The Order of Elijah – War At Heart

TOOE_RingMaster Review

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

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

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

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

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

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

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

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

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

Pete RingMaster 07/01/2016

Copyright RingMaster: MyFreeCopyright

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Every Hour Kills – Almost Human

EveryHourKills_Promo

Rousing up anticipation and subsequently impatience for the release of their forthcoming self-titled EP, Canadian melodic metallers Every Hour Kills recently released new single Almost Human. The song is a roar of energy and skill which confirms the emerging potency of the band, already shown in their previous pair of singles, whilst revealing an even more striking adventure and creative ferocity in their sound. It is a highly infectious proposition crafted in arguably recognisable creative inks but casting a fresh and magnetic landscape.

The seeds of the Calgary bred Every Hour Kills began three to four years ago, when drummer Rob Shawcross (ex- Out Of Your Mouth, ex-Autobody, ex-Kobra and The Lotus) linked up with guitarist Sacha Laskow after his departure from Divinity. The pair subsequently brought in bassist Brent Stutsky (ex-Breach of Trust, ex-Death Valley Dolls) and vocalist Jerrod Maxwell-Lyster (Walk As Chaos, ex-Out of Your Mouth, ex-Autobody, ex-the R.A.C.E.) to complete the band’s line-up. With a name inspired by an anonymous literary quote which says “Every hour wounds, but the last one kills.“, Every Hour Kills has spent the time since forming working on and recording songs, which included the already released pair of singles, Deliver Us in 2013 and the following EHK_AH_900 smallyear the Joey Sturgis (Asking Alexandria, Emmure, Of Mice & Men, We Can As Romans) produced Chosen. Now with that impending EP on a close horizon, the band has set another spark burning in ears and appetite through Almost Human, a song showing even greater persuasion and adventure than that which fuelled its predecessors.

An electro bubble grows and explodes in a tempest of rigorously gripping rhythms and tenacious riffs as the song consumes and grips ears straight away. It is captivating start swiftly built upon by the excellent vocal prowess of Maxwell-Lyster and the breath-taking technical rapidity and enterprise of Laskow’s fingers and guitar. There is a blend of Sevendust and Dommin to the song, with just a hint of Disturbed and a louder whisper of In Flames, yet Almost Human soon reveals an individual character to its increasingly magnetic presence.

The song continues to croon and bellow across its intoxicating landscape, each turn of sound and ideation generally finding the middle ground between the two whilst the shapely invention which cores it all also embraces an industrial/electro metal adventure at times, a Rabbit Junk like spice fusing to the adrenaline sparking charge of the song.

Almost Human is a compelling offering and hint, and if the new EP can back it up with songs just as virulently convincing, we are in for one thrilling treat later this year.

Almost Human is available now whilst the upcoming EP can be pre-ordered as a limited edition package direct from the band @ http://everyhourkills.com/preorder/

http://everyhourkills.com   https://www.facebook.com/EveryHourKills/

RingMaster 03/03/2015

Copyright RingMaster: MyFreeCopyright

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Killtek: The Noise of Rage/Silence of Self Destruction EP

KILLTEK

 Norwegian band Killtek is probably a new name to most but on the evidence of their impressive debut EP it is unlikely they will remain so for too long. The Noise of Rage/Silence of Self Destruction EP is a magnetic and intriguing release with a sound which with its merging of genres is a thoroughly compelling and irresistible force.

The Trondheim based band was formed in 2011 by guitarist and songwriter Erik Winther who across the following year recruited vocalist Peter Bains, guitarist Kjell Andres Nilsen, bassist Tommy Kviseth, and drummer Thomas Farstad to the project. The line-up of ex-members of bands such as Torch and Grown Into Nothing has the experience of numerous tours across Europe and Asia and of creating well received albums, a gained pedigree and depth which is openly apparent within the tightly skilled craft and musicianship which fires their first release. Musically the quintet create a unique sound which is part metal, part industrial, and part metalcore, with flames of electro, and groove metal vibrantly flavouring the finely sculpted ambience soaked encounters within the EP. Their sound is enthralling and though arguably the band does not create new aural tools to define their creations they explode with something fresh, invigorating, and distinctly belonging to Killtek alone.

Mixed by Caliban guitarist Marc Görtz, the EP opens with the atmospheric soaking of elegance and sonic seduction of instrumental KILLTEK EPCOVERLeft Behind to Die. It is a melancholic piece which weaves around the ear to mesmerise and inspire emotions of solitude and at times loneliness but is punctuated with aggressive expulsions of striking riffs and matching rhythms. They are provocative moments rather than violent expulsions to intimidate and frame the continually glowing electro wash of beauty and emotive persuasion.

The following Game Changer begins with similar loud whispers, an electro teasing with sinister breath introducing and leading into the brewing shadows and prowling aggression. Before long the track is in full stride with sinews pressing against the ear whilst the excellent vocal brawls of Bains squall and challenge with passion and malice. Where the first track suggested the merger, here the song brings full industrial metal and metalcore might into a seamless union with warm electro enticement to forge an evocative and demanding triumph. The band state influences as the likes of Fear Factory, Emmure, and Cloudkicker, all you can imagine leaving inspiration for this song, but you can also add elements of bands such as Sybreed, Toxic Grind Machine, and The Browning, here and across the whole release, to something which is undeniably uniquely Killtek.

Beyond the Rage continues the post apocalypse soundscape of the EP, its opening cataclysmic narrative the premise for the following sonic ravishing and brutal savagery to follow. Tech metal viciousness from Winther and Nilsen lashes the senses whilst vocally Bains sears and scars with his again impressive scowling tones. Even the keys have a snarl and spite to them which niggles and haunts beneath the brawling furnace of sound and uncompromising rhythms. It is an exceptional track and the biggest storm of the release though seriously challenged throughout.

The following instrumental Infernal City is a chilling expanse of blistered ambience and stark oppressive atmospheres with a dulled yet taunting melodic sun, its lingering warmth sheltered and denied by the bleak landscape and air. It sets the scene for the following conflict and demise of Earth Ends, its opening battle scene soon lost within a grievous maul violating metalcore intensity and rhythmic antagonism. Again the guitars spear and entrance with skill and enterprise to flair against and incite further the malicious assault of the bass and drums, whilst all the while there is that electronic temptation lighting the air though that too feels agitated in certain moments on the track.

The Noise of Rage/Silence of Self Destruction EP is completed by two equally immense and thrilling encounters in the bruising forms of Warlord and Signs, both furies of fierce passionate provocation and intense destructive defiance bought through measured heart borne passion. Killtek has begun the year with a dominant and impressive debut which with things like being booked to play the main stage at Trondheim Metal Fest 2013 alongside Hatebreed, Gojira & Born of Osiris, could and should be the first steps in a swift and forceful ascent for the band.

https://www.facebook.com/killtekmetal

8/10

RingMaster 22/02/2013

Copyright RingMaster: MyFreeCopyright

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Corroosion: Dirt Awareness

Like the effect of sand in a wind tunnel notched up to the maximum, the new album from Italian deathcore band Corroosion is as abrasive and lethal as their name gives hint to. It is a nasty and destructive piece of work, a sonic blistering without mercy or respect. It is also corruptively magnificent. Dirt Awareness is not the easiest of listens or probably not the most appealing for some at times but stare it right in the eyes and it is becomes one of the more rewarding albums to assault the senses this year and has the makings of an insatiable addiction.

From Turin, Corroosion emerged from the ashes of Hekatomb in 2005. Consisting of vocalist AnD, guitarists Sentenza and Lino, bassist Marco, and Dave on drums, the band made their first mark with their 2008 demo Maze Of Human Deprivation. Relentless gigging followed as well as the six track EP Two Steps Before The Vein, the band all the time creating attention grabbing strokes with their storm of extreme metal leading them to sharing stages with bands such as The Acacia Strain, Deicide, Neaera, Annotations of an Autopsy, Knights of the Abyss, and Slowmotion Apocalypse. Mid 2009 and the band signed with Rising Records and set to work on their debut album Punish The Mind with producer Alan Douches (Killswitch Engage, Emmure, Carnifex, The Acacia Strain, Cannibal Corpse),which was released the following year. 2011 saw the band destroy stages alongside the likes of The Ghost Inside, Bleed From Within, Suffokate, Trigger The Bloodshed, For The Fallen Dreams, before working on their second album. Produced by Fredrik Nordstrom (At The Gates, Job For a Cowboy, Bring Me The Horizon, Dimmu Borgir, In Flames) and released again on Rising on July 23rd, the album is a titanic treat of invention, imagination and outright violence.

The album creeps up on the ear with the opening to Awareness as echoes of war emerge from the sinister whispers to be replaced by the intrusive windings of guitar grooves and flesh grating vocals. At full stretch the track badgers the senses with crisp punchy rhythms and bruising riffs through an attack which seems tempered, as if the band is simply teasing and taunting its victims. The intensity though is oppressive throughout and heightened in the climaxing storm of scowled group vocals, rigid beats, and manipulative guitars, and the song itself the intimidating beginning and appetizer for the annihilation ahead.

The crushing and quite brilliant track The Loser Slave flies for the jugular within seconds of its appearance, air flaying riffs and grinding grooves to open up the deepest sores laying siege upon the senses. The song evolves into a raging stomp of sounds and bestial borne vocals with a ravenous hunger not to be denied. It is pure malevolence brought with the surest ferocity but dive beyond the surface and there is a continual evolution of invention and sound going on which makes every rampage a new offering. It is this which has the band standing out over other similar bands and makes Dirt Awareness far more than a great album.

More impressive brutality comes in the form of the greedily consuming and relentlessly raging Crimes Of Fathers Times with its dehabilitating diversity of riffs and rhythms skewered with a cruelly niggling groove and the stunning Polarity, both further scarring on the ear and scrambling of synapses with sharp twisting manipulations. The second of the two is a maelstrom of hellacious energy and sounds which use their notes like kinder to spark an inferno of fury and creative excellence to bring one to their knees.

The release is simply one continual high quality and imaginative brute with just the intensity and the caustic covering uniformal. The songs twist and turn within their skins, tempo disruptions, unexpected breakdowns, and perfect unpredictability raging in the eye of every storm such as in further triumphs like Collective Humiliation, Falena, and Repulsion, though every track deserves a mention such the depth of excellence.

The suspicion is Corroosion is still an unknown most have yet to discover but with Dirt Awareness the days of that secret is numbered with the band surely on the verge of deserved major attention.

https://www.facebook.com/corroosion

RingMaster 11/07/2012

Copyright RingMaster: MyFreeCopyright

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