Crawling shadows and serpentine seductions: coursing the depths of Sidious with vocalist/guitarist Isfeth.

Sidious © Fabiola Santini

© Fabiola Santini

 

The recent release of Revealed in Profane Splendour from British blackened death metallers Sidious, showed that the band’s first EP Ascension to the Throne Ov Self was not just a flash in the fires of hell. It was also compelling evidence that the band had discovered and was exploring even richer depths to their sound and intensive invention. The time between releases also saw the band facing line-up changes whilst forging equally potent heights with its members other projects like Eye Of Solitude. Revealed in Profane Splendour provides an insatiable temptation of sonically carnal and uncompromising raw beauty which skilfully enslaves ears and ignites the imagination. It also sparked a thirst to explore the heart of the band and the corners of their release, so with big thanks to vocalist/guitarist Isfeth we looked at the origins of the band, the impact of the changes within it between release, lyrical inspirations and much more…

Hello Sir and thanks for taking time out to chat with us.

First up can you give us some background to the beginnings of Sidious?

Sidious was founded by Indomitus, Baalrath and I in 2012. We had collectively played together in various acts for many years – particularly in the case of Indomitus and I, for which it has now been 8 years. At this point we had been involved in various death metal acts, yet decided the time was right to pursue our true passion, black metal. The idea had been discussed continuously, but it had to be the right time. We infused our technical and aggressive death metal background with the grandeur and venomous roar of our black metal influences to create our sound.

Many of you are involved with Eye of Solitude as well as having other projects and experiences under your belts. Where or what specifically in Sidious and its sound did you deliberately start exploring which was different to the other bands you are involved in?

The will to create Sidious was always there, it was more a case of waiting for the right time and maturity in our collaboration to act upon it. We initially began exploring darker and more elaborate elements, maintaining the aggression but also focusing on atmosphere.

So the band and its music been brewing up inside in thoughts and ideas long before Sidious was born but was the coming together of the band more a swift let’s get together and see what we can come up with or a long-term process?

There was nothing swift about the process and founding of the band, it had been a long-time coming and had been thought through.

Your debut EP made a potent mark and statement upon its release last year and now you have unleashed the beast that is debut album Revealed in Profane Splendour. Immediately it sung sidious 2out in new adventure and exploratory evolution from its predecessor; how from inside the band do you feel your music and the album has moved on from the Ascension to the Throne Ov Self EP?

The line-up has changed since the EP, the departure of Void (vocals) and Fahim (drums) resulted in the recruiting of Khrudd (drums) and repositioning of myself to vocalist – whilst continuing my role as guitarist. I feel the music has evolved naturally during this process and we have further refined our sound. The album conveys a more intense array of emotions and certainly a wider range of influences.

In our review we described Sidious as blackened death metal but the album shows there is a maelstrom of flavours and elements which make up your incitements. Were there specific elements you went after on songs musically or was it predominantly an organic emerging of ideas and tracks?

When writing a song, it typically starts with an emotion or message we want to convey within its contents. An example I can give here is Infernal Reign having a barren and cold atmosphere to represent complete isolation from religious hypocrisy. Sections of the tracks, including speed riffs and the more technical elements, are added during the process, which are either brought in by a member or collectively written in a more organic writing session.

Are there any inspirations which you might say have added a colour to your music, or certainly sparked ideas within Sidious?

By majority we are all big fans of classical music. This has inspired our use of orchestral elements and added to our overall sound. Both Baalrath and Indomitus are classically trained to a high standard. Khrudd and I are big fans of depressive and atmospheric black metal, so there is also influence in that respect when concerning atmosphere and ambience. In terms of lyrical content I am inspired by literature concerning anti-theism, and Satanism.

Talking lyrically the album is as brutal and antagonistic as it is sonically, what was the core bait for your furies on the album?

My lyrics seek to denounce religious systems and ignite the realisation of self-potential and purpose. I am enraged by the continual recycling of ancient ignorance. There is no place for it. The masses pander to the foreboding call of failure; it sculpts the existence of the weak and leads them blindly into an inevitable void. Although the themes are consistent throughout, I present them in various forms. This ranges from anger and complete hatred, to the stating of principles and demands, many of which are based around my personal interpretation of Satanism.

Sidious coverTell us about the recording of Revealed in Profane Splendour; did you approach it any differently to the previous EP especially with new members involved and musically did you explore any different ideas and technics with the album compared to your other projects?

We recorded again with Russ Russell at The Parlour Recording Studio. Russ is a master of his craft and working with him is always an inspiring experience. We did explore a sharper and more aggressive guitar tone for the album and also spent considerable time finding the right sound for the orchestral and atmospheric elements.

Was the album mostly complete going into the studio or did it evolve more in that scenery?

I would say the album was 90% complete before entering the studio. We always leave a little room for improvisation and spontaneous ideas – from experience, being in a studio setting, particularly with Russ Russell, inspires all kinds of ideas. We always aim to create something authentic.

How long did it take to bring the album to life and was it difficult to bringing it all together because of your other bands any time restraints etc.?

The album was written over 6 months – within which we met up pretty much every other day. The recording process took a total of around 11 days. There was no difficulty in bringing everything together, we are always focused on what we want to achieve.

Sidious has seen a couple of changes in personnel as you mentioned earlier since the recording of the EP, how did that specifically impact if at all, on the band and more so the recording of Revealed in Profane Splendour?

The key song writers in the band have remained consistent throughout the line-up changes, so there were no major changes during the writing process. The addition of Khrudd (drums) naturally added a new creative element to the drum tracking. The realignment saw me take over vocals and therefore naturally gave me a dual role which I embraced completely.

Additionally taking on that role how does that affect songs with obviously no voice being the same; did you have to tweak existing tracks slightly in that department for your own tones?

For live shows I have certainly presented my own take on Void’s vocals from the EP. The songs have remained the same by majority, and we maintain playing various EP tracks during our live set.sidious 3

Is there any particular moment on the album which gives you a personal tingle down the spine? For us it is that opening rhythmic coaxing of Sacrilegious Majesty.

The intro to Annihilation Ov Abhorrent Credence and the mid-section of the title track are personal highlights for me.

Going back to Russ Russell, he seemed to find and understand in production the sweet spot between the hostility and melodic beauty which unites across the release?

Russ is certainly a master, he really takes the time to understand the intentions behind a song or section and through him we have been able to present our creations in their full intended form.

Tell us about the outstanding artwork wrapping the album.

The artwork was created by Giannis Nakos of Remedy Art Design. We had worked with Giannis through Eye of Solitude, therefore he was the number one choice. His art is outstanding and we are very proud to encase our music within it.

What is next for Sidious now the album has been uncaged?

We have so far played some nice shows including, main support for Anaal Nathrakh, Kaotoxinfest and Wrongstock. We were recently confirmed for Incineration Fest and are in discussions with another UK black metal band about arranging a tour for next year.

Thanks again for talking with us. Any last words or thoughts you would like to leave us with?

Thanks for the questions.

To readers: Check us out. Keep supporting extreme music. Infernal hails.

 

Read the review of Revealed in Profane Splendour @ https://ringmasterreviewintroduces.wordpress.com/2014/11/05/sidious-revealed-in-profane-splendour/

https://www.facebook.com/sidiousofficial

Pete RingMaster

The RingMaster Review 12/12/2104

Copyright RingMaster: MyFreeCopyright

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

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http://listen.kaotoxin.com/album/revealed-in-profane-splendour

 

Sidious – Revealed in Profane Splendour

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The first infestation of pestilential temptation came with Ascension to the Throne Ov Self and now the ruinous seduction returns to devour the soul as Revealed in Profane Splendour.

No, this is not a portentous warning of biblical design but the next inescapable savaging cast by UK blackened death metallers Sidious. Following their acclaimed and attention gripping debut EP, the London quartet now unleash their first album and it is fair to say that everything potent and impressive about its predecessor has been bred, dragged, and sculpted to another irresistible level.

Ascension to the Throne Ov Self was a disarming introduction to Sidious upon its release in 2013 but in hindsight just an appetiser of broader and more intensive invention and imagination to come from the band as swiftly evidenced by Revealed in Profane Splendour. Between releases the band which features members of Eye Of Solitude, has had movement in its line-up with the departure of vocalist Tom “Void” Allen and the coming in of Krhudd, the man behind solo project COLOSUS. With guitarist Isfeth adding lead vocals to his role in the band, Sidious has found further depths and exploration to their songwriting and rigorously imposing sound, their album not only another striking offering from the band but one to assert with greater potency and authority their leading role in the future of British extreme metal. Released on Kaotoxin Records, Revealed In Profane Splendour is an insatiable temptress which from its enslaving first moments takes ears and imagination through an epic emprise of almost carnal and certainly uncompromising raw beauty.

Recorded with Russ Russell (Napalm Death, Dimmu Borgir), Revealed In Profane Splendour emerges through a haunting sonic groan as opener Sacrilegious Majesty sets things in motion. Within a breath pungent anthemic drums are casting their irresistible bait upon ears and imagination, riffs just as hungrily skirting their potent lead. Portentous melodies amidst a sinister air joins the expanding landscape but it is still those provocative beats which provide the richest coaxing before a maelstrom of intensity and malevolence erupts in sound and vocals. It is a ravenous consumption of the senses within which grooves and hooks flirt with the listener without always breaking free from the oppressive strength of the track. It is the drama of the song which ignites thoughts and emotions as much as anything though, every rhythmic swipe and sonic tempting adding to an epic excursion into dark realms and a fateful emprise. Ending as it’s began; the track is a riveting and thrilling entrance into the album and an immediate declaration of the new creative strength and ingenuity within the band.

The following Inexorable Revelation is less startling in its opening but still a forceful impact as riffs and rhythms career through ears with hellacious urgency as keys alongside sonic enterprise tantalise with menacing suggestiveness in Sidious-Revealed-In-Profane-Splendour-coverthe background of the thick violation. It is a torrential outpouring of malicious and imaginative provocation which deeper into its heart you go, the more toxic elegance and emotive grandeur is shared. Exhaustive in touch and intensive ideation, the track bridges the serpentine animosity of black metal with the corrosive predation of death bred fury for another welcome and scarring persuasion before the album’s title track spreads its blistering venomous charm. As the last track it is a tempest of fierce creative twists drenched in insatiable energy sculpted and provocatively honed into a climatic and vehemence soaked inventive soundscape.

There is no mercy given by any song, each a psyche devouring, emotions despoiling rage as proven with the next up Annihilation Ov Abhorrent Credence and its successor Obscenity Ov Old. Each though colours their rugged canvas with an evolving cauldron of melodic ingenuity and intuitive invention which may need close attention but rewards with a fiercely busy and oppressively seductive blaze of invigorating enterprise. The first of this pair a case in point, its cloistral entrance the doorway in to a ravenous insurgence in theme and sound upon religious templates and the listeners senses. Simultaneously stalking and rampaging through mind and body respectively, the track is a scintillating marauder chewing upon ears and emotions with virulent and destructive rabidity. Its glory is emulated by the second of the two, a similar yet distinctly separate beginning the unveiling of a bestial and ravenous violation complete with torrential spite and as in the last track, bewitching clean vocals which escape the carnage for exciting deviation.

A cold ambience brings Infernal Reign to light, its chilling landscape swiftly scored by inhumane vocals and a brewing sonic causticity. There is little time for frost bite to set in before rabid rhythms bludgeon the senses and venom spilling grooves begin squirming under the skin of song and passions. It is an increasingly transfixing fascination of sound and emotion which is as debilitating in its calmer moments as it is in full cruel flow, the fine mix of vocal styles a driving force in that success.

Revealed In Profane Splendour is brought to a close by O Paragon, Bringer Ov Light, a dare one say mellower track, certainly initially which is soon merging floating celestial harmonies with predatory beats and hungry riffery. It is a song which at times seems like a recap of other tracks essences but once it brings out its own warped rhythmic antagonism and sonic majesty, the track turns into a searing and spellbinding intrusion.

It is a mighty conclusion to an increasingly imposing and impressing release. Revealed In Profane Splendour is a startling step on from the band’s first EP, employing all of its assets in viciously richer and deeper cavernous dark hymns. Sidious is on a demonic march with sounds to breed fear in even the devil.

Revealed in Profane Splendour is available now via Kaotoxin Records on CD @ http://www.kaotoxin.com/shop/cd/sidious-cd-pack/ and digitally @ http://listen.kaotoxin.com/album/revealed-in-profane-splendour

https://www.facebook.com/sidiousofficial

RingMaster 05/11/2014

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Dark realms and shadowed emotions: an interview with Déhà of We All Die (Laughing)

 

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The union of musician and composer Déhà (C.O.A.G., Maladi) and vocalist Arno Strobl (Carnival In Coal, 6:33) for the project We All Die (Laughing) has resulted in one of the most extraordinary experiences and towering creative tempests of recent times. Consisting of a single thirty three minute track sending the listener on a continually expanding landscape of emotionally drenched progressive dark metal, the Kaotoxin Records released Thoughtscanning is a powerfully provocative and enthralling immersion for thoughts and emotions. Keen to learn more about the project we took up the offer to talk with Déhà, questioning him about the band and album as well as news on his other projects.

Hello Déhà and thank you for sharing time with us so we can dig into the creative world of We All Die (Laughing).

The first question is obvious, how did the union of you both come about for the project?

Just out of nowhere, Arno & I started to discuss with an artist/fan relationship because I am a huge appreciator of Carnival in Coal. I talked to him about my different projects and I sent him the first demo of WADL back then, he fell in love and we decided to make this true!

You both guested on The Deceit EP from Eye Of Solitude; was that actually working together or just happened to be both appearing on the same song?

Well… I kinda forced my appearance on that song, haha! I was recording Arno’s voice for this song and I was like “oh fokdatchit, I’m going to scream a bit and in any case, they can remove my stuff” and they liked it really much! Funny fact it was before we released the album so many people were just asking “what the hell is “wadl” ?” and that was someway a good thing.

So We All Die (Laughing) is the first time you have intensively worked together creatively then?

Exactly. And that was fantastic. We understood each other without a need to talk or else.

Was there a particular spark which brought the actual project to life and specifically determined its direction?

That “power” we have together was the sparkle that started the fire. This mood we had was just “the” stuff we needed.

A bit of a naughty question 😉 but has each other’s music been something which has thrilled and inspired your individual passions or has it been more an encounter which has artistically impressed without lighting feverish emotions?

As for me, despite everything you might hear on this album, I was not inspired by any other music at all. This is emotion, as cliché as it sounds…

 A quick mention about your other bands/projects if we may; 6:33 has been a lustful passion for us since discovering Arno and co through the Giggles, Garlands & Gallows EP in 2012 whilst admittedly it has been only recently with C.O.A.G and Maladi that we have been drawn into the imaginative aggressive fire of yourself, Déhà. For you is there anything from those and other of your projects which have helped spawn or inspire some of the We All Die (Laughing) sound?

Absolutely not. The most “influential personal band” on this album might be some “imber luminis” stuff (an own project of mine) but it’s not even that hearable.

You have just released the extraordinary Thoughtscanning, your stunning one track epic debut album. How have responses cover Artwork by Maxime Taccardibeen and have they matched your expectations?

We have absolutely nice reviews all over the world and this is really great! I was not expecting that much positive reviews as the music’s complex, but I am really happy and grateful!

I will be honest and we said so in our review that a single thirty minute plus track was a daunting and initially not the strongest lure…that was until we plunged into its depths for the first time.  Did you have worries about a similar fear and maybe assumptions about a single track album scaring people off or was that something which never crossed your minds?

It did, but I am used to composing long tracks for one purpose : the trip, the journey given by the music has to stop only when we state it. And this album, even if lyrically divided in parts, had to be one song because it’s a circle closing on itself. And we wanted to keep it that way.

Was the release always planned as one piece of music?

Absolutely.

Thoughtscanning is an enthralling, intimidating, and breath-stealing adventure, certainly challenging but equally a virulently stimulating and dramatic journey for the emotions and imagination. Tell us about the premise behind the album and its theme.

It’s emotion. I won’t say it’s the purest emotion I might release, since I have different projects and bands for my different emotions, but WADL is mainly this constant struggle between you and yourself, wanting to be healed and at the same time, you don’t want to be healed, you’re tired, or else. It’s a cliché, but to hell with it. People are all clichés.

How did Thoughtscanning emerge; did it grow and come to life as we hear it on the album or was it more like a movie, scenes created and recorded in random order to be shaped after into the sonic narrative we are confronted with?

From the beginning until the end, I would fuse your two metaphors : It’s a movie which was shot from start to finish

We imagined that the album evolved right up to its final moments, is that the reality or did you have it in a finished state before recording?

It was exactly like what you’re hearing.

How long did the album take to create?

The Composition took one year, the voices recording took 2 months of demo & 1 week for the final recordings

The first pressing of Thoughtscanning also included an Amy Winehouse cover; tell us about that and how you approached a song which is distinctively hers?

It was our label’s idea for this song, we had plenty of choices but we never really agreed. When Nico told us about this song we totally agreed in one shot, since we’re appreciating Winehouse’s music and it was a pleasure, since her lyrics went perfectly with our concept.

Can we assume We All Die (Laughing) is an on-going project or will you be disappointing us with little or no more releases?

On-going.

Portraits by Maxime Taccardi.What comes next for We All Die (Laughing) and for you individually?

An EP, at some point, and more stuff at some point. We’re not stopping. As for my side, you can expect releases for Merda Mundi, COAG, Imber Luminis, Maladie and Clouds.

Once again thank you for talking with us.

Any thoughts or last words to inspire or provoke the readers?

Act.

www.facebook.com/wealldielaughing

Read the Thoughtscanning @ https://ringmasterreviewintroduces.wordpress.com/2014/01/14/we-all-die-laughing-thoughtscanning/

Pete RingMaster

Copyright RingMaster: MyFreeCopyright

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The RingMaster Review 11/03/2014

Insain – Enlightening the Unknown

 

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     First the good news; we can present to you one of the most brutal and exciting death metal releases you are likely to hear this year. Sadly the bad news is it is from a band which recently decided to call it a day. French metallers Insain had already announced themselves as one of the more promising and impressive emerging bands with their debut album Spiritual Rebirth which from a self-released unveiling was given a world wide release through Kaotoxin Records in 2012. It is fair to say though that their new EP Enlightening the Unknown thrusts the band into a greater intensive spotlight, one which they will not be seizing the opportunity of which is the only negative thing about the voracious release.

    Also released via Kaotoxin, Enlightening the Unknown sees Insain reaching and delving into deeper pits of black pestilence and unbridled brutality, its six tracks and intro throwing off what little restraints crept into the previous release to uncage thick torrents of pure death metal maliciousness and inventive savagery. Every aspect of the release finds the band at a new dangerous intensity and level, from their skill and hunger to the lethal impact and vicious craft of the songs. It is a stunning beast which bellows deep from its guts, announcing not only a final swansong but the loss of a band capable of making an enduring inspiring mark on death metal.

     The ruinous affair is begun by Abyssum Invocatis, a brief atmospheric introduction featuring guest malevolence from Eye 760137621423_TOX033_Insain_Artwork_600x600-300Of Solitude vocalist Daniel Neagoe. It is a portentous if slightly underwhelming scene setter which still ignites intrigue for what is ahead, that something going straight for the jugular in the thunderous form of Absorbing The Masse. From its first second, riffs are scorching skin and sonic insidiousness squirreling through the psyche like a predatory cyclone, both David Schonbackler and Nicolas Becuwe merciless in their rampaging intent. Equally drummer Jonathan “Sangli” Juré unleashes a rhythmic rabidity which injures and compels the senses. The EP also features the musician’s final staggering performance of rapacious craft and blistering energy, Juré having fought for more than a year in the hospital to recover from a violent car crash which subsequently ended his musical career. The track consumes and suffocates in a thick tsunami like assault but as equally effective and dramatic is the contagious toxicity which brings even stronger temptation before the passions.

      Vocalist Louis Lafitte provides an almost scourge like persuasion with his irresistible guttural scowls and roars, a rage which continues to savage ears in the following The Faceless One; the diversity of the vocals as gripping and vicious as the sounds squalling around them. The bass of Benoit “Bono” Jean brings a throaty spite to the ferocity too, building on the snarl bred in the first song to coax guitars and drums to breed an almost pack like mentality to their ravenous onslaught. The track proceeds to prowl, stalk, and pounce as it plunders emotions and corrodes synapses, raising another rapture of pain and satisfaction with only the fade-out end a small niggle.

    Both Beyond Stellar Remnants and The Scourge take up sonic arms to continue the increasingly impressive and enthralling album, the first a ridiculously addictive and hellacious violation. Juré as usual is sensational, his arms and feet flinging beats and rhythms like lassos around the senses whilst the guitars scythe through the air and ears with a punishing intensity and ingeniously vindictive enterprise. The track swaggers and sways within its primal pillaging, igniting body and soul with a virulent infectiousness to its barbaric provocation. The track provides a mountain top in a heady range of peaks whilst its successor is a just as brutal and invigorating pestilential bombardment, grooves and vocals the perfect protagonists scavenging the beleaguered senses within a rhythmic threat just as intensively hungry and clad in animosity.

     The title track, with Neagoe adding more of his distinct venom, ensures there is no let-up in the epidemic of violence within the new level of searing causticity, its cruel vehemence and fearsome energy a tornado of noxious endeavour. As with all the tracks, it needs numerous ventures in front of its sonic sand blast to reap all the excellent skills and rewards on display but well worth every scar and wound incurred. The release is concluded in similar style by Apex, the song as groove laden and nastily uncompromising as its predecessor and the EP as a whole.

     Enlightening the Unknown is quite irresistible, a dangerously addictive venture which brings a sigh at the loss of a band once probably destined to be a giant of metal. There is obviously great anticipation of what the members of the band turn to next, expectations of notable things easy to build but it will not be Insain and from this release alone it is a major loss. You should always end on a high they say and Enlightening The Unknown is all that and much more. Available digitally and as a limited edition 1,000 strong MCD, this is one violent act not to be missed.

https://www.facebook.com/insaindeath

http://listen.kaotoxin.com/album/enlightening-the-unknown

10/10

RingMaster 11/03/2014

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We All Die (Laughing) – Thoughtscanning

 

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     A long epic track going well into double figures time wise is never the most immediate persuasion here to be honest so it is fair to say that the debut album from We All Die (Laughing) with its single thirty three minute track was not the most instant appetiser and top of the list to cover. The fact that Thoughtscanning was released by Kaotoxin Records, a label which had a glorious year in releasing impressive inventive propositions in 2013, did encourage a dive into the proposition offered, plus the fact that the band consists of multi-talented musician and composer Déhà (C.O.A.G., Maladi) and vocalist Arno Strobl of Carnival In Coal and site favourites 6:33. It will prove to be one of the wisest decisions made this year at The RR and by anyone who immerse within what is an extraordinary experience and towering creative tempest. The album is a masterful enticement and admittedly challenging encounter but one all should bravely embrace.

    Creating a continually expanding landscape of emotionally drenched progressive dark metal, but with so much more to its 760137614821_TOX030_We-All-Die-(laughing)_Artwork_1400x1400-300imaginative adventure, Thoughtscanning is a piece of work which leaves the richest satisfaction and experience in its wake. We All Die (Laughing) first emerged as guest musicians on Eye Of Solitude’s EP The Deceit, their offering now reissued as a bonus track on the band’s recently released excellent album Canto III. Now the French-Bulgarian link-up fully unveils itself as a creative force to be reckoned with and incited by with their debut.

      A long guitar casts the first coaxing, its melodramatic voice and resonance a lone figure in a barren atmosphere but as potently evocative and imagination sparking as you could wish for. It has an essence of early-The Cure to its call which is enhanced with a wash of minimalistic melodic enticement and great earthy throaty tones from the bass. It is a deliciously magnetic entrance which is so powerful that when flames of skilfully sculpted guitar light the air a tinge of disappointment washes over emotions just for a second or two.

     From here on in the song slowly but clearly expands with its every second, the ever appealing vocals of Strobl adding another provocative aspect to the already compelling persuasion. Stretching further into its dark shadow drenched heart, the clean melodically built vocals merge with sanity bruising squalls whilst an intensity coats and increases the urgency of the sounds even when they find new avenues to slowly and elegantly investigate within the at times bordering on psychotic expulsion of emotional toxicity. It is impossible to clearly represent all that is going on and unleashed within Thoughtscanning but sure to say musically the track evolves through webs and mixtures of progressive and black metal, avant-garde and melodic death metal, doom and jazz metal with more besides, every minute a new recipe and provocation impossible to tear away from.

    As suggested earlier vocally the track also is a vibrantly shifting temptation, smooth melodic tones moving into guttural torrents with ease and in other moments creating a dark shadow through intensive deliveries which simply shape the syllables into an impacting and thought provoking narrative. Not for the first time in his career Strobl brings moments which are pure Mike Patton like to the persistently evocative adventure and in union with Déhà creates a maelstrom of seduction and venom which is as thrilling and compelling as the music surrounding their bait.

     The down side to the album?…well it is so long that it will definitely not suit all but it would be amiss not to say that there is never a moment where it is predictable and does not have senses and attention on alert for more breath-taking insurgences by the album into emotions and to be honest the track simply flies by, never feeling as long as it obviously is. Thoughtscanning is a thoroughly enthralling and impressive release which is a must investigation for all fans of anyone from Faith No More to Opeth, Periphery to Dark Tranquility, Tool to of course 6:33, in fact every metal fan as We All Die (Laughing) has something for all within their opus. With a limited-edition first pressing also containing a cover of Amy Winehouse track Back to Black, this is a must.

www.facebook.com/wealldielaughing

9.5/10

RingMaster 14/01/2014

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Eye Of Solitude – Canto III

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Taking every degree and level of pain they can find and unleashing it through an emotional turmoil which smothers light and hope, Eye Of Solitude has created one of the most impressive and devastating doom clad death metal violations in a long time. New album Canto III is an insidious sonic vampire, a tsunami of emotional suffocation which permeates every thought, ignites every shadow, and casts negatively bred emotions in the psyche and heart of the listener. Certainly not an album poised to be added to the Samaritans recommended playlist, the six track album is an hour plus of torrential torment which works its way deeper through each subsequent fall through its exhausting Gehenna.

Formed in 2010 and based in London, Eye Of Solitude has made a strong impact from day one through their previous albums, debut The Ghost and its acclaimed successor Sui Caedere of 2011 and ’12 respectively, as well as a couple of EPs. The Kaotoxin Records released Canto III though is another beast and level from those previous impressive releases, an album which stretches boundaries with grievous exploration whilst still suggesting there is much more to come from the band. Consisting of vocalist Daniel Neagoe (also Unfathomable Ruination), guitarists Indee Rehal-Sagoo and Mark Antoniades (also Sidious), bassist Chris Davies (also Sidious), drummer Adriano Ferraro, and Pedro Caballero-Clemente on keys, Eye Of Solitude have lyrically based Canto III on Dante’s Inferno and musically uncaged a tortuous provocation which preys on thoughts and emotions with an expansive suffocation.

A predation upon the soul cast in a sextet of Acts, the album opens with Between Two Worlds (Occularis Infernum). A 760137611622_TOX029_Eye-Of-Solitude_Artwork_1400x1400-300dawning melodic grandeur within an ominous atmosphere expands around the senses as an oncoming storm of thunderous rhythmic persuasion lends its menace to the initial embrace. It is a gentle persuasion but one cloaked in thick shadows within a sonic beauty, guitars and keys a glorious and skilled narrative to ignite the imagination. Confronting vocals eventually scar the surface of the elegance, their toxicity the fissure for the emotional hordes of hell to unleash a ravenous intensity upon the sonic tempest. The guttural growls of Neagoe take demonic aggravation down numerous corrosive levels whilst the sonic rabidity parading its ferocious and fearsome sinews is as drenched in despair and agony as the lyrical consumption. It is not an easy listen, nor one which can be appreciated and fully understood in a few flights through the chaos, but one which is persistently magnificent.

Both Where the Descent Began and He Who Willingly Suffers stake their intensive slice of the passions with ease, the first a bestial vocal scavenging upon a scorched soundscape of guitar sculpted torment and rhythmic hunting which evolves into a quite stunning respite of clean vocals over a solitude soaked ambience before being stalked and dragged into the quagmire of bedlamic despair and vicious incitement once again. Its successor is equally as emotionally dramatic and rigorously exploratory, the opening haunted embrace of keys from Caballero-Clemente irresistibly melancholic as it tempts the listener into a hellacious pit borne torture combining unbridled sonic rampage and elegance kissed reflection. Like its predecessor the track is an evocative triumph as beautiful as it is destructive, and impossibly captivating.

The Pathway Had Been Lost is the next stage of the slip into dark insanity, the enlightened breath of the previous track sucked into the merciless vocal throat of this. The guitars and keys provide a new canvas out of the malevolence for thoughts to craft their distress and regrets upon whilst also offering an ever shifting provocation for the emotions. As mentioned there is never a moment where the album or tracks make a simple, easily accessible passage to immerse within but for the listener’s endeavour and determination undoubtedly rewards with an increasingly breath-taking and scintillating dark rapacious adventure.

     I Sat In Silence and In the Desert Vast conclude the maelstrom of unfettered black emotions; from sadness to despair, desperation through to anger, a wave of the rawest emotions explored, stoked, and inflamed across the fervour driven emotional terrorism of both tracks, as the whole album. They complete a real triumph in Canto III which marks Eye Of Solitude as having the means to take the future of doom/death metal to new experimental heights and the craft to ignite extreme metal as a whole, which they have begun with this exceptional artistically intensive and demanding album.

www.facebook.com/eyeofsolitudeband

9/10

RingMaster 26/11/2013

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Sidious – Ascension to the Throne ov Self

SidiousPic

Consisting of four bestial violations of the senses shaped with purposeful and creative craft leading to total enthrallment, Ascension to the Throne ov Self is a striking and wholly satisfying debut from UK band Sidious. Consisting of members of Eye Of Solitude, the London based band has risen from the demise of Seed Of Detest to emerge as one of the more inventive and captivating confrontations of blackened death metal and this, their first release one scintillating and bruising slab of impressive ravaging.

Consisting of vocalist Tom “Void” Allen, guitarists Steffan Gough and Mark Antoniades, bassist Chris Davies, and Fahim Ahmed on drums, Sidious use its member’s experience to strong effect, their fusion of extreme metals from symphonic to black, death to deathcore an accomplished and inventive ferocity upon the ear and senses. Released via Kaotoxin Records and produced by Russ Russell (Dimmu Borgir, Lock Up, Napalm Death), Ascension to the Throne ov Self is a furnace which leaves exhaustion and pleasure in its tidal strong wake and instantly marks the band with a formidable introduction.

From a brewing ambience with an air of epic like proportions opener Insurmountable emerges upon a symphonic call heralding 760137002222_TOX022_Sidious_Artwork_600x600-300an impending sense of grandeur, that epic voice growing louder by the second. Bone shuddering rhythms next step forward alongside intensive riffs and beckoning shielded vocals to open up the sinews of the track, their spreading arms bringing savage riffing and the caustic squalling venom of vocalist Allen forward to accost and sear the ear. Throughout the malevolence the keys strike a balance with their beauty, a warm seductive temper to the raptorial hunger crawling all over the rest of the sounds which across the shuffling gait and evolving premise of the song  continually makes the warmest persuasion to contrast but stand akin of the corrosive elements bred elsewhere.

     Sentient Race takes over where the destructive climax of its predecessor left off, riffs and drums colliding with the ear whilst the bass prowls and lurches over the wounds with the grinning rabidity of a ravenous beast. A torrent of intense unbridled energy and spiteful aggression careers over the senses with only the keys offering any form of respite from the imaginative and impassioned annihilation. The symphonic call of the song is never far from a sirenesque temptation but hardly gets a clean shot at the passions, rapture being seized by the tempestuous fury at work and then elevated by the expressive keys.

The opening beguiling atmosphere of next up Nihilistic Regeneration unveils a vision full of emotion and brewing elegance even with the venomous erosive vocals and intimidating rhythms beginning their fiery build. The visual narrative cannot hold back the heavy shadows for long though as the band explodes into another inferno of inventive maliciousness and imaginative sonic sculpting disguised as violence. It is an enthralling track, the continual twist of attack and the reflective melodic keys designed embrace a beguiling lure of ingenuity veining and pushing the vociferous oppressive intensity further into the soul and heart.

As the title track casts out its own individual creative decimation, fragmented air turned into sonic shards of blistering and far reaching animosity whilst the keys and melodies dance upon the wounds within the turbulent maelstrom of black hearted excellence, it is fair to say Ascension to the Throne ov Self secures any lingering doubts and turning them into the final seal of ignited passion for its insidious and engrossing might. As beautiful as it is nasty, and as emotive as it is ruinous, the release instantly places Sidious to the fore of extreme metal and raises expectations and anticipation for their next release to testing levels for the band, though one doubts they will do anything less but exceed them as they look destined to be one of the bands shaping the next era of UK metal.

https://www.facebook.com/sidiousofficial

9/10

RingMaster 08/05/2013

Copyright RingMaster: MyFreeCopyright

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