King Goat – Conduit

KG_RingMasterReview

Two years ago, UK progressive doomsters King Goat more than impressed with a self-titled EP; a release awakening a new horde of eager ears and appetites to their dark and invasively invigorating metal exploits. Now two years on, give or take a week or two, the Brighton quintet unleash its successor in the compelling shape of Conduit. The five track album is an imposing pyre of atmospheric drama and psychedelic intrigue for ears and imagination, a dark mystery wrapped in a thickly immersive doom bred challenge and seduction which quickly leaves its impressive predecessor deep in the shade.

Formed in 2012, the band first made their mark beyond a swiftly eager local scene with the Atom EP in 2013. Its success was followed by a slight change in personnel and eclipsed by the band’s aforementioned eponymous EP. The time between old and new release has only seen King Goat build a stronger and broader reputation as they successfully went on to play festivals such as Bloodstock Open Air, Mammothfest, and Doom Over London over the past couple of years and shared stages with the likes of Enslaved, Grand Magus, Witchsorrow, Alunah and many others.

As suggested, Conduit is King Goat at a new plateau of songwriting, imagination, and raw captivation of ears with Flight of the Deviants opening up the swiftly impressing collection of tales breeding unseen spirits, enslaved worlds, and death and rebirth. A spoken sample lays the seeds to the quickly engaging and provocative embrace of the first song, its immediate captivating bait led by the impressive tones of vocalist Trim. Almost like a carnival barker he shares the track’s dark narrative and mysterious nature, his tones a great blend of clean and grizzled textures within an emerging sonic web of melodic suggestiveness cast by guitarists Petros Sklias and Joe Parson. Increasingly sultry and macabre bordering on occultist lit, the track rumbles and infests ears and imagination with increasing potency and success. It is not hard to offer Candlemass and Ghost as clues to the heavily shadowed and thrilling track, and indeed across the album, though the individuality of King Goat dominates as found here; originality only being replicated song by song.

Artwork_RingMasterReviewThe outstanding start leads to the just as gripping and enthralling Feral King where almost toxic grooves bind the passions as chimes deal a portentous air around them. If the bass of Reza G was predatory within the first, it is almost gloriously primal in the second song while the rapier swings of drummer Jon Wingrove leave a lingering mark and persuasion to match the again immense vocal presence of Trim. The track’s dark story winds around the listener as masterfully as the sounds colouring it; King Goat showing them as alluring lyrically as they are in conjuring adventurous doom spawned incitements.

The album’s title track comes next and quickly sets about eclipsing its predecessors with ultimate success if by small margins such the impressive and dramatic might of all. Again Trim is as impressing in his clean cut enticing as his squalls of raw throated ferocity whilst the bestial predation of bass and riffs provide a stalking of the senses which only adds greater intensity and resourcefulness to the perpetually evolving drama and progressive ingenuity of the track.

Through the epic and climactic landscape of Revenants and the beguiling intimidation of Sanguine Path, the release comes to an absorbing and memorable close to match all before with unique ventures of their own. There is a touch of KingBathmat to the first of the pair, a track sculpting a host of crescendos and intensity soaked pinnacles within another persistently changing canvas of suggestiveness and absorbing enterprise, whilst the closer is simply as salaciously ravenous in invention as it is apocalyptically bewitching in temptation.

As much as it mightily impresses initially, Conduit just gets bigger, more striking, and inspirational with every listen. The King Goat craft and songwriting has come of age with Conduit, and in turn so has their sound though it still suggests we have yet to get below the first few layers of the band’s creative depths. That potential can surely only mean even bolder creative times to come, though whatever comes next will have to go some to eclipse this gem of an encounter.

The self-released Conduit is out now @ https://kinggoat.bandcamp.com/album/conduit

https://www.facebook.com/kinggoatbri

Pete Ringmaster 29/03/2016

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Carnac – The Frail Sight

carnac_band_RingMasterReview

There is little we can tell you about Turkish death metal band Carnac, except and most importantly that their recently released debut EP is well worth a concentrated moment of your time. Consisting of four highly accomplished tracks, The Frail Sight is a proposition which may not bowl you over as it treads the line of established genre traits over major originality but it is a release which instils a keen want to come back for more.

Hailing from Ankara, Carnac emerged in 2014 with a sound spawned from the inspirations of bands such as Gojira, Opeth, At the Gates, and Enslaved. As shown by their Bahadэr Sarp engineered, self-produced debut, they have come up with a refreshing incitement unafraid to entangle invasively enticing snake like grooves and uncage a feisty rhythmic agitation within a ravenous death metal landscape. We suggested it was not bereft of familiar flavours and textures yet there is no hiding away that the quartet of tracks also reveals real freshness of craft and character.

The Frail Sight opens with Hericide and a sonic breeze quickly speared by robust rhythms which in turn sparks a heavy footed and invitingly swinging canter. With the hoarse vocals of Burak Yenitepe leading the way, the track proceeds to mix up the weight of its intensity and the charge of its energy without ever relenting in its ravenous impact on ears. Throughout, the guitars of Ozan Turakine and Nurhacı Çeri unleash torrents of riffs and winding tendrils of fiercely spiced grooves to magnetic effect, wrapping round the irresistible virulence fuelling the track and driven by the rapier strikes of drummer Baybora Topaloğlu and the brooding tones of Ünal Akünal’s bass.

Carnac_RingMasterReviewIt is a superb start to the EP, a swift impact maker as predatory as it is rousing and matched in success by the following Menhirs Of Enmity. Its entrance is a kinder melodic coaxing, though it takes little time for a tempest to descend on ears again with a thrash spiced contagion of hostility and infectiousness. By this point the want and ability of the band to keep predictability at bay is forceful. It was a potent part of the first track and reveals more boisterous intent here as the band take the listener on a roller coaster of a perpetually changeable landscape of energy powered flavours and ear devouring textures.

Debaser is the next to challenge and please, it too a wall of confrontation as it builds pressure on ears. Once more the guitars cast a net of hooks and roaming grooves, all skilfully and keenly spun around brutish rhythms and the rasping vocals squalls of Yenitepe. Its body is an attention grabbing cauldron of eager activity and almost sultry invention within merciless death metal stock, and fiercely appealing even though it does lack the same incendiary spark as its predecessors.

Closing track Servant To The Void is the same, missing an indefinable but noticeable element to really stir ears and emotions yet provides a thoroughly satisfying and adventurous challenge to spend plenty of time with. The guitars just about steal the show though bass and drums provide the kind of rousing badgering you just do not want to resist whilst Yenitepe offers his own pleasing incitement of the senses, though a touch more diversity to his delivery for personal tastes would add another potent dynamic.

Carnac introduces themselves in strong style with The Frail Sight with the potential of bigger moments to come openly brewing within its increasingly enjoyable presence. This is a band to keep a close eye on we think.

The Frail Sight EP is out now via Sliptrick Records with its digital outing @ https://carnac.bandcamp.com/album/the-frail-sight

https://www.facebook.com/carnacband

Pete RingMaster 02/03/2016

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Fiends At Feast /Tragic Death – Purgatory Rites Split

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Purgatory Rites is a split release bringing together the distinctly different but similarly cast brew of blackened death metal of US metallers Fiends At Feast and Tragic Death. It is not a union or release for the faint hearted, its chilling textures and rapacious appetite permeating and imposing on senses and psyche with uncompromising ferocity. For all the vicious rabidity though there is also a rich vein of melodic expression and resourceful temperance to the Horror Pain Gore Death Productionsencounter which makes both sides of the proposition compelling provocateurs and something different from the norm which subsequently makes the release itself a formidable and riveting proposition.

Providing four pestilential tempests upon the release is Santa Cruz quintet Fiends At Feast, a band formed in 2008 by guitarists Sammer and David. Within weeks the line-up expanded with vocalist Loki and bassist Nathan Nunes, before after going through a couple of drummers, Marloc was added to the band in 2009. Debut EP Shadows Of Extinction two years later made an attention striking mark before first album Towards the Baphomet’s Throne of 2012 placed a keener spotlight upon the band. Merging sweat and blood with a tumultuous blend of black and death metal, Fiends At Feast take little time on the split to reinforce their reputation and stir up the imagination.

A spoken declaration opens up the vault to a torrent of destructive rhythms and scourging riffs all under the guttural malevolence of the gutturally rasping vocals. Four Winds of Destruction is a corrosive encounter straight away but one with bewitching melodic enterprise within the predation of the guitars which ensures predictability is scarcer than a comforting caress. Production wise it is a little hit and miss, the guitars surprisingly submerged within the welcome prowess and stalking of the bass and the demanding endeavour of the drums. It is not a major issue but does defuse some of their sharpness as they stand behind instead of alongside the vocal lead.

Through Immortal Gates is a similarly layered and malicious incitement though the alignment of each aspect is better in the overall assault of the track. Ravenous in its heart and rivetingly imaginative in its tenacity and adventurous landscape, the song makes for a gripping black hearted emprise, grooves and rhythms especially warrior like in pride and creative rabidity. It is a mouthwatering examination for thoughts and emotions to explore, an intimidating yet seductive playground for their running with the song’s narrative, something which is especially easy with the following instrumental Spectral Passageway. Soaked in emotive ambience and the stark breath of haunted pastures, the piece is a well for the imagination to paint with, the satanic breath of its companions keeping to the shadows as it casts beauty and poetic reflection. It also allows a breath to be swallowed before the serpentine and increasingly ferocious hunger of Into the Darkness envelops and immerses the listener in its noxious climate. Though not as impressive as certainly the previous pair of tracks it again reveals the potential of Fiends at Feast and their increasingly agreeable enslaving of the senses to complete a strong offering from a band easy to suggest to fans of the likes of Dissection, Immolation, and Watain.

     Tragic Death is a trio from Madison, Wisconsin which like its companion here shows little mercy in its consuming of ears and beyond with destructive mix of back and death extremes with a thrash bred voracity. Self-penned as Apocalyptic Metal, the band’s sound has earned the 2009 formed band, a potent reputation through their debut album Apocalyptic Metal of 2012 and live performances. Purgatory Rites finds the band at its most inventively creative yet, opening track Suffer the Salvation alone visually descriptive through its melodic conjuring and aurally incendiary with passion chaining grooves and sonic mesmerism. Compared to Fiends At Feast there is a deeper atmospheric essence permeating their similarly predatory and malevolent presence and whereas the Californian four piece goes for the jugular before asking questions more often than not, Tragic Death take a murderous scenic route which is soaked in provocative imagery and emotive elegance within a venomous landscape.

Their remaining tracks, Withering Youth and The Dissolution of the Clay Children continue the impressive showing of the band, helping them steal the show from their equally impressive counterparts. The first of the two flirts and savages simultaneously, the guitars of Steven M. blistering and seductive within the tempestuous journey whilst his vocal rasps, as the rhythmic challenge of drummer Cody S. and bassist Joe D., leave sore yet blissful residues which linger and intensify the weight and lure of the song. Its successor is an epic fall through merciless and brutal scenic malignancy but again with twists of melodic and atmospheric colour which enthrals from within the tortuous air and oppression, a crafting as within all songs with elements of bands such as Rotting Christ, Enslaved, and Deathspell Omega to its bait.

   The track brings the release to a powerful and dramatic end, and though not as gripping as the other pair of tracks from Tragic Death it reaffirms them as a band to keep a close attentive eye upon, just as to be fair Fiends At Feast achieve with their contributions also. The Purgatory Rites Split is a worthy investigation for blackened death metal fans and extreme metal adventurers everywhere and another potent step in the emergence of both bands.

Purgatory Rites Split is available now via Horror Pain Gore Death Productions @ hpgd.bandcamp.com/album/purgatory-rites-split-cd

https://www.facebook.com/FiendsAtFeastBand

https://www.facebook.com/218tragicdeath

8/10

RingMaster 17/06/2014

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Vreid: Welcome Farewell

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    Following up their immense 2011 album V, Norwegian melodic black metallers Vreid have in Welcome Farewell unleashed another impressive and enthralling encounter. Whether it is the equal of its stunning predecessor is debatable but certainly the new nine track journey of enterprise and invention is a masterful confrontation of the imagination and thoughts as well as the instigator of another wash of passion for the ingenuity of the quartet.

Across their impressive albums the band has shown that tagging them as merely melodic black metal is short changing their invention as the band weave a web of sounds which court varied flames of rock and metal across numerous decades. Often referred to as Black & Roll their sound once more upon Welcome Farewell explores and re-invents a varied spicery to create songs which are consistently compelling and perpetually thrilling. Since forming in 2004 out of the demise of Windir, the band has been a blur of releases and touring, Vreid having performed over 300 shows in 22 different countries across 3 continents, lit up numerous festivals, played alongside the likes of Enslaved, Pestilence, Marduk, Unleashed, Eluvetie, Belphegor, Einherjer, Paradise Lost, and Kampfar, and released acclaimed albums in the shape of Kraft (2004), Pitch Black Brigade (2006), I Krig (2007), Milorg (2009), and of course their tour de force V.

Released via Indie Recordings and produced by bassist Hváll (Jarle Kvåle), Welcome Farewell brings the senses into its arms with01framside the opening melodic mists of first track The Ramble. It is a gentle beckoning which before long opens up its muscles with rumbling rhythms, a seductive groove and sultry sonics weaved into a hungry rampant surging gait. The bass of Hváll growls with hungry saliva dripping from its carnivorous tones whilst the beats of Steingrim (Jørn Holen) jab, punch, and roll over the ear with merciless intent. Carved into compelling shape by the exceptional craft brought to bear by guitarists Strom (Stian Bakketeig) and Sture (Sture Dingsøyr) whose vocals grasp and rasp over the senses with serpentine malevolence to temper and compliment the heated melodic wash, the track commands attention and rewards with a mix of uncomplicated and finely crafted sounds.

From next up Way Of The Serpent with its rampaging breath and slight folk metal whispers, the album lights up thoughts and emotions with a perpetual cascades of flavours and invention. The following Devil’s Hand opens its claws with an energising punk rock abrasion ridden by venomous vocals before merging thrash and rock n roll into its blackened touch whilst the title track offers a classic metal and prog embrace within the intensive ravaging which breathes within the track. It is a continuing and enthralling blend of seamlessly entwined spicery which sets each song apart from each other and Vreid distinct within black metal.

The magnificent Sights of Old takes the album to one of its loftiest pinnacle, a song which challenges and rewards with fiery invention. From a slow stroking of melodic licks the track explodes into a furnace of vicious insatiable rhythms and a spiteful twisted groove which seduces and spears the senses with sabre accuracy. Across its corrosive journey the song evolves and shifts its character to ignite intrigue and unrivalled focus upon the tempting twisted wash of predatory and mesmeric splendour. It is a song you cannot predict one note of and continually keeps the listener off guard and absorbed with the dawning shifting landscape.

The virulent Black Waves also ignites the deepest richest rapture with its goth/blackened swagger and riveting aural shadows armed with lethal barbed hooks and melodic mischief. From drums to bass, guitars to vocals, the song entices and recruits the passions with a lure as catchy and as destructive as you could wish for.

Offering a final almighty slab of muscular grandeur in the best moment on the album, the brilliant At The Brook, Welcome Farewell is simply sensational. This outstanding song is another which breeds an addiction in the listener with its predatory stance and voracious groove amidst an all devouring and insatiable acidic progressive glaze. It with ease leads you right back to the start of the album as after its esurient rewards resistance to the band is impossible.

If there is to be a better black metal release this year than Welcome Farewell it will be something quite spectacular as Vreid yet again has set the benchmark impossibly high.

https://www.facebook.com/vreidofficial?fref=ts

http://www.vreid.no/

9/10

RingMaster 25/02/2013

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