Vovkulaka – Self Titled

Having recently devoured an EP featuring four of their fan’s favourite tracks, there could only be one next port of call and that was the self-titled debut album from Ukrainian metallers Vovkulaka. If that introduction to the band impressed and excited then we can only say that this twelve track release had us lusting for the striking sounds and rousing songs it held.

Emerging in 20914, Vovkulaka (Ukrainian for werewolf) is primarily the solo project of Odessa based vocalist/drummer/songwriter VolK but an adventure also featuring members from Bulgaria and the United States with Stone of metallers Contortion providing guitar and its stage line-up up completed by dancers and percussionists Naya G and JuleZ, and guitarist Ivan Manoloff. Vovkulaka creates a voracious sound bred in the heart of industrial and nu metal but one embracing a host of other flavours such as gothic metal and dubstep. Like a fusion of Fear Factory, Korn, Slipknot, Society 1, Type O Negative and Rob Zombie it grips attention but with an individuality which ensures it boldly stands out from anything else. Lyrically VolK’s inspiration and invention finds its seeds in his passion for ghost hunting and the paranormal experiences found as well as more personal issues; shadows and darkness sought and embraced to immerse the listener in the most compelling encounters.

Produced by Darian Rundall (Pennywise, Suicidal Tendencies, Yellowcard), the album immediately had the senses and psyche hooked with its opener, Summon The Demon. The brief track is a rhythmic calling, VolK revealing his percussive skill and manipulation as carnivorously haunting beats conjure an atmosphere from darker realms. It may barely be a bidding escaping a minute but proves an irresistible invitation leading to the equally ravening haunting of Cemetery Voices. Crawling over ears and senses, the track is a heavy but compelling trespass but one already a lively threat through the skittish percussion of VolK around his rapaciously slow vocal drawl. The similarly sinister lures of guitar and electronics only add to the captivation quickly bred, the track a sign if mere hint of things to come.

Darkness Calling follows with again a rhythmic tempting which burrowed under the skin. Electronic fingering and the sonic courting of guitar brings shadows and ears together, the Korn-esque flames of the latter lighting up the earthier but no less infectious declaration from VolK’s voice. The track is superb, its senses grinding grooves and dubstep throbbing swift addiction and quickly matched in potency by the even more esurient intent and drama of My Devil. Keys gently entice with a crepuscular sheen before the track erupts in another ravenous incitement, again psyche burrowing grooves leading the way as raptorial rhythms pounce. The contrast of crystalline electronics and musical predation simply gripped attention, all the while rhythms jabbing and stalking with manipulative animation as gut bred vocals magnetically nagged; a dubstep solo from DJ Gigantor from the band Evol Intent extra creative flesh to feast upon.

Emerging from a calm if again minatory caress Defy enslaved ears in its tenebrous realm; defiance and decay embroiled at the heart of its visceral grumble as it wormed deeper and deeper under the skin through raw-boned but rich grooves and provocatively niggling rhythms. With Volk’s cadaverous vocals ever enthralling, the track easily gripped and inspired the imagination before Priest Hole unleashed its own addictive fall from grace. VolK’s rhythms alone ruptured attention, their deeply probing bait aligned to scurrilous but rousing grooves and the illuminated eeriness of keys. The track quickly made a stake for best track acclaim though quickly challenged by the decayed and vicious malevolence of Death Ground. Nefarious grooves wind around ears as corrupt rhythms surround sinful vocals, the result one glorious ungodly delight.

The band’s acclaimed first single is next, Glory To The Heroes a track breaching ears and keen support across the globe with its release in 2018. Featuring Keith Lynch (Bill Ward Band, Ozzy Osbourne) on guitar and dedicated to Ukrainian soldier Nadiya Savchenko who was jailed in Russia but released in May 2016, the track quickly revealed why it made such a strong impact before, savage riffs and punishing rhythms perfectly set against light shimmering keys and melodic seduction as Fear Factory meets Pitchshifter like industrial discontent corrupts the air.

As the contagious venom and dexterity of Whispered Lies seduced as it invaded and Purple Door writhed and crawled into body and psyche with flesh-eating grooves across bone resonating percussion, the album shared further aspects to the Vovkulaka darkness and sound. The latter is something akin to Korn being violated by Godflesh as angels caress the carcass while The Dark Empty chews on the listener’s emotional flesh with rabid jaws coaxed by feral grooves and maniacal rhythms as VolK’s vocals again direct the rich pleasure.

The album closes with a metal version of the Ukrainian National Anthem though the CD also offers a couple of bonus tracks in a drum solo enhanced Darkness Calling and an instrumental version of Defy.

Vovkulaka is a band which should, if any of the references we suggested to their unique presence appeals, no must, be checked out but be warned such their debut album’s dark triumph there will be no turning back.

The Vovkulaka album is available now across most online stores.

https://vovkulaka.com/   https://www.facebook.com/VovkulakaFanPage   https://twitter.com/VovkulakaMusic

Pete RingMaster 15/03/2020

Copyright RingMasterReview: MyFreeCopyright

Vovkulaka: Introducing the Darkside…

“Tortured cries from the supernatural haunt the punishing mystical metal of Ukraine’s Vovkulaka. The band’s singer-drummer-songwriter VolK is a dark conduit for paranormal activity and channels his explorations in this realm into his band’s tribal and occultist thrashings.”

We have borrowed the opening paragraph to our introduction to Vovkulaka to bring ours to you as it provides an echo to the feel and breath which pervades the band’s striking sound. With their self-titled album infesting a world already devoured by darkness, we share big thanks to Rhonda at Whiplash PR for an invitation to explore a four track EP featuring the favourite tracks of the band’s fans. It reveals a sound which devours the senses and twists the psyche whilst unleashing catchiness as carnivorous as the multi-flavoured metal fuelling it.

The creation of vocalist/drummer/songwriter VolK, Vovkulaka (Ukrainian for werewolf) rose up in 2014. Primarily based in Odessa, the band also features members from Bulgaria and the United States, on stage the line-up completed by dancers and percussionists Naya G and JuleZ, and guitarist Ivan Manoloff. With his lyrical inspiration seeded in his passion for ghost hunting and paranormal experiences, VolK (itself Russian for werewolf) casts a sound bred from a voracious fusion of industrial and nu metal with goth and dubstep though that still does not quite reveal all of its rich tapestry. Listening to the quartet of songs making up this EP, thoughts of bands such as Fear Factory, Korn, Society 1, Type O Negative and Rob Zombie come to mind yet it is a rousing trespass which swiftly and firmly slams down its own individuality and unique character.

Darkness Calling is the first track to harass our ears, its opening enough to grip attention and appetite with its great Jonathan Davis and co like scenting, one continuing to permeate the track as it entangles VolKs throat rasping vocals with the similarly predacious sounds around them. Equally his rhythms stalk the listener and even as the song contorts and invades with greater imagination, its infectiousness is virulent just as that of Defy.

The second track to embroil our ears is a visceral grumble with a raptorial groove to match, one spiralling under the skin into the psyche in no time. Even with again instinctive contagiousness to voice and sound, there is a cadaverous sense and decay to its weight and touch which only accentuated the almost brutal temptation on offer.

The other pair of tracks only compounds the persuasion and striking presence of Vovkulaka, Purple Door a ravenous crawl through ears with a haunting melody and flesh-eating grooves which wind around ears until another feral infection loaded chorus not that the passage to it is anything less than viral. Its successor, My Devil coaxes with sinister melodic intimation before swinging its eagerly welcomed ruinous grooves and a body of sound which got into every pore, its electronics alone pure manipulation only accentuated by the voracious trespass of vocals, guitar and rhythms.

Though only a taster of Vovkulaka and that earlier mentioned album, we swiftly and hungrily only wanted to be swarmed by much more of the seriously rousing pestilence and there is every chance you will want to be too.

Check out Vovkulaka further @ https://vovkulaka.com/   https://www.facebook.com/VovkulakaFanPage   https://twitter.com/VovkulakaMusic

Pete RingMaster 12/02/2020

Copyright RingMasterReview: MyFreeCopyright

Maziac – Forged

When a release instantly and impressively smacks you in the face and proceeds to tease, taunt, and fascinate thereon in you know there is something rather special in the brewing. Forged is one such proposition, the new album from UK based outfit Maziac devouring ears and attention from its first breath and only continuing to captivate with its eclectic body through every passing second.

Formed in 2017, the London residing trio of guitarist/vocalist Tony Best, bassist/synth player Tim Stokes, and drummer Marc Vachon have already faced potent fan and critical praise through their first EP, the Justin Hill (SikTh) mixed and mastered Parallel unveiled in the May of 2018. Its success alongside the band’s rousing sound and live presence has led the band to share stages with the likes of The Ever Living, Epsilon, Derange, On Hollow Ground, and Winchester; it all adding to their growing reputation. All previous acclaim though should be quickly paled by that destined to be garnered by Forged, one of the year’s brightest gems so far.

Again recorded with Hill, Forged erupts with an immediate predacious hunger, opener Symptomatic a tempest sweeping in and consuming the senses. Rhythms bludgeon as riffs dismantle the senses, Best’s vocals just as urgent and rapacious as a cyclone of djent/technical and alternative metal/rock disgorges its rabid temptation. It is a starting introduction which only continued to incite and thrill as the song reveals its craft and prowess. As quickly and continually proven, Maziac have a sound which enjoyably proves very difficult to pin down with references to others but certainly within its ferocious sonic kaleidoscope essences resembling bands such as Fear Factory, Deftones, The Contortionist, Between the Buried and Me, and Spineshank swirl.

It is a stunning start keenly and powerfully matched by the following Escapism. Relatively restrained in comparison, the track still prowls with a definite predatory intent; its rich body wrapped in melodic wiring as alluring as they are cutting. Best’s vocals equally have a calmer harmonic edge in a delivery as varied as the sounds around it, the band’s alternative rock instincts a thick colour to the inventive metal of the song. It is hard not to think of the track as a beast, stalking and preying on willing ears tempted by sonic plumage of inventive temptation.

Cortisol teased an already eager appetite right away with the rhythmic rapping of Vachon, his beats taunting attention as the guitar brews up its subsequent eddy of bold enterprise and melodic flaming. The song’s progressive nature shapes its imagination; rock ‘n’ roll contagiousness fuelling the animated gait of unpredictability. There is a touch of Voyager to the track as too Muse but once again, it emerges solely Maziac before Prisoners saunters in with its swiftly beguiling lures. A whiff of The Kennedy Soundtrack shades its beginnings, a Muse-esque hue adding to the mix as the riveting track unfurls its intrepid enterprise and adventure to challenge for best track honours.

The melodic intimation of brief instrumental Vicissitudes had the imagination conjuring ready for the far more feral but composed dynamics of Again. Once more progressive and djent elements collude in its buoyant design, Stokes’ bass not for the first or last time a rousing snarl of incitement in the midst of skilled melodic and sonic endeavour. It is fair to say that as potent tracks are on first listen, each following play only reveals fresh depths and textures for greater rewards as no better proven than here.

Deceptive of its title, Allure instantly embroils ears in a pestilential cauldron of metal but soon relishes the band’s melodic dexterity and the almost poppy catchiness that breeds. It is a thunderous encounter teasing with glimpses of the peace at the eye of the storm, never giving in to predictability or anything less than compelling while closing track, Resolution, casts its own experiment in texture and tone to bring the album to a fine close. In certain moments almost primal in its climate and in others like a melodic sunspot, the song just enthralled as another aspect to the Maziac sound and imagination is shared.

With Forged ringing in our ears it is easy to be excited about what is ahead for and from Maziac because as suggested, they have created one of the year’s finest moments so far.

Forged is released July 5th; available @ https://maziacband.bandcamp.com/album/forged

https://www.facebook.com/MaziacBand/   https://twitter.com/maziacband

Pete RingMaster 05/07/2019

Copyright RingMaster: MyFreeCopyright

Left For Red – Human Complex

Approaching their ten year anniversary on the UK metal scene, Left For Red are poised to uncage their new album, Human Complex. Offering ten voraciously toned, imaginatively woven tracks, it is a record which highlights all the reasons why the Midlanders have earned their strong reputation and support to date and many more why the next decade could be even more exciting for them and definitely for us.

Since emerging in 2009, the Stourbridge quintet has lured acclaim for early releases which only grew eagerly richer for their 2015 unleashed debut album, All Things Known and Buried. It is success echoed in a live presence which has equally brought thick praise and an increased following, the band sharing stages with the likes of Chimaira, Crowbar, Beholder, and Breed 77 amongst many more as well as make highly successful appearances at numerous festivals such as Bloodstock, Hammerfest, and Mammothfest. It is now very easy to expect and assume that Human Complex will bring even greater attention such its potent character, bold sound, and rousing snarl.

Recorded with Tom Gittins of Monochrome Productions, Human Complex explores the human psyche, focusing on “why people can be so arrogant and careless with their actions, and the effects they have on themselves and others.” It opens up with Dancing With Misery, a suggestive crawl of provocative sound and dark intimation. It is a shadow draped serenade, a caliginous enveloping of ears and imagination with the potent tones of vocalist LC Decoy bringing a physical head to its atmospheric Deftones hued pea-souper of a haze.

It is a start which had attention and thought deeply enthralled, the body soon as tightly engaged as Switchblade Romance followed. With its initial wiry groove enough alone to entice further eager scrutiny, the guitars of Aaron Foy and Philip Smith entangled and enthralled with ease, the senses lashing swings of drummer Rob Hadley pining down an already keen appetite as the track rises to its striking feet. Like a blend of Fear Factory and Fuckshovel, the song quickly burrowed into the psyche, providing a lingering creative toxicity ensuring many swift returns even in the face of the inescapable lures of its successor Slaves To Causality. Less grievous in its breath but just as virulent in its grooving, the third track soon placed a firm hold on attentiveness, the tantalising voice and touch of Daniel Carter’s brooding but infectious bass to the fore. Again LC enticed as inescapably as the resourceful sounds around him, the track maybe not as unique as the previous pair but equally as magnetic.

The outstanding Leech is next up and instantly throws a web of rapacious grooves and contagious rhythms around ears, its contagion invigorating and body increasingly adventurous to give The Circus which follows, a ready-made platform to tempt with its classic metal lined, groove metal fuelled show. With a potent alternative metal swing as eagerly involved in its ever evolving roar, the track stands side by side with its predecessor as one of the peaks of Human Complex before Hand Of God more than ably backs them up with its own sinuous, emotionally torturous uproar. Serpentine in nature, fractious in breath, it too is a multi-flavoured metal trespass with grooves as melodically alluring as its rhythms and irritability are invasive.

The Storm brews next, its relatively calm flesh and emotive air carrying a volatility which never ignites but brings a riveting threat and discord to the track’s captivating croon while Journey Within straight after had the body bouncing and spirit swinging through its instinctively and manipulatively catchy ingredients and enterprise. Again the band’s smart fusion of flavours to a groove metal seeded breeding makes for a greedily devoured proposition, one even more hungrily devoured within the just as individual Tame The Tides. The track is a ravening predator of a song but carrying just as delicious melodic enterprise as numerous textures unite to match the mix of metal spices; both tracks further major highlights within the album.

Human Complex closes with the evocative balladry of Sunrise Bring Serenity, a strongly engaging temptation which blossoms and fascinates with each passing moment of time and imagination. With hope and optimism lining it’s still tempestuously suggestive climate, the track brings the album to a fine conclusion.

As much as we enjoyed and were impressed with previous releases and especially the band’s first album, Left For Red has cast their finest moment yet through Human Complex, a release which could and should set the band down in the biggest spotlights.

Human Complex is released April 6th

https://www.facebook.com/leftforreduk   http://leftforred.com/   https://twitter.com/leftforreduk

Pete RingMaster

Copyright RingMaster: MyFreeCopyright

Khaidian – Penumbra

The release of the debut album from UK metallers Khaidian has been long time coming, seemingly expected and all geared up to be unleashed in 2016. But as ears and the passions are finally being infested, those patient many will feel it has been more than worth the wait and can assume they will soon be joined by tides of new hungrily impressed and lustful hearts. Penumbra is quite simply superb; a cauldron of imagination and intensity wrapped in a rainbow of melodic enterprise amidst a tempest of technical and multi-flavoured dexterity.

Listening to Penumbra, there is no surprise at the rising reputation and stature of the London based outfit; both recently given boost by a trio of lead tracks to the album. Weaving a web of rich intrigue and thick persuasion bred from a fusion of progressive and technical metal, the band’s sound is just as inventive and tempting with its alignment to eager strains of electronic cunning. It is something akin to a fusion of the voracious flavours and touch of Gojira, Sikth and The Browning with the ravenous/melodic adventuring of Tricore/An Entire Legion; even so Khaidian pull it all to a proposition which is as unapologetically unique as it is greedily captivating as Penumbra forcibly proves.

Founded in 2010 by guitarist/programmer John Tyrell (ex-Interlock), Khaidian found its first few years as much a difficult journey to find the right mix and line-up of people as an adventure in nurturing and breeding their vision and sound. In fact, the perfect mix of personnel only really appeared once drummer Paul Fowler (ex Dragnerve) was enlisted to join Tyrell, vocalist Andy Hutton (ex-Stoopi/Dragnerve), and bassist Joseph Perumal (Mortad/ex-Almamorta). It was Fowlers departure leading up to the original release date of Penumbra which he plays upon which played a big part in its delay it seems but the band has since found the equally striking and agile percussionist in Kris Perrin (Gravil, ex-One Fell Down, Faux Fighters), he completing the current line-up last year.

Now with everything firmly in place Penumbra has been unveiled and we for one can only suggest it is the first leap in a massive and surely certain ascent for the band into the broadest spotlights. The album opens with Pearls Before Swine and immediately had ears pricked and appetite keenly intrigued as sonic and electronic enticement colluded with already stirring rhythmic lures. Just as swiftly the equally potent and enticing vocals of Hutton step forward; his clean, calm yet emotive tones an alluring bridge between the band’s sides of physical trespass and suggestive melody, their indeed their technical hunger and electronic intimation. The track continues to stomp and dance with the senses, a mix of the familiar and boldly fresh creating a whole new vehicle for ears and imagination to ride with.

The striking start is only reinforced by the band’s outstanding new video/single Dominion. Its entrance is even more rapacious but almost instantly wears a portentous calm before its predacious instincts unite with inventive and somatic catchiness. Pure persuasion with increasing enslavement of the senses, the track embraces further hues resembling those cast by Voyager and Fear Factory as it twists and turns with relish but never breaking its fluidity or charm carrying rapacity.

The following Trigger The Landslide glides in on electronic shadows around a slim but copious melodic insinuation; all the while its air brewing an intensity and threat which turns into a senses harrying stroll. Still the menace is part anger, part seduction; the song never choosing sides even as its body and imagination boils across another devilish landscape of thought, emotion, and craft. As with all tracks some kind of participation is inevitable with the increasingly blossoming and thrilling encounter, a manipulation just as potent within next up Thrive and in turn Sense Of The Spherical. A Korn-esque scent pervades the first of the outstanding two, its carnivorous breath colluding with the skittish flirtation and bite of rhythms and the tantalising yet voracious almost rabid lures of guitars. Hutton again is a matching magnet in its midst as the track creatively and vocally writhes while its successor similarly draws dark and esurient strains of sound and intent with melodic and flirtatious enterprise to tempt, seduce, and infest ears and imagination in tandem with the body.

The album concludes with the pair of Evasion and Dramatic Professions Of Martyrdom, the band getting under the skin with relish in the first where again whiffs of Korn meets Fear Factory share its own inescapable  individuality, and through the second’s musical irritability, melodic and electronic espionage, and simply unique prowess. Both tracks enslaved as heartily and strenuously as those before, the bounce of bodies enough to suggest eager submission, the following lust unbridled confirmation.

No release is going to win over all but with its thick mix of flavours including at times spices of grunge, alternative metal and more alongside sheer invention, Penumbra is one which is going to conquer far more than most and with ease we suggest. Though in theory three years late it is one of the freshest most thrilling things heard here in a long time and Khaidian one of the most exciting propositions.

Penumbra is out now through Armalyte Industries; available @ https://armalyte.bandcamp.com/album/khaidian-penumbra

http://www.khaidian.com/   https://www.facebook.com/khaidianmusic/   https://twitter.com/khaidian

Pete RingMaster 30/01/2019

Copyright RingMaster: MyFreeCopyright

UnHuman Insurrection – Equilibrium

Hailing from Monselice in Italy, UnHuman Insurrection is a band we suggest you will be hearing a great deal more of and increasing praise for as their debut album reaches an increasing number of ears. Equilibrium offers up eights slabs of metal as broad in their flavouring as they are in their enterprise; a collection of songs which quite simply demand attention.

Rising from the ashes of Burn of Black, UnHuman Insurrection emerged in 2016, initially just going under the name UnHuman. Since their first steps on the Italian metal scene, the band has earned potent support and plaudits and gone on to share stages with the likes of Sabaton, Lacuna Coil, and Arch Enemy. Their sound is a tapestry of industrial, thrash, and melodic metal but has plenty more in its arsenal of enterprise to entice with; a mix well covered by inspirations to the band which include artists such as Testament, Fear Factory, Exodus, Lamb of God, Killswitch Engage, and Machine Head. As Equilibrium reveals, it is a blend which at times has familiarity to it and in other moments an individuality which can only flourish ahead.

The album’s title is a perfect echo to the band’s sound, a fusion of raw and imposing trespasses balanced with a melodic radiance and enterprise; that predation and seduction uniting and in full roar within opener, Primal Instinct. A sonic mist descends initially, its industrial chill quipped with an electronic pulse. Within this breath guitars connect their wires eventually coming to a head and charging through ears with a thrash driven eruption.  The potent clean tones of vocalist Giacomo Cordioli rise within the midst of the growing web of temptation, his calm but tenacious presence courted by the aggressive swings of drummer Alberto Lemoni and the throaty dark growl of bass. Guitarists Matteo Theo Milani and Marco Markwild Piva wrap it all in a web of enterprise, melodic and aggression driven metal escaping their craft and imagination in a track which just captivates from start to finish.

The great start continues through Chasing Hope, it instantly grabbing ears with force and adventure as melodic tendrils vine the song’s immediate trespass upon the senses. Again Cordioli’s vocals come with a harmonic croon as powerful as it is radiant against the heavier darker climate of sound. Milani’s classic metal nurtured vines spring across the track’s growing adventure, the song epitomising that mix of the recognisable and inescapably fresh within its compelling grooving and tenacious adventure.

As strong and rousing as the first pair are, they are eclipsed by the album’s best track, Lobotomized. Straight away the song grips attention and appetite with its sonic nagging, teasing grooves which eventually turn primal as guitars and rhythms stalk the senses alongside increasingly rousing vocals. It is a galvanic edge which escalates in the track’s anthemic chorus; an essence giving an already imaginative encounter greater insistency and captivation as does the subsequent spirals of guitar, every twist and turn escalating the track’s magnificence.

Through the industrial climate of Shreds of Identities, another major highlight of the album atmospherically chilling and barbarously predatory, and the almost demonic realm of The Edge Of Nothing, the album went from strength to strength. The second of the two is an intriguing offering, a track which overall did not quite spark the same greed as its two predecessors yet every moment with it brought fresh imagination amidst unpredictable trespasses to enthral and increasingly impress.

The following Parasite instantly lived up to its title, the song leeching on the senses and imagination with its feral tides of death metal lined riffs and melodic breezes. Another song nagging submission to its lures whilst invading with technical and malevolent enterprise, it quickly declares its presence as another memorable pinnacle of the release, intimation matched by Buried Alive and its electro hued but equally carnivorous exploits. As all tracks though, its body is a lattice of flavours, textures, and contrasts which had us thoroughly gripped and pleasured.

 Ashes And Dust brings the album to a close, it another which maybe did not quite excite as those around such their strengths, but left release and ears in an even stronger union. There are only reasons to recommend about Equilibrium and plenty of them, seemingly more and more emerging by the listen. UnHuman Insurrection maybe pretty much unknown beyond their homeland but most likely not for too much longer if their debut full-length is the sign of things to come.

http://www.unhumanband.com/   https://www.facebook.com/unhumaninsurrection/   https://twitter.com/unhumanband

Pete RingMaster 14/11/2018

Copyright RingMaster: MyFreeCopyright

Project Silence – Infinity

It has not proved too hard for us at The RR to be hooked on the creative animus of Finnish industrialists Project Silence these past years ever since the release of their debut album 424 in 2012. Even as their electro-metal based sound has evolved and embraced a host of extreme and raw metal textures across subsequent encounters, each encounter has accentuated our fascination come addiction with their music. It is fair to say that the blackened death hued adventure of the band’s last album, Slave To The Machine, did not quite hit the personal spot but still had more than a few moments of irresistible and striking adventure. Now two years on, the Kuopio quintet has returned with a seven track scourge in the shape of Infinity; a release which quite simply is their finest moment.

Infinity sees the Kuopio hailing quintet of Delacroix (vocals, programming, keyboards), S (guitar), J (guitar), Silve R (drums), and Sturmpanzerjäger (bass) in many ways returning to the industrial breeding of their roots whilst still exploring the variation of flavours involved in the creative weave of its predecessor. From its first breath there is a sense of fresh maturity and boldness to the sound, the initial trespass of opener We Will Rise a contagion loaded tide of muscular riffs. It is a fierce yet infectious nagging with a touch of Fear Factory to it which ebbs and flows as the guttural growl of Delacroix entices. As heavy as it is portentously dark, an insurgent sound tempered by the melodic tease of keys, the sonic incitement just stirred ears and imagination; a result only escalated across its successors.

The equally outstanding From Beyond follows, its initial lure new wave-esque amidst swift gothic hued intimation before its black hearted dance emerges. Even then it is a prowling venture of threat and magnetic suggestion; technical death metal dexterity merging with industrial rapacity to increasingly fascinate as its electro instincts escape sonic darklands before the tantalising drama and ungodly seduction of No More envelops and devours the senses. Soaked in malevolence, the track subsequently swings from its sinful crawl into a just as nefarious canter, Crowley-esque hues lining the increasingly transfixing and ravenous encounter.

Forgotten shares its own diabolical instincts and adventure next, its gait and character as volatile as it is sonically and melodically imaginative; again a weave of flavours mingled and worked with compelling enterprise while Pulse swings and stomps straight after with tenacious endeavour and a mercurial breath seeming not sure whether it wants to dance with or ravish its victim; for the main simultaneously doing both.

The final pair of Anthropophagite and Day Of Reckoning brings Infinity to a mighty close; the first is just superb as it feasts on the flesh and senses of the listener whilst nagging increasing attention and lust with its repetitious riffs and grooves. As keys spread their melodic toxins and vocals their taunting malevolence, the track simply escalates its lures before leaving its successor to infest body and spirit with its Rammstein spiced death soaked craft and immorality. As all tracks, it offers an invasive but captivating web of styles and flavours within its industrial metal nurtured adventure leaving the listener bouncing in deed and thought.

In many ways Project Silence has taken the strongest and most adventurous ingredients from their previous releases to breed the rousing exploits of Infinity but there are just as plenty fresh and new elements which keep the band as one of the most exciting proposals within industrial and indeed extreme metal.

Infinity is out now via Sliptrick Records across most stores and available @ https://projectsilence.bandcamp.com/album/infinity

http://www.projectsilence.info/   https://www.facebook.com/projectsilenceband/   https://sliptrickrecords.com/project-silence/

Pete RingMaster 06/10/2018

Copyright RingMaster: MyFreeCopyright