Her Despair – Exorcisms of Eroticism

There is no escaping that UK dark rock outfit Her Despair made a major impression critically and on a new flood of fans with their last EP, Mournography. It was a striking and arousing affair built on open craft and imagination which thrust the band before a more international spotlight. Even so, its success will surely only be overshadowed as the ascent of the London band accelerates through the magnificent Exorcisms of Eroticism.

Her Despair’s new EP eclipses its predecessor in every department, the band’s sound a more mature and even more striking proposition as it continues to embrace the essences, drama, and melancholy of gothic rock, punk, and dark metal. Each song within Exorcisms of Eroticism aligns crepuscular gloom and intimate seduction, emotion ravishing shadows and heart bred passion; all within the dark recesses of a world in turmoil.

Pandaemonium opens up the release, the song looming from the dark in a mighty tide of sound which instantly shapes its stride and trespass through the melodic intimation of Toby’s keys. The guitars of Dan and Jord cast a more rapacious side in the emerging song, its voice already rich and broad before calming a touch for the ever magnetic tones of J. Every aspect of the encounter though proved a beacon for attention, the bass of Vikki a dark throaty tempting as the beats of Lee bite yet simultaneously incite. As in previous releases, there is no denying the inspiration of bands such as Fields of the Nephilim and Sisters of Mercy to Her Despair and maybe others like The March Violets in the instinctive infection loaded virulence which soaks every note and spring of imagination but the first track quickly sets the unique tone and individuality which defines the release and each song.

 As mentioned earlier, drama is in full force coating every note and syllable of the outstanding first track, The Exorcism soon following with an equal fertility in all its textures and enterprise. Similarly an inherent catchiness is as bold as the creative theatre shaping the tapestry of light and dark sparking the imagination of band and listener alike. The symphonic lure of keys provides a seductive rapture in the turbulent heart of the song, J’s voice managing to echo both sides in his ever alluring and potent presence.

Though there is open energy in its gait and emotive roar, In That Moment is a siren of temptation, the tempered roar haunting in its beauty and enthralling in its croon while Like A Crucifixion straight after is a cauldron of sonic and emotional tenacity. Akin to a fusion of Type O Negative and Dead Register, the track simply sets another momentous lure in the EP as virulently manipulative as it is emotively invasive.

Beyond The Veil is another gentle haunting, the ballad caressing the senses and thoughts yet with an undercurrent of fiery anguish which erupts enough to scorch the elegance and beauty of the bewitching incitement before Final Rest brings things to a just as captivating close. The funereal gait of the song beguiles alone, the vocals and the words it shares a fascination matched in sound across the whole band. Melancholy is as thick as the rhythms which prowl the senses, enchantment as potent as the melodic weaving of keys and guitars and rich pleasure the result of all.

Exorcisms of Eroticism is glorious; from sound to lyrics, voice to the imagination which fuels it, the seriously impressive EP declares Her Despair as one band the world should no longer ignore.

Exorcisms of Eroticism is available now digitally and on CD @ https://herdespair.bandcamp.com/

https://www.facebook.com/herdespair/   https://twitter.com/herdespairband

Pete RingMaster 08/01/2020

Copyright RingMasterReview: MyFreeCopyright

Her Despair – Mournography

Mournography is an exploration into the mysteries of tragedy, blasphemy, death, and love; both literally and figuratively…The mourning of some, the lust of others. These songs praise and pervert the Word of God simultaneously: providing a deeply unsettling spiritual experience set to a bleak backdrop of melancholia.”

The words accompanying the new EP from UK goth/dark metallers Her Despair perfectly encapsulate its tone, heart, and seduction. It is a journey into dark places as broad as they are intimate through a sound as melancholic, thickly shadowed, and mesmeric as the emotion laden words within.

Formed in 2015, Berkshire hailing Her Despair began as the solo project of J; the album Hymns For the Hopeless its introduction that April. It set down the seeds and template for the rich fusion of atmospheric and emotive gothic and dark rock with the trespass of punk and metal. It was a captivating raw mix within that first encounter but now with Her Despair a fully-fledged band makes for one richly compelling proposition within the new encounter.

With guitarists Dan and Jord, bassist Vikki, and drummer Lee alongside vocalist J, and recorded with Matt Bew at Whitehouse Studios in Reading, Mournography immediately strikes the imagination as it opens up with Blaspheme With Me. Straight away there is a tenacity and controlled urgency in rhythms as the guitars entangle their lures; an energy which fuels every aspect of the emerging song until it hits a boisterous stroll behind the enticing tones of J. Hues of bands such as Sisters of Mercy and Fields of the Nephilim collude with the uniqueness of Her Despair as the track grows, each essence adding to its captivation and seamlessly changeable gait. The outstanding song epitomises the band’s sound; it’s embracing of sturdier metal traits with its gothic instincts.

The following Valentine’s Mourning similarly has a raw energy and swing to its attack driven by the senses nagging boisterousness of rhythms with this time harsher punk essences infesting its character. Keys add to the melodic seduction and flames tempting within whilst as with the first track, an organic catchiness brings something akin to bands like Dommin to the imagination.

A darker calm caresses ears next with Within Tragedy; it’s almost funereal march an imposing yet rousing incitement matched in tone and intimation by the air and words escaping J’s vocals. The track is pure seduction with heavy drama in its tone and an immersive lure to its rich web of almost threatening romance.

Charming keys and harmonic calm opens up Damnation Tonight next, their coaxing soon immersed in the song’s thick theatre of sound and intimation. Though missing the final spark of imagination of its predecessors, the track simply tempted and embroiled ears and thoughts in its creative and emotive melodrama as the body instinctively swung to its virulent inclination.

In the Arms of a Sadist brings the EP to a close, it too making a calm entrance with reflection colouring word and sound. It is a dark brooding though which escalates throughout, sometimes ebbing as the track and J’s vocals reach deeper into the heart but always giving a magnetic shadow and trespass to the dark intoxication.

It is a fine conclusion to a release which fascinates from start to finish. Possibly there is a lack of individual surface uniqueness between the five tracks making up Mournography yet each enthrals in their own ways, more so with attention and time, and united ensures from start to finish the EP transfixes and impresses; increasingly so by the listen.

Mournography is released July 20th; available @ https://herdespair.bandcamp.com/

https://www.facebook.com/herdespair/   https://twitter.com/herdespairband

Pete RingMaster 17/07/2018

Copyright RingMaster: MyFreeCopyright

 

Mayflower Madame – Premonition EP

photo by Sven Santelmann

Though formed in 2011, it was the release of their debut album Observed in a Dream two years ago which awoke real attention upon Mayflower Madame, introducing them to a whole wealth of new fans, us included. It offered a compelling and increasingly gripping full taste of the band’s psych rock infested post punk. Ahead of a new album later this year the Norwegian outfit have unveiled the Premonition EP, a release which simply leaves that previous encounter in the shade and is already making anticipation for the band’s second album impatient.

Fresh from a US tour, the latest the Oslo quartet has undertaken beyond their homeland since the release of that first full-length, the band now no strangers to venturing across the UK, Europe, and N America, Mayflower Madame lures the listener into a new soundscape of their imagination fuelled sound with Premonition. Consisting of four tantalising propositions which can be, as the EP’s promo sheet suggests, “best described as apocalyptic love songs”, Premonition has a captivating calmness across its body which the previous release maybe evaded but equally a more virulent almost predacious craft and indeed seduction for a romance of impending darkness to embrace and fear.

The EP opens with its title track, a siren warning its arrival. From the midst of the threat an instantly compelling groove emerges, its calm but inescapable swing courted by additional melodic tendrils from the guitars of Håvard Haga and vocalist Trond Fagernes. It was pure temptation to our ears, the swarthy blend of their lures irresistible and swiftly complemented by the dark enticement of Kenneth Eknes’ atmosphere weaving synth and Fagernes’ potent voice. The rhythmic captivation of Petter Gudim Marberg’s bass and the crisp swings of drummer Ola J. Kyrkjeeide reinforced the grip the song quickly held, it only tightening its hold as the layers of psychedelically lit post punk infested body and psyche.

The following Before I Fall makes a similarly magnetic entrance, the bass of this time Fagernes walking magnetically through ears with the melodic intimation of the guitars for company.  Like a psych washed fusion of Dead Can Dance, My Bloody Valentine, and Fields Of The Nephilim, the song fascinated and tantalised in equal measure. Its heavy emotion and senses wrapping shadows unavoidably infested the imagination but equally the song tempted the body into calm but definite involvement even as its darkness consumed. The fact that the song did not bring the same lust as for its predecessor or successor is simply down to their might, the song only magnetism.

The best track to our ears is Alma’s Sermon, its swing and melodic dance manna to our musical instincts and passions. Flirting with both through something akin to The Orson Family assimilated by The Doors, the track ensnares ears with a hook which teases and pleasures as an insatiable creative appetite supports it from within a web of melodic suggestion from the guitars. All the while, rhythms manipulate attention and hips like a puppeteer with the tones of Fagernes as alluring as they shimmer and echo the song’s dark magnetism.

Spiders Seek with the opener is a close contender to that favourite track choice as it completes the release, the intrigue soaked encounter cinematic in its atmosphere, intimate in its breath. The keys simply seduced our ears, their seemingly familiar yet unique enterprise a spark for the imagination on their own, the suggested drama thoughts conjured only accentuated by the dark catchiness of the bass with Marberg back plucking the strings, the hypnotic stroll of the beats, and the guitar’s sonic wiring.

It is a superb end to a magnificent release. Observed in a Dream only pleasured and excited but the Premonition EP has left it in its wake with ease. Goodness knows what the band’s forthcoming full-length will do…We cannot wait.

The Premonition EP is out now digitally and on CD via the band’s own label Night Cult Records @ https://mayflowermadame.bandcamp.com  as well as being available on cassette via Black Verb Records (Germany), SpiderChild Records (US) and Custom Made Music (US).

https://www.facebook.com/mayflowermadame

Pete RingMaster 26/05/2018

Copyright RingMaster: MyFreeCopyright

 

Rusty Pacemaker – Ruins

Rusty Hessell_RingMaster Review

The first listen of Ruins, the new album from Austrian project Rusty Pacemaker, definitely caught ears and thoughts by surprise but laid the seeds to an increasing understanding and appetite for the artist and release’s particular uniqueness. It has grown with time into a compelling and fascinating proposition, one with aspects which still challenge slightly the success of the release, but an encounter which never lacks the ability to intrigue and thickly satisfy.

The band is the solo project of the Lanzenkirchen hailing Rusty Hessel, a musician who began making his own music in 2003. Heavily influenced by Quorthon of Bathory, Rusty enlisted drummer Franz Löchinger to play on his first album Blackness and White Light which was released in the October of 2010 on his own Solanum Records, a union which is repeated on the new album. Within a few months of its release, Rusty was writing new tracks for its successor and with preproduction finished in 2012, the Markus Stock mixed and mastered Ruins began emerging; its recording completed last year and release coming a few short weeks back. It is an encounter which commands attention and sparks the imagination, and even with a ‘flaw ‘or two, only leaves a contented appetite and certain captivation in its wake.

Rusty Pacemaker Ruins_RingMaster Review   Ruin’s title track is the first engagement on ears and thoughts, opening with a tantalising melodic caress of guitar. It is melancholic yet vibrant and already from that stroking of strings, a gothic air kisses the senses. That whisper only increases as sounds and invention develop, and indeed once the striking vocals of Rusty join the tempting. His delivery is as distinctive and individual as the sounds cradling his monotone stance but also more of a challenge as they conflict organically and purposefully with the dark beauty of the music. At times across the album his voice simply flows with the tide of the emotion and tone of the music but in others, as here, wrong-foot and test song and listener alike. It has to be said though when working well or even not quite agreeing with personal tastes, his vocal presence, as the album’s, is a riveting texture and incitement. The song itself continues to evolve and explore fresh strains of gothic and dark metal, its atmosphere stark and intimately provocative simultaneously.

The following Made Of Lies is a more rugged and furious blaze of metal, rhythms and riffs a swiftly enticing confrontation breeding even greater endeavour and persuasion as it embraces sonic and vocal enterprise. Though predominantly a metal and heavy rock seeded offering, the track reveals a great eighties and nineties gothic/post punk nature to its shifting character, bands like Leitmotiv and Type O Negative coming to mind. The rousing encounter departs to be replaced by the opening lapping waves of Ocean of Life, a song growing into an evocative and poetically harmonious croon within dark and predacious shadows. It also features the siren-esque vocal charm of Lady K, her alluring presence perfect company to the more dour but resonance wrapped tones of Rusty. Musically as in the previous songs, the Austrian creates an enthralling landscape of ideas and flavours skilfully woven into passages which only lure the firmest attention.

The steely air and textures of The Game come next, its imposing death seeded tones the lead into an infectious shuffle within a fiery web of classic and melodic metal. The song feistily simmers in intensity and attitude, often unveiling a raw snarl to disrupt and complement the more restrained but piercing sonic tenacity entangling ears. Vocals ebb and flow in potency and note, but their element of discord so often only aligns to a similarly striking flirtation in sound.

Both Night Angel and Candlemass push the album to another level, the first a sorrowful piano and melodic seducing which perfectly suits the slow and plain dynamic style of Rusty’s vocals whilst again welcoming the bewitching voice of Lady K. Her appearance so lights air and song that it is easy to wish she was a more regularly hue to the album, it being no coincidence that many of the pinnacles within Ruins involve her presence. The folkish hue and serene elegance of the song’s sound is as mesmeric, potency emulated in its successor for different reasons. The excellent track is a haunting and imposing proposal, its darkly clouded sky and doomy breath invading cavernous like depths whilst colluding with sinister shadows. Yet half way in, a bright light expels XTC like revelry, a wispy charm sparking a fresh turn and endeavour to the tempestuous landscape of the song.

The swift acoustic enticing of Forever reveals the strengths and weaknesses of Ruins in its one minute plus before Matter Over Mind unveils its own creative bellow of imagination and inventive sound. Again thoughts are nudged by bands of the past, March Violets and Fields of the Nephilim whispering in ears as the song takes the listener on its own diverse and absorbing journey, but equally, as across the whole of the album, there is plenty more original ideation and sound going on.

Knowing is another where Rusty’s voice takes attention away from the gentle stroll of music, yet there is no thought of tearing away from his almost mischievous presence, which is good as the song is soon breeding muscle and drama with hungry snarling riffs and quaint melodies. Fair to say it is a song taking time to persuade, winning out by the time Pillow of Silence comes forward to complete the album. It also opens with a mellower air but is persistently brewing up a raw volatile climate which never actually explodes to consume song and senses but ensures even in its closing kiss of beauty, the track has a dark and menacing edge to it.

It is probably fair to say that Ruins will split opinions, mainly when it comes to the vocals. Acclimatising to their peculiar ‘oddity’ is worth the attention though as many songs use them as bold textures to the undoubtedly skilled atmospheres and sounds woven into the album. It is a magnetic and charismatic release making another potent step in the emergence of Rusty Pacemaker. Just one request to the man though, please use Lady K more, and if we dare suggest as the lead as there feels a potential show stopper with her tones leading Rusty’s striking songwriting and sounds.

Ruins is out now via Solanum Records

https://www.facebook.com/rustypacemaker   http://www.rustypacemaker.com/

Ringmaster 21/07/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Planning For Burial/Liar In Wait – Split 7”

BLR039_HIGHRES

Bringing together two bands which have already stolen strong attention and praise for their previous releases, the new split 7” from Broken Limbs Records makes a compelling introduction for newcomers to both Planning For Burial and Liar In Wait whilst showing existing fans a glimpse, certainly in the case of the second project, of a new mature landscape of sound. It is an absorbing and immersive experience being offered, two tracks which distinctly differ but unite in their ability to seduce and envelop ears, as well as the imagination, with subtle and bolder invention.

The first track Mischief Night is provided by Planning For Burial, the solo project of Pennsylvania based musician Thom Wasluck. The song is his first outing since the release of the acclaimed album Desideratum earlier this year. It IMG_7856(2)opens with a sonic flame which swiftly immerses into a radiant but oppressive drone. It is a persistence of noise though wrapped and embraced by flowing synth crafted melodies, their evocative breath and nature a warm caress over the caustic spine of the song. Guitars add their raw beauty and unpolished elegance almost as quickly, everything combining for a haunting and ethereal flight through morose and imposing shadows. It is a thick and challenging intensity which emerges from the bewitching cacophony of sound, but one tempered just enough by the slow laboured vocals of Wasluck, melancholia dipping off every syllable within his expressive monotonous delivery. It is an emotion lighting cloud of riveting dark beauty and dramatic shadows lying pleasingly like a mix of Joy Division and Nine Inch Nails within a cold shoegaze soundscape.

   The second song Paper Houses is a lighter and warmer proposition but just as rich in firm textures and infectious magnetism. Liar In Wait began in 2012 as a side project of vocalist Adam Clemans of Wolvhammer and bassist Jim Adolphson from Mourner. It was not long before the band grew to a quartet with the addition of guitarist Jeff Wilson (Wolvhammer, Nachtmystium) and drummer Peter Clarke (Iron Thrones), and recorded debut EP Translations of the Lost which was released last year on Profound Lore. Employing inspirations from the likes of Asylum Party, Joy Division, The Cure, and Fields of the Nephilim, release and sound was well-received and has already raised keen anticipation for the band’s first full-length scheduled for next year.

liw promo     Paper Houses makes a potent and exciting teaser for the release, immediately seducing ears with an intrigue loaded bassline which swiftly suggests Ian Curtis and co. The irresistible bait is then crossed by shards of sonic eruptions before it all slips into a lively but reserved stroll with the bass still leading the seduction beneath the melodic tones of Clemans. There is a shoegaze glazing which mesmerises with House of Love like radiance but equally a dark tonal elegance which embraces essences of Gene Love Jezebel, early Cure, and The Danse Society in its emotive flight across the enthralling song. It is a spellbinding track having no difficulty in awakening real anticipation for Liar In Wait’s first album.

We have been blessed with a strong and impressive array of split releases over past months and this is another to add to that list.

 The Planning For Burial/Liar In Wait Split is available now digitally and on vinyl (300 black and 200 on orange vinyl) @ http://brokenlimbsrecordings.com/shop/

https://www.facebook.com/planningforburial

https://www.facebook.com/liarinwait

RingMaster 15/10/2014

Copyright RingMaster: MyFreeCopyright

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Destroy D.C. : The Pride Of The ASBO Generation

Pointing

    Having just caught our breath after the outstanding recent release of XXIV from UK Subs, British punk has another explosive piece of inventive ferociousness to thrill us with in the formidable and exhilarating form of The Pride Of The ASBO Generation EP from Destroy D.C. The four track release is a stunning intense fire of energy and passion honed into a formidable compelling force, an irresistible inciting fusion of progressive punk and roots and dub.

Destroy D.C. began when Spike T Smith, the drummer for Conflict, wanted a project to bring forth the songs he was writing and had created round the time the legendary punk band went on hiatus in late 2009. Enlisting guitarist Gav King who was also looking for a vehicle for his ideas, and bassist Si Turner, the trio squeezed in writing, rehearsal, and recording between their individual busy touring schedules, Smith on Steve Ignorant’s Last Supper shows, as well as festival appearances with Killing Joke and the New York Dolls, King with Fields of the Nephilim and both men more recently with the return of Conflict, as well as all three members being the backing band for HewhocannotBeNamed (The Dwarves) for his solo UK dates. Destroy D.C. was officially launched on 21st December 2012 with the March 26th released The Pride of The ASBO Generation through DIY label Revenance the first of a procession of EPs.

The release opens with the raucous and uncompromising Road To Redemption, a track which stares eye to eye with the listener Destroy DC EP Cover Finalwhilst teasing and tempting them with brawling vocals, lethal hooks, and a contagious breath. The fiery groove which frequents the song throughout is the first encounter for the ear soon joined by punchy rhythms and a rich growling bassline. As eager as it is hungry, the song rampages through the ear without a much respite from its corrosive riffs and melodic sparks, yet still teases and taunts with a wonderful adventure to its gait and prowl. Within a restrained yet intimidating deep breath in aggression, the band also brings a sensational diversion sculpted by imagination and ingenuity which seduces and eats the passions with equal strength to the marauding sounds elsewhere. Ending as it began with a further hardcore scowl to the vocals and intensity to its punk rock abrasion, the song is an immense first confrontation to band and EP.

The following Those Days Are Gone also strikes its first blow through a magnetic almost insidious groove which captures the imagination before the song fully unleashes its physical and inventive might.  A frantic inferno of attitude, passion, and ravenous agitated drums from start to finish, the song is potently veined with that addict making groove within an insatiable appetite to chew and incite thoughts and emotions. It is caustic rock n roll at its best, a fusion of hardcore and original punk which rewards as dramatically as it accosts the senses.

Whereas elements of the previous songs mildly suggest the roots and dub influences third song Tear It Down is a full on pleasure incorporating both aspects of their main influences for an impossibly compelling and thrilling ride. Like a blend of Dub War, Steel Pulse, and Ruts but with its own individual heart, the song is a simmering yet fiery piece of emotive and provocative majesty. A pulsating crawl through a reggae soaked reflection book ended by punk snarls, the track is a sensational creative declaration which rivals the aforementioned Ruts classic Love In Vain.

The band close up the EP with another striking slab of imagination in the erosive pop punk triumph of the title track. This is no glossy melodic piece of musical candy though but a caustic and raw stomp with loud dub whispers and old school punk aggression. The song shifts and evolves throughout to ignite further lustful ardour for the release especially with the drop into a slow melodic and shadowed prowl midway which recalls the Dirk Wears White Sox era of Adam and the Ants. It is a brilliant ending to an outstanding and invigorating slab of punk at its best.

Knowing that The Pride Of The ASBO Generation is just the opening assault of what creatively is to come ahead from Destroy D.C. it is safe to assume that the anticipation and wait for the next release is going to be very impatient.

https://www.facebook.com/DestroyDc

9/10

RingMaster 25/03/2013

Copyright RingMaster: MyFreeCopyright

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Doom’s Day: The Unholy

Doom's Day

Though arguably offering more promise for the future than major satisfaction in the now, The Unholy the debut album from Canadian  occult metal/horror punk band Doom’s Day is still a recommended investigation if the likes of Mercyful Fate, Venom, Ghost, and early Misfits grab the imagination. There is also an eighties essence to the sound which pervades the eight songs which make up the release bringing spicery from the likes of Joy Division, Sex Gang Children, and Fields of The Nephilim into the mix. It is a far from flawless release but given time makes a more than decent persuasion that this is a band to keep an eye on.

The Québec based band has been making big waves in their surrounding area since forming earlier this year, soon moving from a small project into a full band for shows around their province. The Unholy was originally released as a hand numbered CDR consisting of just 50 copies, but soon came to the attention of PRC Music owner Remi Cote. Impressed by what he heard and no doubt the promise ahead, his label has re-released the album on CD and digitally. It is a release proudly steeped in the musical past but with the intent to embroil things with a freshness of modern imagination and opinion, it is debatable how successful it is in that but certainly engages enough to incite returns to its sounds and inspire intrigue ahead.

From the opening track Overture, a gothic cathedral instrumental breath within an oppressive storm, the album enters fully with dooms_day_lowresthe title track. Dark heavy riffs and Hammond organ like keys merge for a heated embrace upon the ear which holds many similarities to fellow Canadians, the excellent New Jacobin Club. The gruff unpolished vocals stand aside from the strong guitar play and scorched melodic  touches to add an abrasive bite to the track. It is quite a compelling song despite the weak production, a trait for the whole release which manages to leave the strong aspects of the album rather lifeless and the raw unrewarding parts accentuated. It is a more than decent start though inspiring good expectations for the rest of the release.

The following trio of songs She’s Possessed, Necronomicon Ex-Mortis, and Sabbath Deadly Sabbath do not exactly live up to the hopes though most again offer things which suggest the possibility of good things coming from the band on the future horizon. The first of the three has a great female vocal alongside the restrained and tempered delivery of vocalist Doom, it makes for a magnetic encounter lined with hypnotic rhythms and a snarling bass  within the sonic wash of guitar. A short and crisp track it is certainly one of the better efforts on the album to ensure continued investigation. The metallic groove of the second song makes an enticing additive to another strong enough song whilst the latter is a bland formulaic song but one fans of classic metal will find something to latch onto.

The best moments of the album are kept to the end with The Sorceress and its great Bauhaus like opening, the muscular Your Last Breath, and the closing Ghost Of Fate. The smoother vocals of the first pair of the songs are a definite plus to the sound of the band and used within a sinewy and formidable intensity works a treat. The last track Ghost of Fate is a great tease of what one senses hopefully will be ahead with Doom’s Day, the song a rampaging well thought out merge of riling energy and melodic craft.

The Unholy is overall enjoyable with its strengths managing to outshine its negatives but it does lack the spark to ignite any real passion for its contents. Placed in a studio with a top producer who can breathe life into their certain creativity and the band itself discovering a unique heart to their invention, it is not too hard to imagine Doom’s Day turning into a more notable ingredient within occult metal.

https://www.facebook.com/dooms666day

RingMaster 03/12/2012

Copyright RingMaster: MyFreeCopyright