Tonight next, their coaxing soon immersed in the song’s thick theatre of sound and intimation. Though missing the final spark of imagination of its predecessors, the track simply tempted and embroiled ears and thoughts in its creative and emotive melodrama as the body instinctively swung to its virulent inclination.

In the Arms of a Sadist brings the EP to a close, it too making a calm entrance with reflection colouring word and sound. It is a dark brooding though which escalates throughout, sometimes ebbing as the track and J’s vocals reach deeper into the heart but always giving a magnetic shadow and trespass to the dark intoxication.

It is a fine conclusion to a release which fascinates from start to finish. Possibly there is a lack of individual surface uniqueness between the five tracks making up Mournography yet each enthrals in their own ways, more so with attention and time, and united ensures from start to finish the EP transfixes and impresses; increasingly so by the listen.

Mournography is released July 20th; available @ https://herdespair.bandcamp.com/

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Pete RingMaster 17/07/2018

Copyright RingMaster: MyFreeCopyright

 

Worselder – Paradigms Lost

As French metal continues to prove itself a hot bed for adventurous new bands and voraciously tempting sounds, quintet Worselder add their stock to the brew with new album Paradigms Lost. A web of flavours and styles fused into ear pleasing, imagination catching encounters, the ten track release is a quick and easy to devour proposition revelling in additional time offered to blossom into something even more impressive.

Hailing from the foothills of the Pyrénées mountains, Worselder emerged in 2008. Quickly they tempted local and in turn national attention with a sound drawing on each individual member’s influences and experiences in previous outfits alongside nineties inspired thrash and power metal; an instantly rich mix only blossoming in depth and adventure across the years and releases. Debut album Where we come from was released in 2010 to strong responses though it was the MMXIV EP four years later which especially sparked critical acclaim and led to the band sharing stages with the likes of Firewind, Dagoba, Black Bomb A, and Huntress among many. Recorded across 2016 with Elise Aranguren and mixed and mastered by Bruno Varea (Dagoba, Satyricon, Lenny Kravitz), Paradigms Lost sees the Worselder sound and invention at a new level of maturity and imagination. It is a release which as suggested makes a potent impact straight away but shows greater strength upon subsequent listens as its layers and less open complexities are increasingly revealed.

Infighting gets things going, the opener luring ears with a brooding bassline before rapacious riffs and bone rattling rhythms courted by toxic grooves erupt. Equally rapacious vocals from Guillaume Granier and the band soon join the surge before things settle down a touch with the vocalist quickly showing his potent range and dexterity. There is a whiff of industrial metal to the track initially, Society 1 coming to mind as the track jabs with spiky discontent, but soon its melodic and grooved instincts are entangling and stretching its thrash fuelled charge.

It is a great start hinting at the wealth of flavours ready to embrace ears across Paradigms Lost and its next up title track. From the crackle of fire and portentous rhythms within a similar atmosphere, the song strides forth with melodic vocals and harmonies lying keenly on more rapacious and aggressive sounds. The guitars of Yoric Oliveras and Jérémie Delattre cast another instinctive incitement, a mix of predacious trespass and sonic imagination to be hooked on whilst the scything beats of drummer Michel Marcq rousingly pierce the heavy prowl of Yannick Fernandez’s bass. The track’s twists and turns are as fluid as the array of sounds woven together within the excellent proposal but carry an unpredictability which has the imagination firmly enthralled within the first listen.

The instinctive rock ‘n’ roll prowess of next up Seeds of Rebellion has ears won just as quickly; the similarly striking and irresistible song proceeding to instil that core with anthemic dexterity and spicy grooves. All is delivered with lust but control amidst expectations spoiling imagination loaded with a bold unpredictability before Idols unveils its classic/heavy metal attributes within an aggressively tenacious air. Though the track does not quite ignite personal tastes as forcibly as its formidable predecessors, it only grows and pleases more and more with every listen.

Through the melodically calmer waters of The Sickening and the old school spiced Severed, the album has total attention. The first is a tantalising mix of warm melodic temptation and more bullish volatility as vocal and lyrical insight explores ears and thoughts. At times sultry and exotic, in other moments a more rapacious challenge, the track captivates from start to finish, giving neck muscles and hips a workout with its emerging thrash inspired grooving. Its successor similarly casts a net of ear entwining grooves this time fuelled and coloured by that power/classic metal essence with Granier’s croons and roars on melodic fire.

My Consuming Grief has a darker edge and deceitful volatility to its heart; a shadowy emotive power skirting and courting the drama and adventure of the melodic power metal seeded exploits. It too has ears and imagination swiftly gripped before Home of the Grave dances on the senses with its opening melodic flirtation. It is a glorious enticement only increasing its invitation as darker heavier hues from guitar and rhythms join in. Managing to become more primal and charming with each passing minute, the track provides another addictive highlight to the release.

Worselder toy with the imagination through The Haven next, a song exploring dark hues more akin to the likes of Dommin and Rise To Remain though its instinctive classic metal attributes shape the excellent encounter before the album closes with the shadow clouded, atmospherically apocalyptic Land of Plenty. In its imposing darkness there is hope and elegant melodies bring that light as the song rises from its solemn beginnings to challenge and inflame the senses. More of a slow burner than other tracks within Paradigms Lost, it almost festers in ears and imagination as it makes a potent impact and striking moment to eagerly point out.

Inspirations to the band apparently include the likes of Coroner, Testament, and Pantera; a trio which across the whole of an album but especially in the final song alone you can appreciate in a release which simply draws attention back time and time again as we can attest to. Paradigms Lost has all the qualities and impressiveness to push Worselder into global attention, now it is up to the world to embrace them.

Paradigms Lost is available now through Sliptrick Records on Amazon and other stores.

http://www.worselder.com/    https://www.facebook.com/worselder/    http://worselder.bandcamp.com/

Pete RingMaster 20/06/2017

Copyright RingMaster: MyFreeCopyright

Waiting For Titor – Halo Pt 1

In a year of many striking, potential loaded debuts already, we suggest another especially potent and exciting introduction in the shape of the EP, Halo Pt 1. The six track offering comes from Anglo-Italian alternative rock quartet Waiting For Titor, a band founded in 2012 which has honed their sound into one fascinating and thoroughly enjoyable proposition; its imagination bred within a maturity of songwriting which just commands attention.

Waiting For Titor rose from the ashes of Italian crossover outfit Convergence, drawing their moniker from a fictional name used by a blogger claiming to be a time traveller from the year 2036. Embracing inspirations found in the specific likes of Nine Inch Nails, New Order, Depeche Mode, Foo Fighters, Sigur Ros and Massive Attack, the band has risen through the focus of the underground and having recently linked up with Belgian label Diva Records, the Manchester based foursome are poised to tempt national attention and quite possibly more such the potency of their first EP.

Recorded with Belgian producer Geert D’Haene and mastered by highly acclaimed Italian engineer Giovanni Versari (Muse), Halo Pt 1 coaxes intrigue with its brief breath of an opener, Proemio an atmospheric piece of suggestion which does not really give a clue to things to come but makes a thought involving lead into the EP’s waiting title track. The vocals of Alex Palladini instantly hold ears, his distinct expression cradled by vines of wiry melody from Mike Tomasini’s guitar. Prowled by the dark tone of the Max Andrini’s bass which sounds almost irritable against the post rock/ progressively woven tapestry of guitars and keys, the song absorbs ears and thoughts. Its bursts into more boisterous life driven by the skilled swings of drummer Vince Picciolo makes for a rousing finale with an intensity further explored within its successor.

Bitter End similarly has some restraint in its gait also but welcomes thicker shadows in its climate as synths with a Nine Inch Nails like air wrap the senses. Again there is a great drama and energy in the vocals whether they emotively croon or passionately roar, a blend matched in the sound as the track blossoms turn by turn. Built on emotional and physical crescendos, the song is a magnet for the imagination, only increasing its potency with every listen, as indeed does the EP, as fresh layers are discovered.

The dark rock essence within the song is escalated within the final trio of tracks; Diving Into The Black coming first with its rock pop/gothic rock fusion. There was a whisper of Dommin to the previous track, a spicing far richer here as the track infectiously strolls and emotionally flames. Synths are an evocative incitement, rhythms a forceful enticing, whilst the guitars almost flirt with their sonic mix of light and dark enterprise.

The melancholic caress of Twilight Fall is even more awash with the hues of the previously mentioned US band though its shadowed seduction is soon baring its own unique soul as Palladini shares heart and word within a siren of emotionally bare sound. Its outstanding temptation is soon matched in lure and might by closing track Leaving Again, a slice of virulent contagious rock repeating Waiting For Titor’s craft at entangling dark and light in an emotional rousing and provocative proposal. It is a song which declares itself the lead into the creative heart of the band though sharing best track honours with its predecessor.

The Halo EP is a truly potent first listen to Waiting For Titor which only increasingly impresses and entices with every subsequent outing into its dark exploration. Its individuality in sound and invention might not be for all, though it is hard to imagine many turning away, but for a great many others a budding affair will be on the cards.

Halo Pt 1 is released through Diva Records on June 2nd and will be available @ https://waitingfortitor.bandcamp.com/album/halo-part-1

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Pete RingMaster 01/06/2017

Copyright RingMaster: MyFreeCopyright

The House Of Capricorn – Morning Star Rise

Photo Credit Cerulean Empire

If the horned one has a house warming party the day he moves in and consumes the world, there are plenty of candidates to provide the musical incitement; a list sure to have The House Of Capricorn near the top. The New Zealand devil rock trio release their new album Morning Star Rise this week and it is a proposition which wears the apocalypse as a smouldering seduction, a tantalising glaze to the band’s rock ‘n’ roll tapestry of doom, gothic and stoner rock. The release is a masterful protagonist for dark deeds and blackened hearts, a bewitching evocative hex sounding like the son of a satanic union between Type O Negative, Dommin, Babylon Whores, and Sisters Of Mercy. Even that description does not touch the black hearted toxicity which coats every note and syllable but it does suggest the melodic and deceptive satanic alchemy fuelling the outstanding encounter, the album radiantly inviting as its sound and intent feeds on the soul.

Formed in 2001 and hailing from Auckland, The House of Capricorn set free the self-released The Rivers And The Rain EP in 2006 as their first temptation, but it was with first album Sign Of The Cloven Hoof four years later that the band stirred real attention within a wider spotlight. It was followed the next year by In The Devil’s Days, the album reinforcing the increasingly darker explorations began with its predecessor. Now the threesome of vocalist Marko Pavlovic, guitarist Scott Blomfield, and drummer Michael Rothwell have cast their most riveting collection of satanic hymns yet for one of the most thrilling possessions of the year.

The Road to Hell is Marked makes the first enticement of ears and psyche, the track bounding in on swinging beats and a carnivorously snarling bassline entwined with an instantly engaging if acidic groove. It is a magnet for the imagination, the opening intimidation swiftly bursting into a creative punk like brawl as Pavlovic roars from within a tenaciously aggressive sonic confrontation. An element of Volbeat plays with thoughts but only as whispers behind the outstanding Pete Steele like dark harmonies the vocals grace the lyrical infestation with. Anthemic and contagious, the opener is a salacious but controlled stomp teasing with a scorching solo and that ever grumbling bass sound which enslaves appetite and emotion.

The brilliant start is matched swiftly by the fire and brimstone of In Light of Lucifer, the track stepping down a gear in attack but increasing the dosage of toxic grooves and vocal tempting. The 143228track prowls and taunts with its gait and hypnotic sounds, an imposing resonance leaking from every pore whilst the guitars cast a web of virulent hooks and grooves within the thick doom loaded smog. As the previous songs and those to follow, there is a diversity of sound and textures making up the offering but whatever the spices the song, as the album, is simply rock ‘n’ roll at its voracious best.

Our Shrouded King is another bellow of sound and demonic intent, riffs and rhythms an uncompromising confrontation tempered by the sultry temptation of grooves and expressive vocals. Hints of Misfits/Samhain flirt with thoughts as do more loudly those of Type O Negative but there is no escaping the rich and imposing tones of seventies classic metal kicking up a storm within the swamp of enterprise and incendiary emotion squalling within the track. Its invitingly corrosive maelstrom makes way for the slower predation of Ashlands, it an initially agitated intimidation which emerges as a broad and funereal examination of imagination and emotions. The track is a glorious dark seducing, a drone kissed croon in sound and voice which consumes the senses with a post punk haunting and gothic rock elegance before making its way to angst soaked expulsions of raw vocals and blacker sonic depths. The song is as meditative as it is emotionally toxic, and quite riveting.

Both The Only Star in the Sky and Ivory Crown continue the exhilarating infestation, the album remaining on its lofty plateau of persuasion with consummate ease. The first of the two has an essence of The Mission to its melodic tempting whilst rhythmically and in the growling bass lures, a tinge of early Killing Joke. Again they are mere whispers in the fascinating creative embrace of an inescapable contagion. If this is an infectious suasion its successor is primal seducing with its Sisters of Mercy like chorus and blackened glamour, though overall as the song blossoms and tempts with melodic and female harmonies inflaming ears and passions, it enthrals more like a distant cousin of The Mission’s track Severina, a plus in anyone’s book.

The hazier climate and sonic colour of Watching Angels Fall comes next, the song as magnetic strolling relentlessly or welling up with tsunami like energy for impassioned dark crescendos. Its adventurous instinct leads the listener into a noir lit plane of sonic enterprise and provocative ruffled calm at one point, an almost wrong-footing turn before re-establishing its authority with the returning tide of torrential tiffs and rhythms. A slow burner compared to others on the album but soon another peak, it is followed by the atmospheric instrumental Covenants Ark, an intriguing and thought provoking piece of stark wasteland bred ambience leading to final epic emprise Dragon of Revelations. Over nine minutes long, the track is a cavernous journey into a dark unknown and destructive malevolence but lit with the transfixing smouldering tones of Pavlovic and a reflective streaming of sonic colour from Blomfield. It is a doom drenched exploration, oppressive and enchanting simultaneously and a sublime end to an exceptional release.

Morning Star Rise is majestic, colossally gloomy and fearsome but equally captivatingly infectious and spellbinding. When the apocalypse comes The House of Capricorn will have no fears, they will riding to the fore with wide grins and instruments sound-tracking the end of days.

Morning Star Rise is available now via Svart Records on vinyl @ http://svartrecords.com/shoppe/home/2738-the-house-of-capricorn-morning-star-rise-cd.html, on CD @ http://svartrecords.com/shoppe/home/2737-the-house-of-capricorn-morning-star-rise-cd.html or digitally @ http://thehouseofcapricorn.bandcamp.com/

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RingMaster 02/12/2014

Copyright RingMaster: MyFreeCopyright

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Mallory – 2

photo groupe

Mallory leaves the man she just married and hits the road, alone, without knowing her life’s about to change dramatically… Across the USA and as far as the Mexican border, starts her initiatory journey where love gets mixed with violence and death. That’s how Mallory learns the tragic cost of freedom… Just as turning forty-seven, she meets four French musicians in a shady bar in Paris: Phil the singer, Mat the bassist, Jé the guitarist and Twist the drummer. As they make friends with each other, they decide to write a musical biography recounting her life…

Hailing from France, Mallory is a blues rock fuelled band which this week unleashes their second album 2. To be honest there is little background we can share about the Parisian band and only by its title assume the release is the band’s second full-length, but what is easy to reveal is that their new encounter is an increasingly gripping and invigorating proposition. The passage above is the premise of the release, the tale of “A girl on the road with a gun in her hand and music in her ears…” The narrative behind and within tracks definitely make for a vivid and cinematic spark for the imagination which the fully flavoured blues and melodic rock invention of the band soundtracks and colours just as potently. It was a slow persuasion initially, though an instantly enjoyable one but over time it is fair to say that 2 provides one richly satisfying and increasingly impressive proposition, maybe not one that lingers long after departure but in its company only pleases without reservation.

Opener Awake emerges from a stormy atmosphere around words from the tale’s protagonists, an intro soon bound in spicily enticing grooves and punchy beats. The song is swiftly strolling with a shadowed rock ‘n’ roll air around a rhythmic swagger, the track bringing hints of Dommin to bear on thoughts as it ignites a hungry appetite for the release. The guitars continue to cast a web of riveting grooves and sonic enterprise whilst bass and drums prowl with skilled temptation alongside the great gravelly vocals. The track is the perfect incitement to start things off; a magnetic lure to grip attention which the following Big Nails twists tighter with its own muscular stomp. Rawer in breath and passion, the track is bred from similar seeds to its predecessor but with gnarly riffs and basslines colluding with the heavy swings from Twist for a caustic tempest, the song is soon sculpting its own individual infestation of ears. The guitar of is a constant tangy baiting alongside the throbbing tones of Mat’s bass, the pair forging an imposing and fiery union matched by the just as feverish vocals of Phil.

The darker presence of Ready steps up next, its first stroking of the imagination somewhere between Volbeat and Misfits in sound but with a subsequent seventies heavy rock flame to its enterprise and a raw blues toning to its ravenous Covercaress, again becomes its own smouldering fire of craft and sonic expression. Its psychedelic air is only a lure for the imagination and senses to devour the song’s suggestiveness, setting up the listener for the even more incendiary success of Bad Monkeys. The breath of The Doors in its predecessor is a clearer spice to the opening of the third track, vocals and guitar uniting for a sultry stroking of thoughts which in turn sparks a slowly broadening melodic intrigue and rhythmic drama in the track. As the previous song, neither quite equals the might and riotous tempting of the first pair but both easily and swiftly leaves ears and appetite greedy for more

The short melodically fuelled instrumental Somewhere, the piece like ray of warmth within a climactic atmosphere, leads into the pulsating swing of Summer Rain. Rhythms are straight away swaying with devilry and seductive funk seeded vivacity whilst around them guitars and vocals shimmer with evocatively gentle resonance. They are soon breaking into their own feisty and fiery suasion of bracing riffs and sonic grooving though, to match the constant lively prowl of the beats and another pulsating bassline. A definite familiarity walks the song, as all tracks in many ways, but it is from an indefinable source which only adds to the increasing appeal of song and release.

The sizzling blues fired enterprise of the guitars is a constant spark in songs, a tempting as inescapable as the anthemic rhythms and bass coaxing, not forgetting the impressive vocals, and virulent bait in the striking presence of Heavy which comes next. Vocal roars, devilish bass seduction, and incendiary flames of sonic acidity combine to make a fascinating weave of musical adventure and drama, the song embracing ears and imagination with something which is best described as Pearl Jam meets The Birthday Party with Down for good company.

The album is completed by firstly the rugged terrain of Runnin’, rhythms again as anthemic as they are skilfully unpredictable whilst sonic enterprise is arguably at its most riveting and searing yet on the release. Once more there is a sense of recognising what you are hearing but it only inflames the success and potency of the irresistible song, especially against the dramatic texture of vocals. Its triumph is followed by the acoustic elegance and emotion of Something, a more than ok melodic blues hug on ears bringing it all to a charming end.

   2 though making a strong first impression, is an album which grows and thrills more potently over time musically and lyrically. Its potential suggests that Mallory is a name we might be hearing much more of and through acclaim coated breaths.

2 is available now @ http://store.dooweet.org/en/home/175_mallory-2.html

http://www.malloryband.net/

RingMaster 24/11/2014 and

Copyright RingMaster: MyFreeCopyright

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Viathyn – Cynosure

Viathyn Press Photo 2

With a sound which revolves within a web of progressive, folk, power, and melodic metal, drawing on varying degrees of each essence with every twist of their imagination and invention, Canadian metallers Viathyn present another contagious and gripping proposition with new album Cynosure. Nine individual musical and creative emprises thick, the album presents a fruitful and colourful journey for ears and imagination. Every track is an intriguing and at times demanding proposition with more going on than can be taken in on initial unions. It is an attention wanting enticement though which roars with a melodic tenacity and strolls with muscular flirtation to give the richest rewards.

Formed in 2006, initially as the trio of guitarist Tomislav Crnkovic, guitarist Jacob Wright, and drummer Dave Crnkovic, Viathyn released the instrumental Demagogue EP in 2008. From there the band expanded with bassist Alex Kot coming in, whilst Tomislav added vocals to his duties. Debut album The Peregrine Way was unveiled in 2010 to enthused reactions from fans and media alike. It marked the band out for their songwriting, instrumentation, and equally the storytelling which on the album told the journey of an unnamed wandering man, through the highs and lows of his life. Cynosure is bred from the same creative template, in many ways an obvious continuation of its predecessor rather than providing a startling evolution in sound and intent, but still pushing the limits and enterprise of the band to new riveting and pleasing levels.

The album starts with Ageless Stranger, a track with an epic leaning tone and resourceful melodic scenery from the off. Guitars, keys, and vocal harmonies instantly spawn a radiant yet portentous atmosphere which the jabbing beats of Dave guides with a firm hand, leading it all into a rugged terrain of rampant riffs and concussive rhythms. The song is still swarmed over by the melodic appetite of the keys and guitars though, everything coming together for a maelstrom like tempest of enticement. The strong vocals of Tomislav bring another tempting texture to the mix whilst the fluid craft of Jacob bewitches from within the aggressive stride of the song. It is a pungent and invigorating start which as its successor, as much brings thoughts of a Dommin or Volbeat as it does of bands like Wuthering Heights and KingBathmat. The song is a constantly twisting and unpredictable yet flowing proposition matched by The Coachman.

The second song takes little time to explore a richer folk enterprise to its emerging stride of rock ‘n’ roll, before weaving in just as potent essences of heavy metal and melodic rock. It is impossible not to be drawn right into its vigorous revelry, Album Cover - Viathyn  - Cynosure - 2014every turn and new idea a lure to devour with ease and greed. The brief expulsion of raw growls does not quite work but is a mere instant in a song which vocally and musically simply infects ears and imagination for a thoroughly rewarding and enjoyable encounter. There is also a theatrical mischief to the song which is given full clarity at the song’s end before Edward Mordrake thunders in on a storm of rhythmic agitation and fiery sonic temptation. Though not as immediately gripping as its predecessors, the song, with its seamless movement through varied gaits and imaginative endeavours, binds senses and thoughts in its successfully exploratory and surprising expression to keep them hungry and enthralled. The track also raises up slight comparisons to fellow Canadians New Jacobin Club at times, the drama in the skilled invention of the band’s individuals a similar and inescapable persuasion.

As mentioned there is plenty going on to reflect with mere words, this track a prime example as are both the following Shadows In Our Wake and Countess of Discordia, but that richness of depth and often tempestuously unleashed ideation ensures each partaking of a song reveals new aspects and adventures. The first of this pair of songs encloses ears with a heavy aggressive breath though it is soon aligned to an evocative wash of keys and the melodic narrative of the guitars. A thick gothic ambience also coats the song, lingering across the sinew toughened canvas and subsequent dramatic turns within the track whilst the second of the two leads by a great bass coaxing into a heavy and power metal blaze. Whether storming the senses with nostrils flared or seducing with mellower bordering on sinister melodies, the song is a glorious sonic waltz which gets better and bolder with every passing second.

Time Will Take Us All struggles to emulate the success of the previous song but still has ears and thoughts seriously engaged with its opening melancholic caress of keys and guitar, a potency matched by the emotive delivery of Tomislav. It is a song which as all on the album, builds and develops into a different proposition as it proceeds, its gentle climate discovering an imposing turbulence and emotive beauty along the way. It is not a track which lingers as others but provides another gripping tale to immerse within before the excellent folk/power metal escapade of Three Sheets To The Wind steals the passions. With a touch of Alestorm and Tyr to its Celtic folk stomp, the track swiftly recruits unbridled attention. As anthemic as all good power metal triumphs should be, the track soon has body and voice in tandem before exploring a progressive crafted landscape of mystery and invention, to keep ears and thoughts on their toes.

Completed by the dark atmospheric menace of Albedo, an outstanding track which is as predatory as it is sonically radiant and infectiously irresistible, and the closing title track, Cynosure is a peach of an encounter. The last song sums up release and band perfectly, an encounter built on a riotous elegance and creative bedlam honed into something sublime and intricately structured, not forgetting gloriously presented. The album is fun, at times unafraid to let its serious side have a rest, but most of all Cynosure is one of the most enjoyable and enterprising progressive metal releases this year.

The self-released Cynosure is available now @ http://viathyn.bandcamp.com/album/cynosure

http://www.viathyn.com

RingMaster 09/10/2014

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