Altitudes and Attitude – Get It Out

Just the thought of two of metal’s finest most influential bassists linking up whets the appetite; indeed a potential pleasure which pretty much inflamed said optimism with the release of an EP five years back. That teaser though has just become a full on feast of hard rock ’n’ roll pleasure with the release of Get It Out the debut album from Altitudes & Attitude.

For those yet to discover the outfit, Altitudes & Attitude is the creative union of Anthrax’s Frank Bello and Megadeth’s David Ellefson. It was a partnership sparked when the pair started touring together to lead bass clinics for the amp manufacturer Hartke in 2010.To provide backing tracks to support their demonstrations the pair began writing songs, this leading four years later to the unveiling of a three track EP. Now the link-up has brought us Get It Out and thirteen tracks which pretty much rock the life of the majority of hard rock offerings of recent times. You might say that the album is not the most unique, it openly embracing assumedly some of the hues of the pair’s own musical likes and pleasures over time, yet it has a freshness and individual character which uses such flavours rather than relies on them. At times it has a definite John Bush led Anthrax meets Foo Fighters roar but from start to finish stomps with its own voice and gait to relentlessly thrill.

Produced by Jay Ruston (Anthrax, Steel Panther, Stone Sour) and with drummer Jeff Friedl (A Perfect Circle, Ashes Divide, Filter) unleashing the driving rhythms throughout, Get It Out sees a host of guitarists guesting alongside the bass and rhythm guitar sharing of Ellefson and Bello, the latter providing the vocals and lyrical prowess. Among them is the familiar craft of Ace Frehley, Gus G (Firewind), Jon Donais (Shadows Fall/Anthrax) and Christian Martucci (Stone Sour); with all musicians involved adding to its magnetic lure.

The album opens with its title track and swiftly and easily had attention gripped as guitar bred wires entangled ears; their nagging increasingly compelling before riffs and rhythms add their persistence to the baiting of the senses. Bello’s vocals are just as potent as the track erupts into that Foo Fighters tinged roar which sweeps across the album at times. It is an outstanding track and start quickly matched by the similarly stirring and vigorous Late. The second track is less forceful in its initial tempting, almost teasing ears before hitting its muscular stride with Friedl’s beats a crisp trespass alongside the melodic caress of guitar. With a Verni like hue to its infectiousness and controlled holler, the song also effortlessly hit the spot with its multi-flavoured rock ‘n’ roll.

Lyrically, the album sees Bello open up to personal experiences and the intimate turbulence which have been part of his life; explorations just as intriguing as the sounds around them and fuelling further quick success in the likes of Out Here and Part Of Me. The first shares a delicious groove aligned to mountainous rhythms, their captivating unity matched by the harmonic call of vocals and guitar while the second is pure incitement from its gnarly bassline to thumping beats and hook springing virulence. Both tracks leave little to be desired but the latter with its imposing but galvanic trespasses was rock ‘n’ roll manna to personal tastes with a guitar solo to lap up.

The irresistible Slip ventures into a more indie rock lined hard rock stroll, vocals and melodies as infectious and manipulative as a virus while next up Talk To Me provides a relatively calmer but no less persuasive canter draped with a great Julian Cope-esque feel in voice and sound. Both tracks add to the already lofty heights of the release with creative and hearty relish before Leviathan shares more classic and heavy/progressive metal strains of enterprise. The instrumental is a magnetic detour from the thrust of the album so far adding another aspect to its increasingly varied landscape.

Cold shares some of its predecessor’s colouring within its own heavily satisfying melodic rock ‘n’ rumble with Another Day returning to shades of Dave Grohl and co with its controlled yet fiery saunter.    It was a song which maybe did not have us bouncing as lustfully as others but its magnetism was inescapable as too its hungry hooks and lures; coaxing just as thick and even more compelling within the emotively atmospheric and revealing All There Is where melodic droning and vocal intimacy blossoms.

The album concludes with bonus cuts of the songs which made up that first EP; all three remixed and re-mastered. Booze And Cigarettes has a great feral edge to its rock clamour, Tell The World a melodic almost poppy instinct to its catchiness, while Here Again is as much punk as it is heavy and hard rock bred; all three showing why Altitudes & Attitude had so many excited a few years back and anticipation for the album, they now thrillingly end, so keen.

A record which will appeal to a vast array of metal and rock fans, Get It Out is rock ‘n’ roll at its hearty best, so no more words needed just your soon to be hungrily happy ears.

Get It Out is out now through Megaforce Records.

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

Pete RingMaster 12/02/2019

Copyright RingMaster: MyFreeCopyright

Riffocity – Under A Mourning Sky

As if thrash metal has not be blessed enough with some outstanding releases this year, Greek metallers Riffocity have added another mouth-watering roar with their debut album Under A Mourning Sky. Thrash bred but casting a web of inescapable hooks and incessant grooves doused in melodic fire, the ten track encounter is like a dog with a bone; seizing ears and imagination with creative jaws, gnawing and shaking the senses until absolute submission is given to its predacious prowess.

Formed in 2013 by guitarist Dimitris Kalaitzidis, Serres hailing Riffocity gave notice of their potential and invention with the Disciples of the Storm EP last year. It is fair to say though that Under A Mourning Sky has not only realised that early promise but taken it to a whole new level. Recorded with Firewind guitarist/keyboardist Bob Katsionis, who also mixed and mastered the encounter as well as provided its keys, the album instantly lays a tight grip on attention with the opening throes of first track Hail Thy Father. As imposing beats land riffs gather, guitars and bass colluding in drama and intent as melodic wires emerge to entangle the threat. Straight away an appetite for the impending explosion is ripe, increasing in anticipation as the band heads into a momentary suggestive breath and the groove woven netting which springs from it. Made up of various twists, the track’s nagging enterprise is irresistible, the guitars of Kalaitzidis and George Lezkidis casting addiction as the bass of Panos Savvas grumbles. With the rousing roar of vocalist Thomas Trabouras backed by Kalaitzidis its own anthemic incitement, the track is near on perfection and certainly one of the best starts to an album this year.

Riffocity swiftly show the dexterity of sound and imagination in their sound with next up Arnis Oblivion, its opening piano nurture elegance is soon wrapped in classic metal breath and suggestion before thrash instincts again charge ears with nostrils flared. The sudden drop into melodic calm with a great clean Greek sung croon just catches the imagination, Constantin Maris guesting alongside Trabouras across the song. The band continues to sublimely blend mellow and feverish endeavour with increasing imagination and unpredictability before the song makes way for the ferocious energy and infectious trespass of the equally outstanding Bitter Sunday. Again the fusion of thrash and groove metal, to simplify its character, is so easy to devour and get involved with, riffs and rhythms alone a virulent persuasion never allowing expectations a moment to settle.

Fortunes of Death emerges from its stormy climate with melodic tendrils wrapping ears with more poetic suggestion, their vines as captivating as Trabouras’ gentle but commanding vocal caresses. It too is an enslaving start which blossoms into a compelling theatre of sound and enterprise with Maris once more adding his vocal prowess. There is something familiar about the song once it is in full bloom yet nothing which can be defined only enjoyed as the band blends an array of metallic flavours with increasing boldness and intensity; the track at times as rabid as its predecessor.

Through the ravenous tone and exploits of This Eternal Secret Lies Above and the senses stalking tenacity of From Inside the Arrows Come, the album and pleasure just escalate, the second of the two especially invasive and riveting with Riffocity again showing they really know how to begin a song and build anticipation for its attack, and indeed how to back up that suggested potential with craft and invention.

There is no sign of a dip in adventure or enjoyment as track by track the album ravages the senses, next up Isolation open in its Testament/Exodus like breeding and bold in its own creative mature while Perished Unloved, with Savvas’ bass simply and wonderfully bestial in voice, twists and turns with dervish qualities and a devilish intent though its thrashing antics are all controlled and eagerly rapacious.

The album’s title track is another where certain elements seem recognisable yet everything is fresh and eagerly chewed upon as the song dances voraciously and trickily in the ears, setting up a new wave of greed ready for the closing raptorial grasp of Above the End. With riffs that hound ears, rhythms that pummel the senses, and an anthemic urgency that ignites the spirit the track is inescapable pleasure, and with imagination and melodic canniness blazing within those walls, a conclusion to the album as potent as its start.

As suggested, thrash has had a mighty year with impressive releases and Under a Mourning Sky just might be the best of the lot; certainly it is at the fore of the most enjoyably addictive and devoured right here.

Under A Mourning Sky is available now through Riffocity.

https://www.facebook.com/RIFFOCITYbandgr/

Pete RingMaster 21/11/2017

Copyright RingMaster: MyFreeCopyright

Worselder – Paradigms Lost

As French metal continues to prove itself a hot bed for adventurous new bands and voraciously tempting sounds, quintet Worselder add their stock to the brew with new album Paradigms Lost. A web of flavours and styles fused into ear pleasing, imagination catching encounters, the ten track release is a quick and easy to devour proposition revelling in additional time offered to blossom into something even more impressive.

Hailing from the foothills of the Pyrénées mountains, Worselder emerged in 2008. Quickly they tempted local and in turn national attention with a sound drawing on each individual member’s influences and experiences in previous outfits alongside nineties inspired thrash and power metal; an instantly rich mix only blossoming in depth and adventure across the years and releases. Debut album Where we come from was released in 2010 to strong responses though it was the MMXIV EP four years later which especially sparked critical acclaim and led to the band sharing stages with the likes of Firewind, Dagoba, Black Bomb A, and Huntress among many. Recorded across 2016 with Elise Aranguren and mixed and mastered by Bruno Varea (Dagoba, Satyricon, Lenny Kravitz), Paradigms Lost sees the Worselder sound and invention at a new level of maturity and imagination. It is a release which as suggested makes a potent impact straight away but shows greater strength upon subsequent listens as its layers and less open complexities are increasingly revealed.

Infighting gets things going, the opener luring ears with a brooding bassline before rapacious riffs and bone rattling rhythms courted by toxic grooves erupt. Equally rapacious vocals from Guillaume Granier and the band soon join the surge before things settle down a touch with the vocalist quickly showing his potent range and dexterity. There is a whiff of industrial metal to the track initially, Society 1 coming to mind as the track jabs with spiky discontent, but soon its melodic and grooved instincts are entangling and stretching its thrash fuelled charge.

It is a great start hinting at the wealth of flavours ready to embrace ears across Paradigms Lost and its next up title track. From the crackle of fire and portentous rhythms within a similar atmosphere, the song strides forth with melodic vocals and harmonies lying keenly on more rapacious and aggressive sounds. The guitars of Yoric Oliveras and Jérémie Delattre cast another instinctive incitement, a mix of predacious trespass and sonic imagination to be hooked on whilst the scything beats of drummer Michel Marcq rousingly pierce the heavy prowl of Yannick Fernandez’s bass. The track’s twists and turns are as fluid as the array of sounds woven together within the excellent proposal but carry an unpredictability which has the imagination firmly enthralled within the first listen.

The instinctive rock ‘n’ roll prowess of next up Seeds of Rebellion has ears won just as quickly; the similarly striking and irresistible song proceeding to instil that core with anthemic dexterity and spicy grooves. All is delivered with lust but control amidst expectations spoiling imagination loaded with a bold unpredictability before Idols unveils its classic/heavy metal attributes within an aggressively tenacious air. Though the track does not quite ignite personal tastes as forcibly as its formidable predecessors, it only grows and pleases more and more with every listen.

Through the melodically calmer waters of The Sickening and the old school spiced Severed, the album has total attention. The first is a tantalising mix of warm melodic temptation and more bullish volatility as vocal and lyrical insight explores ears and thoughts. At times sultry and exotic, in other moments a more rapacious challenge, the track captivates from start to finish, giving neck muscles and hips a workout with its emerging thrash inspired grooving. Its successor similarly casts a net of ear entwining grooves this time fuelled and coloured by that power/classic metal essence with Granier’s croons and roars on melodic fire.

My Consuming Grief has a darker edge and deceitful volatility to its heart; a shadowy emotive power skirting and courting the drama and adventure of the melodic power metal seeded exploits. It too has ears and imagination swiftly gripped before Home of the Grave dances on the senses with its opening melodic flirtation. It is a glorious enticement only increasing its invitation as darker heavier hues from guitar and rhythms join in. Managing to become more primal and charming with each passing minute, the track provides another addictive highlight to the release.

Worselder toy with the imagination through The Haven next, a song exploring dark hues more akin to the likes of Dommin and Rise To Remain though its instinctive classic metal attributes shape the excellent encounter before the album closes with the shadow clouded, atmospherically apocalyptic Land of Plenty. In its imposing darkness there is hope and elegant melodies bring that light as the song rises from its solemn beginnings to challenge and inflame the senses. More of a slow burner than other tracks within Paradigms Lost, it almost festers in ears and imagination as it makes a potent impact and striking moment to eagerly point out.

Inspirations to the band apparently include the likes of Coroner, Testament, and Pantera; a trio which across the whole of an album but especially in the final song alone you can appreciate in a release which simply draws attention back time and time again as we can attest to. Paradigms Lost has all the qualities and impressiveness to push Worselder into global attention, now it is up to the world to embrace them.

Paradigms Lost is available now through Sliptrick Records on Amazon and other stores.

http://www.worselder.com/    https://www.facebook.com/worselder/    http://worselder.bandcamp.com/

Pete RingMaster 20/06/2017

Copyright RingMaster: MyFreeCopyright

Dendera – Pillars Of Creation

Album line-up

Album line-up

UK metallers Dendera whipped up plenty of eager attention and acclaim with their debut album The Killing Floor two years ago and now with its successor Pillars Of Creation poised to ignite ears and appetites with its own unique character, it is easy to expect the Portsmouth band doing the same again with greater success. Embracing a fresh roar of modern rock and invention with their heavy/classic metal breeding in their new offering, Dendera has honed a more distinct sound to themselves, not one to reinvent genres but undoubtedly one to really set the band apart from the tide of likeminded bands.

Since releasing their first encounter, the We Must Fight EP in 2011, it is fair to say the band has had the attention of fans and media alike, a ready to praise spotlight elevated by the release of The Killing Floor in 2013. Live too the band has earned a potent reputation and stature, touring and sharing stages with the likes of Saxon, UFO, Fozzy, Skindred, Firewind, Alestorm, Unearth, The Sword, Orange Goblin, Grand Magus, Ill Nino, POD, Soulfly, Kobra and the Lotus and….well the list goes on. Now the quintet of vocalist Ashley Edison, guitarists Stephen Main and Tony Fuller (the latter having left the band after the album’s recording to be replaced by David Stanton), bassist Bradley Edison, and drummer Andy Finch return with a seriously mighty slab of metal and with ease the band’s finest moment yet.

Dendera cover_Reputation Radio/RingMaster Review     Pillars Of Creation opens with Claim Our Throne and quickly has intrigue and imagination awake with the track’s opening melodic suggestiveness. Its entrance sets the scene, casting a rich and welcoming landscape yet one with an initial melancholic air which as its depths and scenery builds and expands, evolves into a more intimidating presence. Eventually riffs and rhythms build imposing walls whilst hooks and grooves colour the increasingly compelling emergence of the track with inescapable temptation. In full stride the song roars with the impressive vocals of Edison leading the way as guitars and bass lay down magnetic bait through riffs and enterprise. The old school essences of bands like Iron Maiden and Saxon, which heavily coloured the band’s first album, are still clear hues in song and album but more spices now in a bolder and more creatively individual proposal from Dendera. It is not ground-breaking stuff as mentioned but the band has cultured something rich in variety and resourceful in exploration, and as shown by the starter and reinforced by subsequent songs, created a sound which will send fans into bliss whilst offering plenty for those who maybe do not have an appetite for a classic form of metal to have eager interest in.

The impressive start is matched by Bloodlust, the song straight away living up to its name and exploding with a far more raw and predatory presence than that of the previous song. Thrash spiced riffs are rampaging through ears from its first breath, they and rhythms whipped up by the confrontational vocals. It is a tenacious and grouchy encounter which mellows out for its melodically fiery chorus, but is soon back stirring up air and blood with the same insatiable surges of intensity and sound which it first erupted with. Its blend of contrasts is a fluid and alluring invitation, a persuasion emulated again in the stormy nature of In High Tide. A cantankerous tempest of rock ‘n’ roll, the track aligns sonic croons with bestial snarls and rugged hostility, their fluid passage making for a fascinating and increasingly anthemic incitement on ears and emotions.

Already across three songs, Dendera has infused elements from groove and melodic thrash to varied heavy rock, an involvement never diminishing just evolving and changing across every song starting with the stalking of senses that is Disillusioned. Another song reeking attitude and carrying an almost primal swagger, it prowls ears with an intimidating air driven by the ever impressive and masterful rhythmic webs of Finch. Groove wise there is a definite Pantera edge and swing to the track’s core lure, one in many ways copied in the excellent vocal persuasion of Edison and potently backed by the band’s roars and the guitar endeavours of Main and Fuller, especially with a seriously tasty and incendiary solo.

The Daylight Ending is a sweat and spit encounter, rhythms and the delicious bass bait of Bradley Edison a barbarous proposal matched by riffs whilst guitars and vocals carry an aggressive

new line-up

new line-up

nature to their provocative and inventive craft. The song is a gallop for the main, a relentless foraging of body and imagination leaving an even hungrier appetite which The Chosen One feeds with its dark and heavy trespass of the senses. The song does not quite grip as other tracks, missing an indefinable spark to ignite personal tastes but there is no denying or not enjoying its invention and adventure, especially it’s contagious and at times brutal gait.

The explosive sonic flames and melodic passion fuelling Unholy sparks a lick of lips within a few explosive moments next, riffs and grooves almost swarming over the senses and into the passions as bass and vocals virtually prowl with their own inescapable persuasion. The beats of Finch are a bully but a welcome protagonist as again he sculpts an addictive frame and engine room for a song.

Pillars Of Creation is brought to a close by Edge Of Tomorrow, a fire of aggression and passion within a sonically tempestuous soundscape. It fiercely pleases on first touch but, as the album, just impresses and draws keener lustful reactions with every listen. The release is a must for all classic and heavy metal fans but such the new adventure and variety the band has woven into their songwriting and sound, there is much for all metallers including, us among them, those without an instinctive taste for old school roars. In fact it very likely will, as here, emerge as a favourite of the year for fans and newcomers alike.

Pillars Of Creation is available via Metalbox Recordings from June 22nd @ http://www.denderauk.bigcartel.com/

http://www.dendera.co.uk/   https://www.facebook.com/DenderaUK

RingMaster 22/06/2015

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

 

Project Silence: 424

Proj silence

    A new scourge to confront extreme noise fans, Project Silence is a Finnish band which is a brawl of intense promise and in 424 has unleashed an album equally as powerful and striking. Though not without flaws, the release is an immense conviction of brutality and bewitching enterprise, in fact that its only real prime issue in that it offers so much in diversity and ideas it risks confusing the listener into indecision over its impressive contents.

From Kuopio, the quintet of Delacroix (vocals, programming, keyboards), Mr. Sanderz (guitar), J (guitar), Silve R (drums), and Sturmpanzerjäger (bass), combine a ferocious furnace of industrial metal, dark electro, trance, aggrotech, and black metal, setting the band somewhere between God Destruction and The Browning with primal essences of Mortiis adding their serpentine malevolence. Formed in 2008 as originally a solo project of Delacroix, the band released its first songs soon after as a free download before working on their debut album and releasing a pair of preview songs in 2010. Obstacles and delays held up the album until the powerful collection of invention and aggression was released at the tail end of 2012. Now with its experimental muscular confrontations open to the world there is an expectation, after listening to 424 that Project Silence is on the first major step of an impending forceful ascent.

The title track wraps around the ear first, the electronic instrumental a warm expanse of electro warmth over slightly blistered 424coverambience whilst keys evoke a tender yet firm invitation to the heart of the release. The piece gives no indication of the destructive intent to follow though its brief minute and a half is merely a pleasing slight-of-hand as the malice of Pressure Revolution takes its place. The track plunders the ear initially with electronic teases and riotous shouts before gaining a stride of rampant electronics and hungry riffs. In full flight the song is a storm of brawling intensity, grazing acidic vocal squalls, and transfixing sonic rain of melodies and electro shards of infection. It is an undemanding yet sinewy encounter which has essences of Houston! and Celldweller within its heated stance.

The following My Reality immediately invades the ear with a darker ambience and invading shadows leading to a malicious caustic vocal and predatory black metal flavoured persuasion. Whereas its predecessor was a relatively direct offense the songwriting here is an evolving and senses searching journey which ravishes and seduces with equal hunger and effect. A guitar power metal infused temptation is just one seamless escapade on the insidious encounter whilst the symphonic caresses in the latter part of its presence is an extra fire of unexpected pleasure to add further diversity to song and release as is Stardancer (Raven’s whore). The track opens with a trance soaked wash which persuasively leads one right into the furnace of rampaging energy and riffs driven by a ravenous breath. Once more it is a song which into its onslaught skilfully and passionately merges a distinct spicery, the track a raptorial tempest which shifts from bringing loud whispers of Rammstein and The Kovennant to those of Firewind and Enter Shikari.

The corrosive Keeper with its dramatic keys, euphoric ambient symphony, and riveting electronic grandeur, is a powerful and compelling slice of symphonic metal imagination but again as with all songs employs a weave of provocative textures and sounds which crosses genres and appetites. As mentioned at times you feel there is almost too much going on, though everything is with a craft and inventive sculpture it is impossible to refuse its addictive lure and the more you immerse within the album the more its persuasion is dominant.

From the singular techno presence of Sky, Space and Twilight Zone, a track which perfectly accomplished did not manage to spark any fires without that viciousness that pervades throughout the rest of the album, and the black metal malignancy of the again strong but ultimately uninspiring Alone (Crushed by Your Lies), the album is soon preying on the passions once more with firstly the feral BEAST and its successor Cage of Hate. The first of the pair fuses black and pagan metal into a voracious devouring of the senses with dazzling yet shadowed industrial magnetism whilst the latter is an incendiary soundscape of spiralling elements and ideas from again a wealth of genres and styles brought into a contagious slightly suffocating maelstrom of imagination.

424 is completed by the dark electro metal revelry of Everything where again the likes of Rammstein stalk thoughts and the short evocative instrumental Promise to bring a rounded closure to the release. It is an excellent release which impresses from start to finish whilst breeding an even more powerful promise and anticipation of the band in the future when they find their unique voice, which suggested by the album is still a search in progress. The bottom-line is Project Silence left us enthused and breathless, enough said.

http://www.projectsilence.info

8/10

RingMaster 27/02/2013

 

Copyright RingMaster: MyFreeCopyright

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Nightfall: Cassiopeia

Nightfall_2013_Photo

    There can be very few who do not know of the Greek dark metal weavers Nightfall or be aware of their continuing legacy to metal in general let alone their chosen genre of creativity. From deeply impressive and acclaimed albums and putting Greek metal on the wider world map, the Athens band has also nurtured and brought forth many musicians who have moved on to other high profile bands, such as Bob Katsionis and Mark Cross (Firewind), George Kollias (Nile), and George Bokos (Rotting Christ). After a seeming break the band has returned with their new album Cassiopeia via Metal Blade Records, and a senses awakening piece of accomplishment it is.

Formed in 1991 by the now only original member, vocalist Efthimis Karadimas, Nightfall took little time in grabbing attention, their initial four track demo bringing them to the attention of French label Holy Records and leading to the signing with them. The following year saw their debut Parade Into Centuries released to enthused responses whilst the next mass of years saw its success and acclaim repeated and exceeded through albums Macabre Sunsets, Athenian Echoes, Lesbian Show, and Diva Futura. During this time many line-up changes challenged but brought fresh spices to the sound of the band, their original death metal breath honed into an even more atmospheric and melodic wind upon the ear and heart. Via Black Lotus Records, the albums I Am Jesus in 2003 and Lyssa: Rural Gods And Astonishing Punishments a year later were open and impressive realisations of this direction change. In 2005 though as the band ceased performing live and with members leaving, there was a ‘hiatus’ of sorts for Nightfall.

The announcement of a new line-up and the following release of Astron Black & The Thirty Tyrants in 2010 through Metal Blade, showed the band was back stronger than ever, the album the recipient of immense praise from critics and fans whilst their further evolved sound was a passionate and rich soundscape of blackened death metal malevolence weaved into a melodic and dark symphonic grandeur. Cassiopeia is drawn from the same inspiring well of imagination and one which dances with the passions. Whether it exacts the same rapture as its predecessor will be arguable from individual to individual but the release certainly mesmerises and intimidates with equal craft and magnetism.

Alongside Karadimas the band consists of guitarists Evan Hensley and Constantine, bassist Stathis Ridis, drummer Jorg Uken, and 039841516821Stathis Kassios on keys, and again as is notable across its existence, it is a collection of musicians which perfectly fit and further the heart of the band. The album as its title suggests, takes essences for its theme from the constellation and the mythical character of Andromeda’s mother but more so refers to and investigates the arrogant characteristic of the human race. Opening with Phaethon, the release immediately holds attention in its majestic palms, the beckoning weaving of the guitars lighting the way into the shadows of the song which then swamp the senses with the oppressive growls of Karadimas and seductive caresses from the keys of Kassios. The rhythms are reserved though the bass is a prowling entity with strong sinews within the sonic fires being conjured along the journey of the song. From eagerly appealing to deeply hypnotic and switching often, the song is one which ebbs and flows within its lush presence and enthrals throughout. The great starter is a sign of the album in that it is a constant engagement one can only be enthused by but at times ignites greater passions from particular moments of ideas. This could be said to show inconsistency but in this case it is a nice problem to have if the case.

The following Oberon & Titania is a delicious storm of caging rhythms, spiralling sonic enterprise, and melodic teasing with a sensational lone wanton taunt of piano erupting which sparks sheer adoration for its unexpected and enchanted mischief. The track is a formidable encounter, one which stirs up the primal and emotive dark inside to coax it into a vibrant furnace of invention and destructive beauty. From keys to guitars, bass and drums, to the venom coated vocals, it is bruising yet invigorating treat.

Tracks like the infection invoker The Nightwatch with its familiar but knowing melodies and barbed hooks, the thought and senses wrapping Hubris which again stokes the heart with irresistible keys ‘doodling’, and the riveting Hyperion, leave one breathless and captivated. To be fair every track has that grip for the main of its presence making an album in Cassiopeia, which provokes and incites the dark and light within the listener.

At times the album is scintillating and even in its lesser moments compelling, and though it maybe does not trigger the furnace of passion as their previous album, it is one which lures you willingly back again and again.

http://www.nightfallstar.com

RingMaster 25/01/2013

Copyright RingMaster: MyFreeCopyright