Dead Register – Fiber

pic Joe Sands

pic Joe Sands

The inability to pin down the Dead Register sound is almost as enjoyable as the music itself and the expansive web of flavours making it up. The Atlanta trio weave a tapestry which seems simultaneously made up of essences from gothic and death rock, post punk and dark pop, doom and post rock and more. As shown by debut album Fiber, the richness of those textures is a genre crossing emprise of craft and imagination. Yet there is something easily accessible to its busy body of imagination igniting invention and atmospheric drama too, an almost familiar presence which still defies recognition. The result of it all is a release which has a uniqueness few can emulate and a fascination which simply seduces ears and emotions.

Formed in 2013, Dead Register began as the creative union of vocalist/bassist M. Chvasta (ex-Palaces; ex-Light Pupil Dilate) and his wife Avril Che (bass synth, textures, keys, backing vocals). The programmed rhythmic side of the project was replaced the following year by Chad Williams (ex-Magnapop) with a wave of writing and subsequently the live honing of songs live following. Bringing six of their favourite tracks together, Dead Register now release Fiber; an introduction which bewitches and challenges in equally compelling manner.

From its first moments, Fiber is a leviathan of monolithic, doom infused temptation sparking and feeding off the imagination. It manages to be imposing, bordering portentous, but with an infectious virulence and emotively melodic character of sound which does not so much temper its dark side but blossoms in its embrace. It all starts with Alone and a lone and slim melancholic melody. It is the spark for a doom loaded awakening of raw riffs and a deliciously gravelly bass groan. A suggestive ambience lays in its shadows too before the instantly impressing tones of Chvasta’s croon and the rhythmic shuffle of Williams help unveil new depths in the outstanding encounter’s increasing emotion and drama.  Che’s harmonies float like gossamer in that air whilst the track takes on a Southern Death Cult meets Modern English meets Swans presence across almost ten minutes of sonic and vocal bliss.

Dead Register Fiber Cover Art_RingMasterReviewIt’s impressive and gripping presence is matched in might by the album’s title track next. From its initial grouchy growl in metallic riffs and bass lures, the song has ears and thoughts thickly involved with an intimidating creative theatre and emotive exploration. It gently nags and openly immerses the senses in a slightly corrosive but engaging proposal, everything about it a skilful and imaginative merger of contrasts. Rhythms are irritable yet rousing, melodies poetic against almost ravenous sonic atmospherics, and Chvasta’s beguiling voice the descriptive haven within a tempestuous climate and raw wind.

A mouth-watering post punk incitement opens up the rhythmically irresistible Drawing Down next; it continuing to make ripe appearances within the evocative landscape and post rock/ gloom-gaze heart of the third track. At times there are spices sparking thoughts of bands like Echo and The Bunnymen and The Birthday Party, other times a surge of invention hinting at a Godflesh or Palms, but all strands within the band’s captivating ingenuity linked by the ever impressing vocals and the tenaciously seducing rhythms.

Grave offers the darkest, dankest climate of the album so far, its atmosphere almost clinging to the senses as guitars and bass cast emotively picturesque lures serenaded by the rich expressive tones of Chvasta. As all tracks, it has thoughts off on their own creative tangent whilst embracing the narrative offered by voice and melodic intimation; a craft and success unsurprisingly found in the following Entwined too. Even with the riveting throaty grizzle of the bass, a flavour hard to get enough of within Fiber, the song has a warmer tone to its predecessors. It has an almost mystical air, especially through its sonic and melodic design, though again raw and erosive shadows lurk and crowd their magnetic insinuations for great volatility in another lingeringly memorable moment on the album.

Closing up with the heavy seductive oppression of Incendiary, a track rivalling Grave for strength of suffocating emotive intensity, Dead Register transfix and thrill with every twist and turn of Fiber. Though maybe not quite matching those before it for personal tastes, the final track epitomises the qualities and craft of the band whilst exciting the senses and imagination. Again contrasting textures and elements collude through a kaleidoscope of styles and sounds to create something unlike any other proposal heard in a long time and likely to be found again this year outside of the trio. Fiber is dark magic, emotional trespassing, and quite wonderful.

Fiber is released May 6th via AVR Records digitally and on CD and cassette @ https://deadregister.bandcamp.com/

https://www.facebook.com/deadregister

Pete RingMaster 06/05/2016

Copyright RingMaster: MyFreeCopyright

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Megascavenger – As Dystopia Beckons

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With good words heard about but sounds not yet an acquaintance, we had definite intrigue in our anticipation of the new album from Swedish death metal project Megascavenger. What we found within new album As Dystopia Beckons was one mouth-watering and unpredictable kaleidoscope of ferociously imaginative, ravenously confrontational, and venomously contagious extreme metal incitement.

The third album from the Rogga Johansson created project, descends on the senses with a creative animus of discontented sound, ruinous vocals, and an industrial seeded dissonance providing something which really is out of the ordinary. As with previous albums from guitarist/bassist/vocalist Johansson with drummer Brynjar Helgetun often alongside, As Dystopia Beckons sees the guest involvement of a host of members from major bands; Hail of Bullets, Entrails, and Bolt Thrower amongst many sharing their musicians. In many ways though, the stars of the proposition are the bold songwriting and spread of virulently invasive and varied flavours which merge with a tempest of corrosive death metal.

It all begins with Rotting Domain, a predatory stalking of the senses featuring Sven Gross of Fleshcrawl. Initially the track skirts around and prowls ears, shadowing the atmospheric visage of a dystopian landscape which emerges from within the sonic coaxing. Swiftly though, the listener is the target of hungry riffs and tenacious rhythms as an imposing portentous intent is shared by gutturally spewed vocals. It is a highly magnetic affair, especially with the stabbing beats and searing grooves which lay their claim to the imagination.

An industrial intrusiveness opens up the following assault of The Machine That Turns Humans Into Slop. From the carnal tones of bass to the swinging melodic grooves and voracious trespass of the rhythmic web, the song demands and receives eager attention. David Ingram (Hail of Bullets, Echelon, ex-Benediction, ex-Bolt Thrower) adds to the erosive persistence and infectious nagging of the song before Dead City with Jocke Svensson of Entrails involved, takes over. Straight away, the track stalks the senses with a cauldron of onerous sonic intrusiveness and thrash lined riffery. It is a drama which has the imagination swiftly locked in, physical attraction quickly lured by the industrial lined rapacity in sound and emotion that consumes ears. Though it does not quite find the same heights as the first pair of songs, it leaves enjoyment at a similarly feisty level before being eclipsed by As The Last Day Has Passed.

Already there has been a varied addition of textures and spices to songs, but the fourth is far bolder and subsequently even more attention grabbing. Teddy Möller (Loch Vostok, The Experiment No.Q, The Hidden) joins the pair in the lively catchiness and rampancy of the classic/ thrash metal fuelled track, his grizzled vocals a great union with Johansson’s throat shredding prowess. Like a mix of Fear Factory and Soilwork yet not, surprise is instantly replaced by pleasure for not only the gripping sounds but the bold ideation involved.

Things only seem to get braver and more hectic from hereon in; starting with The Hell That Is This World and its early-Pitchshifter/ Entombed like seductive massacre. The track is glorious, an uncompromising anthemic assault of brutal, groove entangled rock ‘n’ roll which again is built on numerous strains of addictive noise and tempestuous textures for one unique infestation of the passions. Kam Lee (ex-Massacre, ex-Mantas, Bone Gnawer, The Grotesquery) adds his prowess to the song and appears again in The Harrowing Of Hell, though before it, the death ‘n’ roll of Dead Rotting And Exposed scars and corrodes the senses whilst stirring up another industrial soaked stomp followed by the even more hellacious Steel Through Flesh Extravaganza with Adrie Kloosterwaard of Sinister in the mix, which uncages a contagion soaked storm of sonic cancer on the senses. Once more the best description for the thrilling violation is grievous rock ‘n’ roll, and again unbridled satisfaction is the reward.

The Harrowing Of Hell entwines gothic and extreme metal in an encounter which hints at bands like Sisters Of Mercy and Gene Love Jezebel as much as an Asphyx or a Godflesh. From a strong start, the album is at a new level around its middle with this transfixing encounter up there as its finest moment alongside The Hell That Is This World.

Completed by the prophetic sonic instrumental smog of its title track, As Dystopia Beckons leaves the senses wasted and imagination alive with emotions in total agreement. The album easily feeds a want for something individual and refreshing whilst stirring up the instincts for a barbarously invasive time, so can only be heartily recommended.

As Dystopia Beckons is out now via Selfmadegod Records @ http://selfmadegod.com/en/shop/item/12022

https://www.facebook.com/megascavenger

Pete RingMaster 02/03/2016.

Copyright RingMaster: MyFreeCopyright

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Noise-A-Tron – Vast Arcane

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There is a video going around and hitting news stations over strange unearthly noises invading ears and psyche from around the globe. Is it terrestrial bred, alien spawned, or the earth groaning? No one knows but I would suggest the cause just might originate from the practise rooms of US duo Noise-A-Tron, because their new instrumental EP Vast Arcane is a doom spawned confrontation casting similarly portentous and haunting roars of sonic disturbance and apocalyptic seduction. It is also seriously compelling, an irresistible experiment of drone fuelled noise rock which magnificently challenges and ignites everything from ears to imagination.

Noise-A-Tron consists of drummer Jason Bledsoe and his wife Lea on synths and bass. The seeds of the band began with Florida band Bullhead in which Indiana bred Jason played. They released two EPs and in 2000 recruited Michigan born Lea Rudko into the line-up. Previously she had played in experimental noise project Terror Organ, a two piece with Angel Corpse singer/bassist Pete Helmkamp. Early 2002 saw the demise of those bands and the beginning of The Human Echo which went on to release a couple of well-received albums and undertake several tours. In 2005 Jason and Lea married and four years later the end of the band was the springboard for the rising of Noise-A-Tron. The pair released a well-received self-titled EP in 2010, its impacting presence and invention continuing through Vast Arcane in the same heavy imposing way but exploring even darker ravenous realms of sound and emotional menace through an invasive sonic bleeding of noise. It is a ravaging trespass of the senses and emotions but at times equally as anthemic and seductively potent in its enterprise and temptation.

The release opens with Intro, the track as its title suggests setting up the oppressive and suffocating atmosphere of the release but featuring as an individual proposal in its own formidable right too. Keys spin a haunting ambience from its first breath, an emerging spatial atmosphere punctuated by heftily swung beats from Jason. The imagination is swiftly alive with ideas and adventures sparked by the piece, thick sonic bellows and slow laboured roars alone enough bait to dark cinematic flights of fancy.

Vast Arcane cover   Following track Six, all songs consecutively numbered, has a lighter air, well in relation to its predecessor, but one again permeating the senses with creeping shadows of sound and intent. The 8-string bass flirtation from Lea is as transfixing as her skills on keys, a fascinating tangle of textures mixed live whilst mesmerising ears and air with startling invention. The track as the album is contagiously meditative, every sonic yawn and piercing intrusion as hypnotic as it is fearsome, and often equipped with infectious virulence. Even in its caustic and harshly aired finale there is a gripping essence which simply enthrals. Like a sub note to the stark narrative of the track, the brief inescapable lure of Six Point Five takes over next, bass and drums a riotous anthem of epidemic agitation and addictive enterprise. It is a festival compared to the dark climate of the previous sounds but still only offering a menacing tone and enticement at its heart.

Seven slips back into a lumbering gait and intensive examination of noise and listener, though its gaping sonic voice and physical consumption wraps around another lively incitement of rhythms. There is vastness to the piece of sound, though courted by the more intimate touches of drums, an exploration of depths which from the EP artwork hint is celestial but can just as easily be a flight into the unknown depths of earth and sea, or the darkest inescapable nightmares of the mind.

The erosive invasive beauty of the track continues into the epic closer Eight, near on fourteen minutes of rhythmic provocation immersed in a bracing sonic swamp thick in noise and intensity but breath-taking in its ever evolving scenery. As in all tracks, the textures crafted and spun out to startling impact are beautifully layered, each element given a clarity which defies the overall sweltering climate of the increasingly dark and imposing but always seriously giving soundscape.

The quite brilliant Vast Arcane and indeed Noise-A-Tron themselves are not going to be for everyone, the intensity and raw essence of their sound a challenge too far for many, but if any mix of bands like Morkobot, Dope Body, Godflesh, or Sunn O))) sounds like a great appetiser then the Seattle pair have an extraordinary treat in store for you.

Vast Arcane is available now via Bleeding Light Records digitally @ http://bleedinglightrecords.bigcartel.com/product/noise-a-tron-vast-arcane-download and on limited to 250 black vinyl.

https://www.facebook.com/pages/Noise-A-Tron/164982910181009     https://twitter.com/noiseatron

RingMaster 29/04/2015

Copyright RingMaster: MyFreeCopyright

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Tactical Module – Before Crisis

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You can never tire of being impressed by the growth and almost visual evolution of certain artists and one who seems to inspire increasingly potent acclaim is Tactical Module, the one man project of Michael Davis. Across his last trio of incitements alone, the British musician/composer has magnetically enthralled and excited with his fusion of industrial metal, digital hardcore, and EBM. Each encounter has shown new and often dramatic steps in the growth of the band’s sound and songwriting and new EP Before Crisis is no exception. Arguably it is not a big step forward from the last album Into Exile but certainly there is an even greater balance and fluidity between the raw and confrontational side of the vocal and sonic ferocity and the melodic and infectiously vivacious elements which so contagiously mark out songs. Increasing maturity and experience comes with every release of an artist and certainly Before Crisis is embracing an impressing wave of it through Davis.

Forming Tactical Module in 2010 to unleash a creative freedom restrained by being in bands and to explore darker and more aggressive electronic music, the Poole hailing Davis was soon sculpting a handful of digital EPs and remixes to increasing attention. Inspired by bands such as Nine Inch Nails, Ministry, KMFDM, Godflesh, Gary Numan, Skinny Puppy, Killing Joke, and Depeche Mode, Davis made a potent breakthrough with the Dead Zone EP in 2012. It swiftly gripped appetites and a more serious spotlight upon release, marking out Tactical Module as an emerging force and talent. Both the feverishly grasped single Where Angels Rise and first album World Through My Sight in 2013 reinforced his growing reputation whilst the Resurrection EP that same year and its successor Into Exile early 2014, found Davis breaching new plateaus with striking experimentation and emotional voracity. Released as 2014 closed its eyes and evolved into the New Year, Before Crisis cements the stature of Tactical Module in Britain’s electronic underground scene whilst as mentioning earlier showing an even more honed and masterful resourcefulness to Davis’ creativity.

The instrumental Awaken sparks the imagination first, its slow dawning of rhythmic enticement an intrigue loaded lure before synths spin their emotive sonic web. There is a portentous air to10261995_786876598003130_5830102883858603546_n the opener and a prowl of dark shadows which bring a stark and threatening edge to the melodic charm of the piece. It is a magnetic lead into the EP and the following equally intimidating presence of Poison Within. Growing within a synth woven cage of gentler persuasion, the song eventually steps forward as an electro punk provocateur but an antagonist unafraid to employ the flavoursome melodies and sonic expression which coaxed in ears and appetite initially. As stormy in its disturbing quieter moments as in its open musical and vocal rages, the track ebbs and flows masterfully, waves of hostility feeding the appetite again and again within the equally imposing charm of the song.

Next the EP’s title track steps forward offering an immediate infectious shuffle of agitated rhythms under another brooding electronic sky. Davis as expected unleashes a cutting narrative with pleasing abrasing tones soon after whilst around him guitars add a caustic spice to the brighter revelry of the keys. It is a light to the song which as across all tracks, is held in check by the thick smog of angst and heavy shadows which fuel vocals and sounds alike. Here though it is given a longer leash which allows a diversity and tempting aural colour to have their just as potent say on the imagination, as repeated in the excellent To the Skies of Oblivion straight after. A song first found on the Resurrection EP, its bounds through ears and into the passions with a devilish tenacity and energy. It has an inescapable infectiousness which even aligned to the almost rabid furies in voice and menacing rewarding lulls which stalk the song never misses a step in its thrilling march.

The raw atmospheric opening of Assemble is an immediate temper to the previous devilry, its great stark and cold opening spreading an oppressive ambience which in turn courts an abrasion of hip hop spiced electro rock. Vocally too Davis briefly toys with a slither of rap enterprise to match the eventful adventure flirting within the invasive climate of the track’s electronic landscape. It is a slow burner in comparison to other tracks upon Before Crisis but emerges just as striking and enjoyable.

The final new song on the release is What Lies Beneath, another coming in from a distant pasture to embrace ears in drama and a blend of creative antagonism and melodic grandeur. Also a slower persuasion, the song is a compelling narrative of sound and emotion but just lacks the indefinable spark of earlier tracks and misses igniting the passions as successfully.

The EP is completed by a trio of remixes, the song Before Crisis being redefined by Ruinizer and Assemble receiving creative treatments from Cease2Xist and Dali, the latter of the three working the psyche with particular deftness and all offering captivating dimensions to the originals.

Tactical Module has again shown itself to be a bright and imposing spark in the UK electronic scene through Before Crisis. It is a release little to find an issue with, though just as an experiment we would like to see Davis being more adventure into his vocals ahead, and a tempest of invention fans will devour greedily.

Before Crisis is available now @ http://tacticalmodule.bandcamp.com/album/before-crisis

https://www.facebook.com/TacticalModule

RingMaster 07/01/2015

Copyright RingMaster: MyFreeCopyright

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

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Prowling the dark side of being: exploring the corners of Invertia with Dave Coppola

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An invasive corrosion of senses and emotions, Another Scheme of the Wicked from US band Invertia stands to the fore of psyche invading threats and violating seductions unleashed in 2014. The album is a virulently compelling incitement of senses and thoughts from a duo in guitarist/vocalist Dave Coppola and drummer/programmer Tim Winson who seem to instinctively press all the right buttons with their provocative sonic and primal explorations. With an appetite to find out more about the band and its dark depths, we had the pleasure to talk with Dave who helped us explore the new album, the creative union between the two, the art of remixes and plenty more…

Hello Dave and welcome to the site and thanks for agreeing to talk with us.

Thank you for the interview, my pleasure!

First of all can you tell us about how you both met?

We actually met thru a mutual friend.

Was there a musical connection right away and how long before thoughts of creating a band took hold?

We started working on songs right away. We basically just started tracking guitars to a beat. Those songs would eventually become Blasphemy Be My Name and Perpetual Alert from the first album. We didn’t think of it as a “band” at first. It was just a recording project that became a band! We never thought we would play live when we met, that’s for sure. It’s crazy when we think about how we started to where we have come; for example opening for Blood of Heroes with Bill Laswell, getting a remix done by Justin Broadrick from Godflesh, to putting out an album with Ohm Resistance. It’s unreal.

Did you have any specific intentions when working on your first songs or was it more of let’s play and see what evolves initially?

It was more let’s see what happens. I never thought Tim and I would still be doing this years later…I’m glad we are though.

Invertia2Though your sound seems to be tagged most often as industrial black metal we found it to be so much more and pleasingly impossible to tie down. What are the most predominate inspirations upon yourselves which you feel have spiced your writing etc.?

Thanks for the kind words! We have all kinds of inspirations whether it be bands, film, books etc. There are too many to name, especially between the two of us. I listen to a lot of metal like Mayhem and Burzum, and industrial as well, Godflesh and Ministry. Tim likes the Residents and Adam Ant. We both like the same bands like the Pixies and the Butthole Surfers. William S. Burroughs and George Carlin are huge influences as well. Also the film They Live by John Carpenter is having a huge influence on the new album which is currently underway. So that’s why we sound the way we do.

You have recently released Another Scheme of the Wicked, a captivating and intrusive hybrid of sound and enterprise. Did it in creation fulfil or your hopes and thoughts or has it evolved beyond even your expectations with its potency and might?

We did the best we could, we always do. That way no matter what anybody says about it we are still satisfied in the end. Albums are like Presidents, it takes time to see the mess you made!

It feels a much darker and more predatory encounter than your previous release, more dangerous one; does it feel like that to you and if so was that a deliberate aim from the start or an organic emergence?

I agree, it is much darker…It has a little more of a dynamic feel to it than the first one. I’m not saying it’s a dynamic album just more than the debut haha! We are fast and in your face the whole time with this album other than the remixes. When we were writing we didn’t sit down and plan it that way it just happened. I think that’s the way it goes for most artists, you never know what you’re going to get at the very beginning. It’s always a surprise at some point during the process.

How do the songs come together and evolve primarily between the pair of you?

Typically myself or Tim will write a beat, I’ll put the guitars and bass down and go from there. Tim will take the beat and make it into drum sections and the song will evolve over time. Songs can be like a photo, you have to capture the evolution at the right time or you’ll miss it.

Tell us about the intent and premise behind Another Scheme of the Wicked.

The intent was to put out a decent industrial metal record. The premise was to make it original and not your every day run of mill metal record. I think we achieved that if I may say so. The album got mixed reviews from the metal community. I knew it would, and at the end of the day I’m glad it did.

The five tracks come with another five remixes, each an interpretation of the previous quintet, was this planned from the first seeds of the release?

Not at all… That was pure luck with a sprinkle of dedication. If you would have told me this album would have those artists on it remixing our music, I would have laughed at you.invertiacoverofficial

In many ways the remixes are doppelgangers of the originals for us, though it is debateable which are the darkest and most frightening versions. Did you give free rein for the likes of Justin K. Broadrick and End.user in their take on your songs?

Absolutely…There was no way I was going to tell those guys what to do. There is no way I could have. You can’t tell Justin Broadrick or Kurt Gluck how to do their job, they just do, that’s why we chose them. That’s the element of surprise I enjoy in this art form I spoke of earlier.

It has to be admitted we have never been fans of remixes, or maybe just do not understand their function though those on Another Scheme of the Wicked have impacted far deeper than most others we have come across on our thoughts. What is it about them which inspires you and lent the idea to include them on the new release?

We are big Skinny Puppy fans and we always liked the way they remixed everything. So I guess it just comes down to demonstrating a different point of view thru a common theme. I always thought that was interesting. I think it gives an extra depth to the album when played in its entirety. The next album we may, if at all, do them separately. To be honest my thinking was it’s just cheaper for the people purchasing the album to not have to buy remixes. But this time around we will give them the choice.

I have to ask as it must happen to someone somewhere, how would you deal with a remix which you did not like and felt did not warrant a place or fitted on one of your releases?

Well, we would be pissed; we hope it would not come to that. That’s why we asked the artists we did, and of course they were very professional in sending us either a couple of versions or following up with us to make sure everything was cool.

Back to your songs; at times they seem to be alive as they ignite the imagination and emotions, feeling like they have hidden depths unrevealed to the listener. How intensively did you take sculpting and shaping the songs of the release?

We are very picky in studio. We have a simple chemistry, and it goes like this. If Tim doesn’t come out of his seat during playback of the initial arrangement, it’s not good enough and I’m back to the drawing board. That’s how I know it will ignite the imagination and emotion, because we can see it in ourselves. If it works for us it might work for the listener as well.

InvertiaWas it an on-going honing process until recording time?

Pretty much, mostly the guitars and arranging…We can bring in ideas on the spot with samples and bass parts.

How about the lyrical side of your music? Was that an intensive development and what inspires their breath predominantly?

The lyrics are inspired by just peoples wrong doing really…People’s hatred for one another and trying to get the last laugh on your own species. It’s a place I don’t like to go for too long a time. We would probably have more material if I frequented the place that inspires the lyrics more often, but it’s a creepy spot.

Tell us about the other projects you are both involved in, and were involved in a couple of the remixes on Another Scheme of the Wicked I believe?

I have another industrial project called TranZi3nT and Tim has another project call R3TRD. We use them as a break from Invertia.

What is next on the horizon of Invertia?

We just released a new single for download at http://invertia.bandcamp.com/ called Existence Exit. It won’t be on Amazon or ITunes as they called the cover “pornographic”. You can judge for yourselves.   We also a have a 7” single coming out called Forever Incision that will have a live version of Facility of the Feeble on it, which is the opening track of the debut album. That will be put out through our label Ohm Resistance, which you will be able to get at http://ohmresistance.bandcamp.com/ soon.   As for the new album we are hoping for late spring time. We are looking to play some more live shows as well. Hopefully 2015 will be a good year for Invertia!

Thanks again for chatting with us; any final thought you would like to leave us with?

Thanks Pete! It was a pleasure doing this interview, good luck to you!!!

Dave (INVERTIA)

Read the review of Another Scheme of the Wicked @ https://ringmasterreviewintroduces.wordpress.com/2014/04/10/invertia-another-scheme-of-the-wicked/

http://www.inv3rtia.com/

Pete RingMaster

The RingMaster Review 08/12/2015

Copyright RingMaster: MyFreeCopyright

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

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Strange Nocturnal – Best Of Strange Nocturnal

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Listening to the sounds of UK goth rock band Strange Nocturnal is like aurally exploring the pages of classic visual incitements like The Haunt of Fear, The Vault of Horror, Tales from the Crypt, and House of Mystery. As shown by their new release though, their sound and drama comes with a just as rich industrial, metal, and horror punk flavouring to produce dark tales with a voracious snarl and ferocity bred from the visceral climate of the modern world. A collection of tracks released between 2009 and 2011, Best Of Strange Nocturnal is a full adventure for the senses and imagination, and it gives ears a pretty good time too.

Strange Nocturnal is the brainchild and originally solo project of Cumbrian musician/composer/producer Strange Nocturnal. From 2011 the band become full line-up wise and swiftly unleashed their debut album Party With The Dead. A host of varied releases have haunted the psyche since, the acoustically driven Halloween Is Never Really Over, the cinematic and dark ambient instrumental exploits of Undead Decadence, and the abrasing exploration of Cumbrian Gothic some open examples of the diversity within the world of Strange Nocturnal. Released via Undead Artists, Best of… teases and seduces, haunts and violates senses and thoughts to provide a macabre blood strewn soundscape.

This Halloween starts the adventure off, its immediately sinister air drawing the listener into a melodically gothic embrace wrapped in lurking and menacing shadows. Extending its intimidating arms soon after, the track grows into a light exhausting stalking of the senses, its hungry presence at ease whether prowling or charging through ears. There is a Tim Burton meets Rob Zombie meets Godflesh feel to the track, its crunchy textures offset by the siren-esque tones of female crafted harmonies.

The captivating start is continued by There Are Ghouls and Ghost’s, a sample of Vincent Price the gateway into an infectious stroll which in turn builds into a fiery turbulence. The vocals of Strange Nocturnal as in the first and subsequent tracks, come clad in smoggy effect but with plenty of room for a variation to show its lures. White Zombie like in many ways but also holding a great essence of Fad Gadget to its bracing charm, the song swings with a rhythmic revelry which infects grooves and melodies. The increasingly contagious blaze is followed by the addictive stalking of Curse of the Werewolf. Again there is an infectious bait at the heart of the song which makes its rhythmic and spicy hooks irresistible whilst around them the air is tempestuous and coarsely hazy, a fuzzy causticity which at times also ignites the potent vocals. Thoughts of The Shanklin Freak Show emerge as the song radiates its temptation and proceeds to prowl with diversely flavoured mystical spicery.

The Undead March instantly has ears and emotions hooked next, its great repetitive striding the first lure in an addictive predation. Vocals are once more wrapped in an insidious effect but undiluted in the virulence of their lead to and part of the full seduction of the song. Holding a whiff of Ministry to its irrepressible persuasion, the track is ridiculously compelling, something the musty metallic tones of The Bitch Was a Witch cannot quite match but with its serpentine breath and smoggy textures, the song makes the most of its moment to tantalise ears. For personal tastes the vocals are over immersed in the oppressive intensity of the music, a small thing which could be raised a few times across the band’s sound in general, but it easily has appetite keen and ready for the next up Fancy Death Party. Fuelled with a great blues winery with southern rock kissed harmonica, the song is another with a devilish swagger to its gait and magnetic toxicity to its sound.

The dark crawl and insidious temptation of She’s My Graveyard Ghoul-Friend has the imagination walking a toxic romance whilst Without Your Head provides a deranged maelstrom of emotion and voices within industrial filtered gothic metal corrosiveness. Though neither lives up to the biggest pinnacles of the collection, each with an underlying catchiness and adventurous climate has ears and thoughts fully engaged before the tempestuous slow waltz of Party With the Dead takes over. The song is a temptress with mercury running through its veins and demonic elegance soaking every melody and harmony on a bed of dark rhythms and imposing intensity lorded over by Strange Nocturnal’s satanic vocals.

The album is completed by the rasping Luciferian tones of Loving You From Beyond This Grave, the track Poe-esque in its dark radiance and fiendish in its industrial/noise sculpted causticity, and lastly The Crow’s Are Calling. The closing track has a devilry and mischievous tempting to its frequently shifting enterprise, an enslaving devilment which could be described as Doctors of Madness and Zombina And The Skeletones being violated by the raw ferocity of Young Gods.

Though there are understandably favourites which stand out and an ebbing and flowing of potency across songs, all tracks across Best Of…provide an enthralling and dramatic glimpse into the creative tempest of Strange Nocturnal, band and artist. The thoroughly enjoyable album is inspired by the darkest corners and emotions with the potential and a black seduction which could ignite the brightest fires in the imagination or spark the worst rapacity in your nightmares.

Best Of Strange Nocturnal is available now via Undead Artists @ http://strangenocturnal.bandcamp.com/album/the-best-of-strange-nocturnal

https://www.facebook.com/thestrangenocturnalband

RingMaster 03/12/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

Machine Rox – Next Level

MR2

British industrial metallers Machine Rox has never been a slouch in stirring up ears and emotions with its fiery and rapacious energy and imagination, but the London quartet has found a new covetous creative tenacity to consume the senses with new album Next Level. As its title declares, the eleven track adventure sees the band rise to a new plateau in songwriting, sound, and sheer contagious enterprise. Not exactly a game changer but an encounter to set a fierce new blaze within the landscape of industrial and electro rock, Next Level is a gripping and feistily enjoyable rampage.

Originally formed by musician/songwriter Richard K as a solo project in 2007, Machine Rox has evolved into a full line-up consisting of guitarist Val Oproiu, drummer Nuj Farrow, and Aga on keys and vocals alongside vocalist/bassist/ programmer Richard K. Employing his experiences in bands like industrial metallers Meat Machine and Global Noise Attack, and in the sharing of stages with the likes of Rammstein, Napalm Death, and Covenant, Richard after some time away from music began exploring a merger of metal and electro rock in his band’s emerging sound. It is a journey which has intensified and grown with accompanying acclaim through releases such as the Activate Your Anger EP and debut album Shout, both in 2013. Last year also saw the release of the more metal infused Intox EP, a tasty hint of the exploits to be found on Next Level, though to be fair the band’s electro and industrial side is as vocal and potently evolved on the album.

The album flirts with ears straight away through the opening crystalline electro coaxing of Lost My Mind. The first track takes little time to flex its muscles and intensity though, sinew packed riffs and rhythmic teasing combining to challenge and ignite the senses as the vocals of Richard K similarly work on thoughts with his raw expression. The electronic lure of the track provides a contagious enterprise whilst the muscular strength of the song and the vocal bait adds anthemic essences, it all adding up to a riveting and impressive start.

The melodic Front Line Assembly meets Ghost In the Static feel of the song is replaced by the more caustic breath and ferocity of Love Explosion, KMFDM and Godflesh coming to mind though as with all songs the finished recipe is all a2738925395_2Machine Rox. The second track also unleashes an insatiable energy and charge to its pulsating persuasion, synths swirling feistily around the senses whilst guitars and beats cast a heavier and darker confrontation in the relentlessly infectious endeavour. With a glorious solo adding to the proposition, the song continues the outstanding start to the release and is immediately emulated by the heavy and catchy swing of Losers In Your Game. A Marilyn Manson-esque swagger fuels carnivorous riffs and eager rhythms whilst vocally Richard K prowls ears with a provocative narrative cast by his distinctive tones, the mix another slab of inescapable virulence.

Next Level is an album which holds a greater diversity than any Machine Rox release to date, the following warm mellow embrace of Electric Sun one example of the different sides to the character of the album. It is a melodic and seductive smouldering reminding of fellow Brits MiXE1, but also a song unafraid to spread a rawer climate across its sultry canvas; keys and guitars merging extremes for a heat wave of evocative and imaginative adventure.

Both Illusion and Cycle Complete keep body and emotions aflame, the first a bubbling yet bordering on corrosive devilry gaining swift enslavement of feet and imagination, whilst the second has a sinister edge to its imposing presence and electronic fascination. A throaty bass flavouring adds to the song’s drama, its weave of noir kissed shadows soaking the otherwise magnetically fiery track driven by vibrant electronics, heavy metallic riffery, and enticing vocals of Richard and Aga. Though neither song quite finds the plateau of their predecessors, both leave an already hungry appetite greedier before making way for the bewitching instrumental Last Kamikaze. Keys and guitars entwine with melodic beauty whilst the electronic atmosphere of the track provides a mesmeric soundscape for thoughts to drift into their own adventure through. There is also a sterner intimidation offered by slow but voracious riffery, again a blend which results in a stunning incitement for ears and emotions.

The aggressive yet welcoming presence of Breathe Again comes next, its striking metal seeded attack and rabid toxicity instantly contagious as a spice reminding of Gravity Kills and Die Krupps shows itself. Another scorching solo from Val Oproiu lights the exciting and scintillating tempest, its impressive offering contrasted and matched by My Own Religion as a resonating electro temptation swallows the senses to breed a similar weighty enticement as its predecessor. Only nailed to the floor feet could resist its enthralling call whilst the raw glaze to the vocals and the scything guitar invention gives the rest of the body a welcome work over. The two songs show another twist in the nature of the album but each slightly pales against the might of Mind Game. It is a thunderous provocation, rhythms and riffs the heaviest on the album and melodies the most acidic as it evolves into an irresistible almost savage stomp which leaves thoughts and lungs breathless.

The album closes with You Belong To Me, itself another slab of industrial metal loaded with creative voracity and uncompromising attitude within heavyweight infectiousness. It is a thrilling end to an enthralling and rigorously compelling album. Next Level is without doubt Machine Rox at their most potent and thrilling yet, the start of a new adventure which should push the band into a new and greedy industrial /electronic spotlight.

Next Level is available now @ http://machinerox.bandcamp.com/album/next-level

Be sure to catch Machine Rox at the DARK7 festival at The Electrowerkz, London on October 11th

www.machinerox

RingMaster 19/09/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/