Abstracter – Wound Empire

abstracter_band_pic_1

Thrusting the listener into a doomed physical and emotional landscape, a stark yet compelling void, US doomers Abstracter enchant and suffocate with the impressive Wound Empire. Four tracks to immerse within gleefully whilst expanding into the darkest corners of the psyche, the forty minute long album is a tantalising and fearsome journey though the rawest of climates over uncompromising wastelands.

Wound Empire is the successor to debut album Tomb of Feathers; a new encounter which those in the know suggest finds the Oakland band taking their already acclaimed sound to further reaching intensive heights. Breeding their own bordering on hallucinatory soundscapes within Wound Empire from inspirations which range from essences of Godfesh, Swans, and Neurosis to His Hero is Gone, Blut Aus Nord, Dystopia, and Darkthrone, Abstracter recorded their release with Greg “The Wizard of Doom” Wilkinson (Brainoil, Iron Lung, High On Fire, Noothgrush, OM, Atriarch) last year. Continuing their “fascination with concepts of human decline, cultural and industrial ruin, and complete social collapse,” the band swiftly engulfs and incites from the release’s first breath.

Lightless opens on a sonic breeze, broadening its haunted cold presence through raw caresses of guitar and a resonating heavy bass tone. As the whole of the album’s proposal, the track is a slow expansion of sound but every note and heavy lure offers a potent piece in an emerging picture. Once in full caustically scenic view, riffs gnaw and beckon with corrosive breath and infectious nature whilst the bass turns carnivorous in sound and predation as it prowls the track’s primordial terrain. Oppressively heavy and crushingly merciless, the doom drenched offering surprisingly has a potent swagger and contagiousness to its unsettling presence, a catchiness to enthral and grip ears and body as imagination and emotions are buffeted and ignited by the sonic enterprise.

There is no respite from the cavernous depths and cold of the climate evolved in its predecessor as Open Veins follows; the blackened sludge reaped tar of sound and coarse emotions a FINAL_ABSTRACTER_jacketmelancholic poison seeping over flesh and thought whilst crust caked vocals roar and slowly squally within the invasive doom. Slim but toxic grooves only add to the allure and detached nature of the track, their minimalistic but rich tempting a vine to grip as the rest of the sounds and vocals groan with the breath of hell.

The transfixing presence of Cruciform comes next and by this point the realisation that Wound Empire should definitely be taken as one fluid dose rather than individual apocalyptic descents into glacial prisons is evident. It is fair to say that the track holds none of the almost welcoming traits of its predecessors but still has some form of catchiness to its flight into the heart of the soulless; its sounds binding as they erode air and senses with caustic persistence.

Wound Empire is concluded by Glowing Wounds, a calmer slightly celestial tempting which still remains encased in an immense doom sculpted embrace. The track is as meditative as it is sonically fierce, a lingering flight across radiant hopes but accompanied by an insidious hold of unrelenting blackened malevolence. A masterful end to a seriously riveting encounter, song and album will not be an easy fit for all, but offers a thought and emotion provoking arousal each can take something from. In the dark times and world which encroaches on us all, it is releases like this and its groan of hell rather than most tirades of words which brings the cold reality home.

Wound Empire is released in the US and Europe on February 10th 2015 digitally via Sentient Ruin Laboratories @ http://sentientruin.bandcamp.com/album/wound-empire, on cassette through Sentient Ruin Laboratories and An Out Recordings, on CD by COF Records, and in vinyl version by Fragile Branch Recordings in the US and Vendetta Records, 7Degrees Records, and Shove Records across Europe.

http://abstracterband.com/

RingMaster 10/02/2015

Copyright RingMaster: MyFreeCopyright

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Another Dead Hero – Dystopia

Though it makes a potent initial impact, Dystopia does its best persuasion over time, worming under the skin to provide a perpetually pleasing and exciting proposition. It is an album which can be described as being made up of familiar parts but those essences aligning for something fresh and invigorating from a band drenched in potential and riveting creativity. Bands such as Rage Against the Machine and Deftones are constantly and to be fair rightly offered up as references to the sound of Another Dead Hero but it is only part of the imaginative incitement provided by the band, spices twisted into something more distinctive and flavoursome from the UK quintet.

Hailing from Burnley and formed in 2003, Another Dead Hero has spent the subsequent years building and honing their sound whilst infecting the expanse of Britain with their uncompromising creative attitude and adventure. As evidenced by their album, the band has a raw touch and breath to their music, an honesty to their sound and invention which is just as potent as the imagination within it. The live presence of Another Dead Hero has persistently marked the band out, as has their previous trio of albums, but it is Dystopia which it is easy to feel has the key to reach the strongest spotlights.

The dark climate and menacing atmosphere of Intro opens up Dystopia, its electronic jungle intimidating scenery for the imagination to spark against before the piece flows straight into Change The Game. Beats and riffs are soon rummaging in ears before settling into an imposing and formidable provocation. Limp Bizkit spiced vocals and scythes of guitar cross the spine of the song whilst an aggravated persistence breeds in the guitars to pressure ears even more potently. It is a strong and pleasing start which slips into darkened Deftones mellowness before merging both climates along the way. The vocals of Josh Baldwin roar and croon with a flavour of Keith (now Mina) Caputo to their provocative tone and texture, whilst the fierce raps of drummer Gaz Connor and the grizzled tempting to the bass of Craig Robertson snap and growl with dark intent. Added to the guitar antagonism and craft of Daniel Crawshaw and Josh Beckwith, it all makes for a formidable full start to the album with its closing One Minute Silence like finale especially anthemic and biting.

The following Greed grumbles with a heavy breath and intensity from the start, the Rage Against The Machine essence which was a loud whisper in its predecessor steering the stalking brilliance of the track. The instant blaze of sound and anovocals soon drops into a prowling gait led by weighty bass shadows. It is a scintillating passage to the song, again One Minute Silence coming to mind alongside that of Zack de la Rocha and co. It is also a minimalistic attack but gloriously gripping and incendiary for ears and passions as it preys on thoughts and psyche with every dark twist and furious blaze. It is the first pinnacle of the album setting a high plateau for System to aspire to. The song is a muscular and busier offering but still holding a rein on its attack to stroll with threat around the senses. Life of Agony comes to mind as the brief track expels its intensive provocation before making way for the volatile hostility of Bullshit (Voice Of Lies), a furious and confrontational assault unafraid to venture into calmer waters. It as the previous song does not match the early peaks but easily provide compelling and richly satisfying confrontation.

The volatile temperament of I Don’t Care comes next, a song merging the reflective elegance of a Nine Inch Nails and Palms croon with the agitated resistance of RATM and Kennedy Soundtrack. It is a transfixing encounter, a revolving wind of melodic caresses and sonic causticity which entwine for an intriguing and captivating proposition. Its lingering presence is emulated by the next up Infection. As all songs there is a raw and abrasing resonance to its presence which almost haunts the senses as the resourcefulness of the guitars and rhythms explore their individual, and here almost tribal antagonism. Like the album generally, it is not a song to set off a fire in the passions though it has them boiling up nicely, but a song which as its title suggests worms away for lingering and just as potent pleasure.

Stoner presents a more voracious offering, its fuller alternative metal and heavy rock persistence a provocation which veins its bracing bait with melodic mystique and spicy grooving. Grunge flavouring also offers its colour to the song’s landscape, essences of Soundgarden and Gruntruck adding rich hues to the nu-metal/alternative metal exploration. An excellent examination of ears and thoughts it is matched by the weighty energy and depths of Fist Full Of Anger. From a melodic coaxing the song ripples with grizzled basslines and fluid vocals, flexing its sinews and emotional fury with evolving intensity and diversity. It is another which smoulders rather than burns but emerges as an enthralling emotive struggle.

The more than decent ebm/electro fuelled instrumental Control MKII makes a break in the rage of the album, though its air is equally portentous and challenging, before the dark sinister tones of the outstanding Feed Me Your Lies moves in on the imagination and passions. Its gentle but predatory start is hypnotic, smooth vocals and tantalising melodies seducing ears before the track shrugs off its calm for a rugged and thrilling confrontation. The track never explodes, walking that edge before providing another dose of the mesmeric enticement which opened it up, and though the lack of that final spark is missed it cannot stop the track making another dramatic and thrilling statement within the album.

Closing with a fiery and enjoyable remix of Remember This Day, a track from previous 2009 album Generation Zero, Dystopia is a feistily satisfying release. There are times where songs hold a too similar character though it is never long before inventive and exciting twists ignite their canvas, but ultimately the album provides more than enough proof that Another Dead Hero is heading towards the fullest attention nationally and beyond, especially if they find the underlying strain of originality which arguably is still untapped.

Dystopia is available now @ https://itunes.apple.com/gb/album/dystopia/id704561906

http://www.anotherdeadhero.co.uk/

RingMaster 13/10/2014

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ANOTHER DEAD HERO to release Dystopia on 13th October.‏

BRIT METAL CROSSOVER CREW  ANOTHER DEAD HERO RE-RELEASE THEIR BLISTERING ALBUM ‘DYSTOPIA’ THIS AUTUMN AND PREPARE FOR UK TOURING!
 
Igniting warm comparisons that have likened the quintet to such colossal heavyweights as Korn, Rage Against the Machine and the Deftones, Another Dead Hero also take on board the key fundamentals from NiN, binding it all together to deliver an intoxicating and engrossing sound. The band re-release ‘Dystopia’ on Monday 13th October through all online outlets.
 
Bursting out of Burnley and originally formed in 2003, Another Dead Hero spent many of their formative years honing their sound and crafting a set that would truly grip people. The fivesome have a grave dislike for the manufactured pop side of the music industry, and have always been fiercely independent, rigorously striving to deviate from the norm. Since their incarnation, the band have had some personnel changes, but during the last few years, ADH have solidified and settled into the current line up of Josh Baldwin (Vocals), Daniel Crawshaw (Guitar), Josh Beckwith (Guitar), Gaz Connor  (Drums) and Craig Robertson (Bass). Dedicated touring and shows throughout the North have been a staple for the metal crew, and ever since their formation, the fivesome have played as far South as Cornwall and as far North as Inverness. As well as having a steady diet for hitting small clubs and venues and racking up miles of road, Another Dead Hero also have a hearty appetite for recording, and the riff beats are already onto their fourth album with plans in the making for a brand new EP later this year!
 
The fivesome are now set to re-release their latest offering ‘Dystopia’, supported by UK touring penned for the Autumn. ‘Dystopia’ drops this October and is the band’s fourth full length album. Gathering together 12 slabs of riff-driven crossover metal that calls to mind the guile of Deftones, Limp Bizkit and Rage Against The Machine, Another Dead Hero should not be overlooked.
 
–ANOTHER DEAD HERO RE-RELEASE ‘DYSTOPIA’ ON MONDAY 13th OCTOBER—
 
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Monolith – Dystopia

MONOLITH2 Photo by Fabian Sauer

It is very easy to have mixed feelings about Dystopia, the debut album from German doom rockers Monolith. On one hand it is so close to Black Sabbath in its sounding, with even vocalist/bassist Ralf Brummerloh offering a clone like Ozzy delivery as he unveils the individual narratives, that you struggle to pick out too much which makes a distinct and unique impact. Against that though, the release and songs are so magnetic and superbly presented that it is hard not to be compelled to indulge in its seventies seeded and sounding flight time and time again. It is an encounter which is sure to divide opinions but you suspect will persuade more than it disappoints.

Based in Bremen and formed in 2010, Monolith creates an atmospheric and sultry old school doom rock atmosphere which wears its heart and origins on every note and syllable expelled by the trio of guitarist Ron Osenbrück and drummer/backing vocalist Andre Dittmann alongside Brummerloh. Inspirations it is easy to assume include the likes of Electric Wizard and Pentagram but it is that Sabbath well where the heart and breath of the band’s first offering seems to be spawned from overall. With lumbering intensity and imposing predatory rhythms aligned to tightly binding grooves and searing psychedelic temptation, the predominantly live recorded Dystopia is a thick oppressive charm to easily enjoy, if probably not to be inspired by.

The album immediately engulfs ears with deep pulsating riffs, gripping rhythms, and a growling almost carnivorous bass sound, the latter persistently pleasing bait across the whole of the release. Won’t Come Down is an immediate Cover Artwork by Rocket & Winkand sizeable tempting to start things off, not a particularly dramatic offering against subsequent tracks but a clear hint of what is in store. The song strolls with a heavy yet eager gait, grooves and caustic sonic flames holding a creative grin as they smart against the senses and imagination. The vocals of Brummerloh as mentioned also show their influence boldly, whether by choice or coincidence, but still make an enjoyable colour in the sultry scenery of the song and its swagger fuelled, contagious chorus.

The strong start is matched and pushed a tad further by the following Cosmic Fairy. From a delicious throaty bass coaxing and a swiftly joining blaze of seventies washed acidic guitar, the track holds a steady and even stride framed by similarly gaited rhythms. Though the song does not have the infectious lure of its predecessor, it burns and sizzles with striking designs of sonic venture from Osenbrück to certainly grip attention and awaken a keen appetite for the unfurling proposition.

The next up Hole roughly caresses ears with an initial hot scrub of fuzz filtered guitar and a dark bass tone with an almost demonic tremolo resonance to its malevolence. Smouldering in breath and citric in flavour, the track winds around thoughts and emotions with potent melodic and hazy hues, easily recruiting intrigue and enjoyment. Again though there is no escaping the comparison to the Birmingham legends which dilutes any chance of passions raging before its undeniable skilled and appetising incitement, something applying across the whole of Dystopia to be honest.

The dark uncompromising title track slowly wraps its heated climate around senses next, it’s slowly imposing doom sourced evocation a thick engaging swamp of ebbing and flowing enticement which pleases without sparking real fire in the belly. Its successor Acid Rain employs similar intrusive textures amidst entwining spirals of sonic tempting and a great incendiary flame of funk infused adventure, to explore a successful but barely lingering path.

The album concludes with two highly satisfying encounters, firstly the infectious hip swinging Sleepless Eye. With its transfixing addictive lures and expressively charismatic melodic web of invention, it is the best track on the album; a richly enterprising treat of a song which is unafraid to glide through energetic festivity to suffocating doom crafted shadows, every twist lit by scorching guitar play. The closing Rainbow provides an epic journey of seismic intensity and rhythms within virulent psychedelic smog of imposing weight and heavy metal structures. It is a predator of a track, stalking and preying on the psyche whilst unleashing a contagion packed net of rapacious endeavour. Monolith saved the best encounters to the rear of the album, a closing packed with potential and more originality than shown before but still within well-trodden avenues.

There is no getting away from the core recognisable sound of Dystopia and its inspiration but even with that Monolith provides a strongly enjoyable and easy to return to release which has to be classed as a success.

Dystopia is available now via Finalgate Records @ http://finalgaterecords.bandcamp.com/

https://www.facebook.com/Monolith.doomrock

7.5/10

RingMaster 09/07/2014

Copyright RingMaster: MyFreeCopyright

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Electricjezus – Грязь поколений

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Hailing from Russia Electricjezus creates a monster of a sound, a heavy expanse of weight and sonic oppression which absorbs the essences of multiple flavours and turns them into one exhausting corrosive pleasure. Their debut album Грязь поколений (translated as Mud Of Generations) is a consumptive introduction of their intense presence, a raw and merciless release leaving one drenched in their textured onslaughts and full promise.

Electricjezus is the two man project of Ruslan Frolov (guitar/bass/vocal) and Oleg Skorohodov (drums), two musicians who have reaped the seeds of their influences such as Melvins, Electric Wizard, Earth, Jucifer, Today Is The Day, Sunn O))), Monarch, Flipper, Dystopia, Pantera and many more , and twisted them into their individual forging of post rock, sludge and doom metal, black metal, hardcore, stoner and a further plenty of loud whisperings of other flavourings. With successful shows under their belt across cities such as Moscow, the Moscow region, and St. Petersburg, the pair entered the Go!Monkey studio in Dmitrov and recorded their debut album live using only analog equipment spanning years in age and from across many countries, the caustic, organically raw, and carnivorous results rife upon the release. With songs sung entirely in Russian, and an intriguing potent veining of audio samples from horror movies throughout, the album eats at the senses and oppresses the safety of thoughts and emotions. It is not the easiest listen to come across but one which lingers and inspires rich eager reactions.

As its title suggests, the album is a thick dirty expanse of sonic intrusion which starts with Корм. The track opens with an excellent film sample soon skirted by a resonating impacting bass provocation and sonic carving of the air whilst rhythms wait patiently to unleash their venom. As it moves forward a groove is equally just itching to expel its heart but first a filthy rub of expressive malevolence grips the ear before interchanging with its counterpart to tease and mistreat the senses impressively. Into its stride the instrumental gallops with a stoner urgency to its sludgier breath and continues to incite the senses with fluid and incendiary shifts in energy and enterprise. The abrasive air of the track adds to the pleasing scrub upon the ear and littered with the melodic flames of imagination and great synth crafted extras from guest musician Sasha Selezneff, it is a storm which pulls the senses right into its live heart.

Connected by a bedlamic soundbite the opener passes on to Петли обмана another track which immediately engages intrigue and appetite for its hungry intensity. Harsh squalling vocals bring another raw uncomfortable additive to the album and within the prowling course of the song, scars with insidious malevolence. A black metal embrace through the vocals especially, lays intrusive shadows within the piece whilst its successor Улицы twists it all again within an infectious beat inviting rampage. With the vocals enclosed in a seemingly secluded environment, like they were recorded in the bathroom compared to the hallway for the music which for most releases this would just fall flat, upon Грязь поколений it all adds to the villainous and satisfying experience.

The following intensive title track with its epic soundscape in length and malicious pressure upon the senses, the blink and be consumed swift attack of Плеть культуры, and the predatory Бассейн, all immerse the listener in their violations of sonic invention and rapacious greed. The last of the trio is a stoner/sludge/hardcore punk confrontation speared by a tempting groove and acidic blues lilted guitar, the rasping punishing vocals feeding on the passions and sore senses with further thrilling results. It is hard to pick a favourite track on the release but certainly this steps forward boldly with each deliberation.

The album ends with Все позволено, the song a furnace of sonic fortitude and flesh peeling grooves. As throughout, the guitar is a scything blade across the ear, its abrasive edges searing and cauterising the senses at every turn whether in a slow laboured intent or an urgent annihilation, whilst the drums chain and slap with unguarded treachery. The song is a great end to a great album. Its coarse breath and dirty touch will not be for all but for those it does enflame, the album pushes Electricjezus forward as one exciting prospect.

Grab the album as Name your price release @ http://electricjezus.bandcamp.com/

https://www.facebook.com/pages/Electricjezus/575252375818127

8/10

RingMaster 21/04/2013

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