Godstone – Monument Of One

First impressions are not always the most accurate barometer to people and indeed bands but they can give a strong intimation when you are on to a good thing; a suggestion the debut EP from UK metallers Godstone strongly makes. Offering five tracks fuelled by a sound which is not maybe overly unique, the band’s music lying somewhere amongst the likes of Alter Bridge, Shinedown, and Stone Sour, Monument Of One hits the spot with individual enterprise and a rousing breath.

From the south west of England, Godstone linked up with John Cornfield to record their first EP and from its first moments, Monument Of One makes for one magnetic proposition with its tapestries of ear entwining grooves, imagination stoking melodies, and spirit rousing muscle.

Over the Line starts things off, the song immediately setting the scene for the release with its rapacious air, imposing touch, and create weave; a delicious groove bursting with zeal from the initial coaxing upon a swinging gait. Guitarists John Kenward and Alex Goodrich quickly have attention keen as the punchy beats of Matt Davy hungrily collude with the dark grumble of Matthew Pascoe’s bass. Once the strong tones of vocalist James McDonald rise to add further lures, nicely backed by the melodic throat of Kenward, the song is in control of ears and body whilst providing a familiar yet certainly fresh slice of metal incitement.

The following Tear It All Apart offers its own striking invitation, again a guitar making the creative beckoning before the band unites in an infectious rumble as imposing as it is magnetic. With wiry grooves and a compelling conspiracy of hooks and twists, the song soon has ears firmly locked in feeding on its cosmopolitan melodies and aggressive dynamics. As suggested earlier, there is something familiar about this and other songs yet it has a character and style to its roar which sets the band apart from most.

A gentle almost melancholic caress brings next up The Way You Are into view, McDonald soon joining the inference of guitar and sombre twang of bass. The track’s eruption into a fiery trespass is fluid and resourceful though the song still retains a leash on its aggressiveness which only enhances its temptation. Potent first time around and even more compelling by the listen, much as the EP itself, the song adds another firm hand on ears and pleasure before Breathe crafts another rich moment within the release with its grunge/groove metal natured roar. Predacious yet seductive as its body and sound reveals a mercurial nature the song makes a strong play for best track.

Swiftly showing its candidacy too is final song Full Circle, it also a composed yet raucous holler of metal and heavy rock woven with grooved enterprise and melodic dexterity. It provides a strong and indeed fine end to a release announcing Godstone a band attention is bound to be good friends with. Uniqueness may still be in the brewing stage in the band’s sound but the potential is there and with encounters like Monument Of One the wait should be rather enjoyable.

Monument Of One is out now across all digital platforms and @ https://godstone.bandcamp.com/album/monument-of-one

https://www.facebook.com/godstoneofficial/    https://twitter.com/godstone_uk

Pete RingMaster 16/04/2018

Copyright RingMaster: MyFreeCopyright

Nale – Death, Skulls, Satan

Driven by infection loaded scowls, hungrily rousing sounds, and rock ‘n’ roll roars, Death, Skulls, Satan is one of those encounters you not only want but need to set the day swinging. The second album from Swedish outfit Nale, it is a rowdily explosive, physically manipulative stomp echoing by all accounts the band’s renowned live energy and prowess.

Formed in 2007, Stockholm hailing Nale released their self-titled debut EP that first year with its successor, From Shit to Salvation uncaged two years later. Critical acclaim met the band’s first album in 2012, Ghost Road Blues recorded with producer Lawrence Mackrory (F.K.Ü, Darkane). The Zombieland EP since has only pushed their growing reputation as too a potent live presence which has seen the band playing the likes of the Getaway Rock Festival, Sabaton Open Air Festival, and Wacken Open Air as well as headlining their own tour in India. Death, Skulls, Satan is Nale’s fusion of rock and metal in full holler and at a whole new level of adventure and persuasion, one of those encounters you just cannot tuck away and move away from.

Slither kicks things off, immediately gnawing and inflaming the senses with its instinctive swing and prowl. Voracious rock and grooved metal unite, riffs harrying and rhythms biting as the track rips through ears. There is a great Static X essence to the Pantera meets King Hiss like song, more so from the vocal contagion of Mathias Blom and a flavouring which pursues the appetite across the multi-hued release. The track continued to writhe and trespass, quickly getting under the skin and thereon worming itself deeper by the second.

The excellent start is forcibly backed by the raw and concussive antics of Filth, the track a predacious confrontation crawling across the senses with ill-intent in its devilry. A touch of Devildriver lines the beast, the song almost leering and drooling over the listener with its nagging riffs and salacious grooves; guitarist Tomas Åkvik laying down sonic pheromones. Its primal temptation moves over for the blues lilted, stoner dusted Dead Man’s Song. As its predecessors, it is a web of grooved and rhythmic tenacity merging the familiar with wholly fresh imagination and invention. It did feel the least original proposition within the album yet it certainly emerged as one of the most captivating.

The album’s title track is contagion, feral rock ‘n’ roll as irritable as it is virulent with Blom a rascal ringleader to the inescapable rhythmic swing of drummer Anders Ljung and the snarling mischievous bassline of Johan Risberg. With Åkvik similarly whipping up spirit and imagination, the track is superb leaving the body breathless and spirit elevated ready for the heavy weighted arousal cast by Exit. Ljung pounds the senses like there is no tomorrow but with purpose and craft whilst Risberg’s bass growls with carnivorous intent. Riffs in turn match its antipathy as Blom crawls over the damage caused; the united proposition another fiercely catchy intrusion with a tinge of Powerman 5000.

Blues and muscle strung hard rock colour the following No Escape, it another adrenaline driven, inventively woven escapade while for fifty odd seconds Drive power drills into the senses with punk discontent and grooved metal toxicity. It is a glorious assault just far too short though its lack of length is more than compensated by the ear entangling, groove twisting seduction of The Black. Dark and sinister, the track writhes over the listener fingering every weak spot until submission like a flirtatious grim reaper.

Hell’s Wrath has the body back bouncing within seconds after, rhythms and grooves alone enough to spark eager participation with Smasher after leading the imagination into dark contemplation. The first just barrels through ears with its voracious rock ‘n’ roll whilst the second takes a more considered attack weaving an array of flavours into its tapestry of temptation.

Final track Pigs mixes both assaults, flying at the senses at times and stalking ears in between but all the time teasing and inflaming an appetite for bruising rock ‘n’ roll. It is a fiery conclusion to an album which ok maybe lacks true uniqueness at times but excites ears and ignites the spirit from start to finish.

Death, Skulls, Satan is out now via Black Lodge.

http://www.naleband.com/   https://www.facebook.com/naleofficial/   https://twitter.com/naleofficial/

Pete RingMaster 29/03/2018

Copyright RingMaster: MyFreeCopyright

Hampered – Asylum

Formed in 2013, French metallers Hampered have just uncaged their debut album and one attention grabbing beast it is. Maybe not the most unique in sound Asylum more than makes up for any familiarity with creative imagination and suggestive drama, attributes blossoming into one richly alluring and enjoyable proposal.

The Toulon quintet consists of vocalist Germinal “Germi” Leullier, guitarists Romain Sanchez and Guillaume Frendo, bassist Fares “Fafa” Petit, and drummer Stephane “Stef” Kokot, though upon Asylum Satanus is listed as swinging the rhythmic sticks. Nurtured in metalcore, their sound embraces an array of other flavours and metal bred textures in its roar and a first full length which takes a firm hold from its first breath.

Asylum is inspired by movies such as One Flew over the Cuckoo’s Nest and Shutter Island and relating a complex tale of a disillusioned hero finding himself plunged into the den of a psychiatric hospital, looking at “the grip of man by man, the mind on the body, for the conscience of our own freedom” where “the only “barriers” are the choices we make that make us believe we don’t have any

Opening with its French language spoken, scene setting Intro, the album soon has ears and appetite aroused as the following I’m Alive teases both with its opening initial sonic lure; rich bait soon spawning a rousing incitement of richly enticing grooves and rhythmic predation. Germi is soon in its midst with his similarly potent growls, captivation brewing by the second. The track mellows a touch as a great blend of his and Frendo’s calmer backing vocals collude but still retains its threatening character in sound and tone. Every hook and groove intensified the power and addictiveness of the track, each rhythmic swipe and grumble increasing its sonic paranoia superbly.

The excellent start only continues as The Project follows, its electronically hued entrance easily stirring keen attention before opening up into a rapacious almost carnivorous prowl. Metalcore meets groove metal as things intensify, many more strains of sound adding to the menace and imagination seizing trespass. Something akin to a fusion of Poison The Well, As I Lay Dying and Devildriver, the track gnaws and increasingly pleasures the senses, a success only escalating as the funkier throes of In My Jail tease and invade next. A beguiling web of styles and flavours, the track alone reveals the bold invention at the heart of Hampered and the expansive hunger in their sound which does not always get the chance to blossom as it might across the release. Here it is in full bloom, plaintive vocals and hungry sounds uniting in a ravenous assault of irritable yet severely infectious and predatory enterprise.

Stop That follows with a raw and cantankerous proposal but one just as adept at embracing melodic and harmonic twists as it questions and challenges while successor Conspiracy Theory launches a similarly choleric confrontation infused with citric melodic veins and driven by rhythmic rock ‘n’ roll. Both tracks hit the spot, the second especially sparking tenacious responses as the album continued to impress.

Through the bullish defiance of Each Other, where grooves just infest the psyche, and the raw emotional blaze of Avenge Your Memory, Hampered continue to explore their invention. Neither song quite matched the potency of those before them yet each created a tapestry of lyrical and musical drama which firmly held attention and richly satisfied before Blast (Bridge Refrain) entangled some tinges of heavy metal and strains of Avenged Sevenfold-esque catchiness into its lively swing. Again personal tastes were not quite as ignited as by the albums earlier tracks but were thickly involved in satisfaction from start to finish and especially in its great bedlamic finale.

Asylum concludes with The End, a track featuring Maxime Keller, vocalist with fellow countrymen Smash Hit Combo and Boars. The track is superb, a jungle of metal bred punk infused antagonism with tantalising melodic scenery bringing the album to a mighty close matching its tremendous start.

Asylum is a proposition which will inflame the passions of many and lure the attention of hordes more as it announces Hampered as another very promising and already rather striking proposition on the metal landscape.

Asylum is out now @ http://hampered.bigcartel.com/

https://www.facebook.com/hampered.official/

Pete RingMaster 21/03/2018

Copyright RingMaster: MyFreeCopyright

AdvenA – Realität

While the band set about writing their second album, a look at the debut full length from German metallers AdvenA does not go amiss, especially if like us you missed it upon its release a while back. Offering eleven slabs of progressive death metal with a craft and imagination unafraid to add other styles and flavours, Realität is a potent introduction to the Bad Griesbach in Bavaria hailing quintet. It is not overtly unique but has certain moments of real invention which made it stand out and an inescapable potential which made anticipation of its successor almost inevitable.

Formed in 2012 by Chris Kolias and Florian Havemann, the band’s initial instincts and sound was metalcore based but has evolved to embrace the progressive and more intensively weighted extreme metal textures as evidenced by Realität. With a line-up of vocalist Daniel Esterbauer, bassist Florian Gumpoldsberger, and drummer Dennis Stirner alongside guitarists Dominik Jagenteufel and Kolias, AdvenA nudged strong attention with the release of their first album, and is still doing so as we can attest to.

The album opens with its title track, wintery winds bringing in the scenic lures and stormy breath of Realität which soon entices the melodic coaxing of keys before fiercer more imposing textures descend with Esterbauer throat gravelled tones leading the way. In no time, the progressive imagination of the band is steering the roar, guitars weaving a tempting web as rhythms entice and pounce. It is a fascinating beginning which is as seductive as it is barbarous, unpredictability lending a weighty lure to the track’s  often familiar but boldly fresh textures,

The following Herztod immediately aligns melodic intrigue and suggestion with irritable intensity, guitars casting a magnetic drape around the bestial toned vocals as the song rises to its creative feet. Lyrically song and release has a conceptual theme but with each track sung in the band’s home language we cannot share their individual focus, yet it matters little as the sounds paint a potent enough tale as this and the following Lass es regnen! prove with their individual adventures. Whereas the first has a smouldering soundscape for the main, its successor has a far more volatile climate but one boiling with thrash nurtured intent around clean vocals, presumably provided by Jagenteufel, as well as Esterbauer’s enjoyably abrasive snarls.

Best track honours are seized by Splitter next, the rhythmic entrapment of Gumpoldsberger and Stirner inescapable from its opening strains and only intensified by the rolling attacks and belligerent grumble of drums and bass thereon in. Spice loaded grooves and a general rock ‘n’ roll swing only add to the track’s might with only the clean vocals for some reason and for once not quite connecting. Nevertheless it is a storming encounter which alone could have sparked an appetite for the band’s sound but is more than backed by the likes of Aurora and Phoenix. The first is an atmospheric tempting with alluringly portentous shadows around a rhythmic resonance, a union beguiling ears and imagination before its dark side rises up in invasive riffs and sonic trespass. That also brings a melodic and electronic enterprise which suggestive mystique setting up the adventurous rock ‘n’ roll of the second with the added attraction of female vocals and melody encased endeavours.

Am siebten Tag unleashes a blistering charge next, thrash and death instincts driving its cantankerous rock ‘n’ roll to mark another highlight within Realität before FFA matches its hellacious dexterity with its own senses withering, appetite stoking assault. Heavy metal tendrils vine the imposing roar, enticingly uniting with atmospheric winds and progressive intricacies; a stylish weave then emulated in its own individual way by Der Wille, electronic imagination lining and occasionally nurturing new twists in its design.

The album closes up with the two instrumentals in firstly the thought rousing, body firing rock ‘n’ roll of Alles was glänzt and lastly the melody rich and suggestive Wasser zu Wein. It too is a contender for best song, keys and guitars casting a beguiling tapestry of intimation and beauty with an underbelly of darker intent and volatility. Both tracks hit the spot whilst highlighting the music and creative prowess of AdvenA and though we might have questioned the success of having two instrumentals closing things up it works a treat.

Realität made a potent ear pleasing proposition from the first listen but it is an album which grows and impresses further by the listen. Ahead of its successor, it makes a timely gateway into the AdvenA sound for newcomers and a highly enjoyable reminder of their strengths and potential for all.

Realität is available now @ https://advena1.bandcamp.com/releases

https://www.advenaband.de/     https://www.facebook.com/officialadvena/   https://www.twitter.com/AdvenaBand

Pete RingMaster 21/03/2018

Copyright RingMaster: MyFreeCopyright

Animosity Kills – Severance

Pic: Tom Robert Wold

Well over two years ago, Norwegian outfit Animosity Kills stole attention with their first EP, Manipulative. It offered up a rousing mix of heavy and thrash metal, a fusion nurtured in the influence of bands such as Metallica, Iron Maiden, Pantera, and Testament but as fresh and bold as it was familiar. It was fuelled by inescapable potential and suggestion of bigger, bolder, and more individual things to come; a suggestion more than partly realised by the band’s debut album, Severance.

It is probably fair to say that the Bergen hailing quintet still has some way to go to find their truly unique sound and character but with releases like Severance there will be no irritation at the wait. The eight track release is a magnetic beast of a roar with songs which just glue to the memory as greedily as they do ears. Formed in 2013, Animosity Kills boasts a three-pronged guitar attack all geared to stir up the listener in body and spirit; an intent as forcibly and inventively matched by the band’s rhythmic enterprise. Manipulative was an ear catching introduction to Animosity Kills; Severance evidence of a band destined to be further widely embraced.

The album opens with Black Death, gently luring in the listener with an opening melody. It is soon backed by a towering wall of riff and rhythm, one still controlled but swiftly springing a ravenous charge of raw riffs and rhythmic biting. Its thrash instincts are to the fore, driving through ears as eagerly as the swinging incitement of drummer Eirik Nilsen and the brooding tone of lead vocalist Erik Lindelid’s bass. With an underlying rabidity to its charge and a predacious restraint to the invasive bait of guitarists Stephan Høgtun, Rupert Notøy Rødland, and Mats Bruland, the song tempts and teases in between ravaging the senses, promising more ferocity than it unleashes but benefitting in that manipulative suggestion.

It is a potent and enticing start Dead On Arrival continues with its bristling and irritable but fiercely infectious attack. Leading up to its virulent chorus, the song commands eager attention but grabs it like a puppeteer with a focal point which has neck muscles and fists as involved as vocal chords. Around that beast of a chorus, the guitars weave a web of enticement as rhythms again prowl and pounce with anthemic prowess, the track real evidence of the band’s growing and evolving sound whilst stirring up the senses and attitude with prime thrash volatility.

The following Lord Of Darkness looms over ears from its first breath, riffs and grooves colluding in thick enticement as rhythms firmly rap the senses beside Lindelid’s vocal growl. As it grows, the song twists and turns, the guitars weaving individual and united resourcefulness with almost lusty appetite as beats and bass continue to bring threat and intensity to the inescapably catchy challenge.

Its success is swiftly matched and eclipsed by that of Thermic Vision, a track which instantly gripped personal appetites with its snarling opening riffs and a gnarly carnivorous bassline to drool over. Captivating grooves entwine the dark intent and temptation, the rapacious edge to Lindelid’s vocals adding to the alluring menace of the song. Its thick thrash nurtured riffs are an equally predatory incursion aided by the thick slaps of Nilsen’s beats, it all together creating a track as sonically stylish as it is barbarously intrusive around a volatile heart.

The album’s title track is next, instantly pulling ears into its torrents of compelling riffery and pummelling rhythms with an addictive touch which seeps into the following Pantera scented prowl of voice and song. It is a predacious trespass broken by Metallica-esque twists and flames of metal varied rock ‘n’ roll, groove and alternative traits among many. With a mouth-watering hook which infests the psyche, the song grabs a thick urge of participation before Revolutionary Suicide saunters in with a feisty and imposing swagger. From its first breath it swings as it harries the senses, its contagious instincts complimented by a more composed but just as tempting exploration which leads to a mercurial passage of melodic and progressively scented enterprise.

The mighty Ballistic was a major treat on the band’s first EP and again hits the spot with its grooved entangled rock ‘n’ roll. With something of Grumpynators to its virulent swagger and ravenous swing, the track is a quickly addictive incitement which only escalates its individual lures and united contagion by the groove, rhythmic swipe, and vocal snarl.

Invictus completes the release, its opening riffs preying on ears and appetite with a predatory intent before taking it into its blossoming prowl of thrash discontent and heavy metal fire which in turn expands into melodically cast suggestion amid bolder adventure. Though the song did not grab as vigorously as others, its enjoyable individual endeavour suggests a sound already evolving with an imagination to really anticipate ahead.

Certainly Animosity Kills has a sound which is not the most unique but as Severance declares in a roar which leaves ears richly pleasured, it has freshness and potential which is only heading in one direction.

Severance is available now @ https://animositykills.bandcamp.com/album/severance

https://www.facebook.com/AnimosityKills/    https://twitter.com/AnimosityKills

Pete RingMaster 08/03/2018

Copyright RingMaster: MyFreeCopyright

Dark Hound – Dawning

Without a plaintive twang in sight, Dark Hound presents a new side to the assumed Nashville music scene though new album Dawning. Hear the Tennessee capital’s name and you automatically think country music in its glory but the ear grabbing quartet prove that its metal scene is in pretty good shape too.

Dawning is the band’s second album and sees them more than build on their well-received Oceans EP of 2015. That followed a self-titled debut full-length from a year earlier which itself sparked strong support across the local rock and metal scene. Formed in 2009, Dark Hound has persistently built and earned a potent reputation for themselves highlighted by Oceans and now set to be escalated by the Kaelin Tauxe/Dark Hound produced Dawning.

The band’s sound is a magnetic mix of flavours; heavy, alternative, and groove metal as prevalent as more progressive and voracious flavours. It is a blend which swiftly grabs attention within opener album Ashes of Your Worth. Instantly riffs ride the senses, the just as persuasive tones of vocalist/bassist ET Brown melodically surfing their tenacious waves. With grooves swiftly winding around ears as a grunge wash descends the track only tightens its grip, guitarists Evan Hensley and Preston Walls weaving a mesh of enterprise as crafty as it is imposing. The track is superb, taking little time to incite and inflame an appetite for stylish yet instinctively rapacious rock ‘n’ roll.

The ticking bomb of Josh Brown’s beats leads in the following Guilt Tripper, his bait accompanied by citric soaked grooves. The punk coated attack of ET’s voice soon joins the thrash spiced temptation, his bass invitingly throbbing as melodic hues infest voice and sound; the cycle repeating with greater endeavour as the track embraces fresh flavours each round. The song bears some of the inspirations to Dark Hound, essences of bands such as Megadeth, Iron Maiden, and more so Testament rising in its heavy metal exploits before making way for the equally infectious trespass of Carnival of Youth. ET’s seemingly calm tones again have an underlying snarl in their arsenal, it igniting with raw dexterity to match the fire of the sounds around him led by the rapier swings of Josh. Captivating from beginning to end, the track reminds of UK band Promethium a touch, the Dark Hound sound infusing their individual invention with more familiar ingredients to fine effect.

The opening whirl of guitar in The Answer had ears totally enthralled, its craft irresistible and continues to tempt across a song which to be honest otherwise did not make the same impact as its predecessors yet was the centre of attention in its increasingly enjoyable company before Crisis of Hope takes centre stage. It too makes a transfixing entrance, its hook fuelled lure Skids like and subsequently coring an emerging Jane’s Addiction-esque stroll. As the previous song, it was bit of a slow burner on ears though making a more than decent first impression, but grew minute by minute, listen by listen into another highly enjoyable encounter within Dawning if still missing the heights of the first trio.

Predacious in tone and sound Thrown to the Wolves quickly hits the spot next, the track almost crawling over the senses even with its eventual lively gait and nagging persistence while Stripped Away aligns acoustic flirtation and creative drama for its own gripping theatre. Considered and seductive, boisterous veering on rabid, the song is a carousel of adventure making a big statement for best song, both tracks in the running and matched all the way by the raucous yet harmonically teasing Balancing Act. Again recognisable flavours collude with strong surprises for a proposal which infested ears and appetite like an aural addiction.

Through the shadowed lined charge of The Jagged Edge pleasure was constant though certain moments did not connect with personal tastes as firmly as others, nothing though to dismiss the increasingly persuasive encounter over, while Thrashgasm delivered exactly what you would expect with its title with aggression and creative passion energy, the snarl of the bass and the ever energetic vocal incitement especially enjoyable.

The album concludes with Here Lies Truth and immediately trespasses ears with carnal riffs and teasingly salacious grooves. Again vocals simply draw involvement as guitars badger and conjure, rhythms imposing and driving song and spirit in fine style alongside as Dawning closes on another high

After the first couple of involvements we would have said Dark Hound had something worth checking out, numerous listens later it is a proposition which needs to be explored. This is a fine band in the making with an album we have found ourselves only getting greedier over.

Dawning is released digitally and on CD January 19th, available @ https://darkhound.bandcamp.com/album/dawning

https://www.dark-hound.com/    https://www.facebook.com/darkhoundband    https://twitter.com/darkhoundband

Pete RingMaster 19/01/2018

Copyright RingMaster: MyFreeCopyright

Arcaeon – Balance EP

Sometimes a debut comes along which sets you back on your heels and forcibly drags a declaration of “something special and its creators heading towards making a major impact”. British metallers Arcaeon has unveiled one of those moments with the Balance EP. It presents five tracks of the band’s striking sound, a fusion of melodic metalcore with groove, progressive, and technical metal. It is an equal mix of all living up to the EP’s title with even more to captivate ears and imagination with. Quite simply it is superb and from a band still to complete its first year which only adds to the excitement and anticipation of things ahead.

Hailing from Reading, the quintet has already earned keen plaudits from sharing stages with the likes of Devil Sold His Soul, The Voynich Code, and The Arusha Accord, and can expect a tide of more with the release of Balance which they are planning to support with a UK tour.

It opens with Endeavour, slipping in on a melodic shimmer flickering with crystalline melodies. Rhythms occasionally break the calm, laying intent for the following web of grooves and vocals growls to emulate. Already a nest of progressive and technical metal rapacity, the track envelops the raw throated throes of vocalist William Alex Young though in quick time he shows his dexterity in warm and melodic expression potently backed by the vocal harmonies of guitarist Sam Machin. In turn his and the enterprise of fellow guitarist Rhys Thomas weaves even greater drama and technical adventure, the track evolving by the twist and turn into a mouth-watering unpredictable treat.

It is an ear and imagination stirring start which still gets eclipsed by the following Fade. With predacious beats from Joe Farrell stalking an electric tease, the song is soon a jungle of grooves, melodic tendrils, and invasive rhythms led by the compelling groan of Eifion Sweet’s bass. The song’s initial growl mellows out as Young swings from his raw attack to warm emotions, melodic radiance twinkling within the heavier grooved netting. As with its predecessor, things barely settle for more than a few breaths before fresh turns are made, the individual craft of the band as gripping as their united mastery and exploration of their sound and songwriting. It is less of an examination than the previous track but still nurturing some moments of almost primal creative hunger before Mind’s Eye takes over twisting the senses.

The third track arrives on sonic mist, but soon enveloping ears in a web of thick wiry grooves as melodic crystals glitter. The beguiling landscape soon welcomes Young’s mellow touch which almost as quickly breeds grouchier textures; a move echoed in the ever mercurial flight of sound. With jazzier hues and caustic ferocity blossoming across its fascinating landscape, the track is a relentless temptation on its way towards the EP’s pinnacle, Dysaxis. The outstanding track leaps upon the senses from an industrial scented lead, vocals and riffs digging in their aggressive claws as grooves invades and rhythms badger. It is a metalcore bred insurgency which effortlessly dips into a siren-esque progressive detour, the track returning to its predatory intent with greater groove and alternative metal enterprise to the fore. Each following cycle brings a fresh shade of flavour and invention, and all nagging the senses and passion with an insatiable appetite.

Legacies completes the line-up, its melodic beauty a swift wash of endeavour matched by the warmth of vocals. Though less tempestuous than its companions and especially its predecessor, the track has a fire in its belly and a lingering rage on its lips which erupts to break the gossamer hued climate. Ensuring the EP ends on a matching high to its beginnings, the song epitomises the skilled almost majestic weave Arcaeon casts in each and every track.

Balance is a magnet for ears and pleasure, and quite easy to suggest the first outstanding steps of a band already walking the lips of special.

The Balance EP is released January 26th @ https://arcaeon.bandcamp.com/album/balance

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

Pete RingMaster 17/01/2018

Copyright RingMaster: MyFreeCopyright