The Silverblack – The Grand Turmoil

TheSilverblack_RingMaster Review

Starting with a core blaze of industrial metal and twisting and stretching it thereon in by infusing a horde of rampant flavours, styles, and waves of imagination into its roar, Italian rockers The Silverblack have come up with one thoroughly enjoyable trespass of the senses in The Grand Turmoil. The band’s new album is a physical and creative holler of sounds, new and familiar, that captures the imagination and exhausts the breath across a volatile landscape, and though it might be pushing it to say that The Grand Turmoil is the best industrial metal incitement this year, it is firmly amongst the leaders in pure enjoyment.

The Torino hailing band is the brainchild of multi-instrumentalist and producer Alessio Nero Argento (NeroArgento, The Stranded) and vocalist Claudio Ravinale (Disarmonia Mundi, The Stranded, 5 Star Grave), the pair forming The Silverblack in the opening weeks of 2014. Live the band becomes a quintet with the addition of bassist Ivan King, drummer Rob Gaia, and keyboardist Nisha Sara, but for the album it is the founding duo exploring ears and their own invention alone with just a couple of guest solos for extra spice.

It opens with its title track, a stomping beast of a proposal with a sonically fetid atmosphere and pulsating electronic scenery crowding a stalking gait. It is immediately intensive and busy on the senses as the band springs a trap of agitated rhythms and great fiery and openly varied vocals, the raw emotive roars of Ravinale balanced skilfully by cleaner tones courting their confrontation from the background. With keys and guitars jostling for attention, each getting equal share as the track casts its maelstrom of adventure, the song makes a dramatic and heftily alluring start to The Grand Turmoil, though bigger and bolder things are on the horizon.

cover_RingMaster Review   The following Anymore with its vibrantly lighter breath and shadowy presence follows and if not one of the bolder tracks certainly whips up ears and appetite with its Dope meets Celldweller parade of electronic enterprise and vocal magnetism. It is not a song stretching the imagination or finding major originality but it does leave an energetic satisfaction and hunger behind which the outstanding King-Size Vandalism pounces on with virulent and ravenous prowess. Bursting in with robust rhythms and a joyfully warm melody, the song becomes a boisterous romp sizzling with the energetic tenacity of a Pendulum and grouchier lilt of a Combichrist, whilst vocally variety reaps a slight scent of Marilyn Mansion at times. The track quickly infects feet and emotions; it’s an electro rock anthem soon having the body bouncing as high as its own.

Retaliation comes next, its immediate heavy predacious gait a thick intent that defies the effort of the keys to lighten the ambience and mood. Nevertheless they shimmer and tempt engagingly as the song prowls through an early Rammstein leering towards an electro pop chorus. The band’s eagerness to venture into unpredictable turns and styles is a stirring quality in the album but for personal tastes not as potently impacting here with the track’s ‘nice’ pop essences, though it does not stop ears being more than content overall and ready to leap on the kaleidoscope of sound and light that is Make It Worth The Grime. Dirty and melodically glowing, the song is a great fusion of dark and light that loosely comes over like a meet up of Hanzel und Gretyl and KMFDM yet sculpts its own identity along its compelling length.

The fiercer tempest of As Good As Dead raises the levels of addictiveness next; its blended contrasts of emotive rapacity and antagonistic sounds with vocal harmonies and warm infection a perfectly crafted union whilst Attic Hime straight after quickly eclipses it. With a great vocal weave within a climate which at times is like a still warm melodic day and in other moments a blustery sonic wind that ebbs and flows to distort and enhance the drama of the song, it provides an ever evolving and constantly gripping parade of diverse sound. The track leaves ears on a lofty high; a plateau extended by the blistering examination of Pyromanservant, a track drawing on as broad a canvas of metal as it does electronic invention. Like Die Krupps, Powerman 5000, and Skinny Puppy blended, the song incites and engrosses as it takes top song honours within The Grand Turmoil.

The initial gentle shimmer of Great Expectations allows a catching of breath before it too uncages a dark and contagious theatre of emotion and enterprise, an angrier and bitter version of Gravity Kills coming to mind as yet another excellent and lingering encounter within the album exciting ears.

The release is brought to an end by firstly the pleasingly sonically thick and physically volatile Might Get Worse Before It Gets Better, a song brawling with the senses as it lays down its ultimately successful persuasion, and lastly Fragmentary Blue, the darkest, most melancholic offering on The Grand Turmoil and one of the most forcibly compelling even as its departure leaves a sense of unfinished business. It is a fine end to a richly enjoyable offering which as suggested has all the invention and adventure to be, for a great many, deeply entrenched amongst their favourite 2015 industrial releases.

The Grand Turmoil is out now via Sliptrick Records.

http://www.thesilverblack.eu/   https://www.facebook.com/thesilverblack/ https://twitter.com/silverblackband

Pete RingMaster 29/10/2105

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Devil-M – Revenge of the Antichrist

Band

A tale of torment and corrosive emotional shadows, Revenge of the Antichrist is a compelling concept album which ignites the imagination, pushes thoughts, and inflames ears. As much as those are always wants, at times the body also needs a stimulus to feed from and the new album from German industrial metallers Devil-M is packed to the rafters with rhythmic bait and hypnotic sonic incitement persuasion to pull limbs and torso into its imaginative devilry. At times a release which makes you draw rapid awe bred breath and in other moments a testing yet enthralling challenge which needs some work to embrace, Revenge of the Antichrist is a gripping and rigorously fascinating treat.

Devil-M is the brainchild of Max Meyer, the band emerging in 2006 as a solo project for the Schöningen hailing musician. Merging his interest in movie scores with pungent electronic diversity, the project was soon contributing soundtracks for independent movies like Die at Dawn. 2009 saw Meyer turn the proposition into a band format which was swiftly followed by a relatively well-received release of debut EP Willst Du sterben and a host of live shows with bands like Nachtblut. In 2011 first album Kannst Du sterben was unveiled to strong and positive responses, its success followed a year later by the uniting of the current line-up of guitarist Lars Everwien, bassist Lisa Hass, and Sonja Langenfeld on keys alongside Meyer. Shows with band such as Grausame Töchter, Centhron, Vlad in Tears, Angelspit, and FabrikC pushed the band’s presence and reputation further which Revenge of the Antichrist and its fiery blend of industrial metal and cinematic/theatrical endeavour can only reinforce and open a wider attentive spotlight upon Devil-M.

Drawing on inspirations like Lars von Trier’s movie Antichrist and Pink Floyd’s The Wall, Revenge of the Antichrist tells the dark story of Astharat, a man suffering schizophrenia who kills his wife, and his mental turmoil and descent. The album begins with the two parted Rising, both Unholy and Siddhartha Gautama within the seamless track uniting for a transfixing opening. Keys instantly craft an appealing lure which a potent rhythmic enticement accentuates before an ascent of dark harmonies and energy comes in to help build an imposing and intriguing wall of sound and coaxing. Moving into more antagonistic shadows, the track begins stalking the senses and prowling the imagination with raw riffs and threatening beats, guided by the equally caustic tones of Meyer. It is a trap impossible to resist entering; the melodic call of keys a deceitful welcome into the jaws of an intensive examination and corrosive landscape. Like a mix of Nine Inch Nails and God Destruction, the track is an irresistible doorway into the album’s musical and lyrical narrative.

The following Apokrypha soon rewards entry with an even stride of pulsating beats and crowding riffs within a climactic atmosphere of harsh electro squalls and acidic melodies. The song is a bruising and simultaneously seductive Albumcover - Revenge of the Antichristproposition, the varied guttural roar and clean vocals of Meyer a pleasing texture within the climactic air and inventive stroll of the song. The track is the coming out of the tale’s demonic character with sounds colouring thoughts and ideas as potently as the lyrical premise. Its impressive presence is matched by the clearer but no less menacing scenery of Astharat, the full emergence of the album’s protagonist adorned with celestial harmonies latched to predatory intent and textures. Again as with its predecessor, the often subtle and at times dramatic twists and turns makes for a riveting encounter though they are not as imposing as in the previous song or as addictive as in the next up Scrabbed Angel. Its initial electro teasing is a tempting which soon takes on a leering edge to its addictive beckoning. Once the rhythms are in open swing the virulently contagious instrumental provides an inescapable toxicity of turbulent intimidation and primal seduction.

From one pinnacle of the album another instantly steps forward to steal the soul. Rebirth is a rabid surge of charging rhythms and tenacious hooks, a nimble footed and heavily shadowed dance of evocative lures and destructive ingenuity honed into another powerful charm offensive crafted by the keys and the delicious backing tones of Langenfeld. Openly inspired by Marilyn Manson and blessed with a Hanzel und Gretyl like revelry, the track is a glorious incitement and pleasure, a success which in many ways the album never manages to match again.

From Birth To Death though is certainly a formidable successor and proposition, its initial repetitious nagging of whispered vocals rich bait behind which a raw blaze of guitar busies itself before erupting into a ferocious slice of metal seeded brawling with a thick air of early Pitchshifter and Prong against the swirling electro colouring of keys. The song is an unfussy and thrilling grazing on the senses, a voracious onslaught to bring another varied twist to the album as the lead character relentlessly spells out his presence.

There is a feel of the harsher side of Dope to the following Good Way Of Dying as well as a Numan-esque gothic resonance to the impressive track. It is another where the guitars take a slightly more prominent position and the song definitely blossoms from their caustic lead to offer something different again before the two parts of the title track envelope ears and thoughts. Pt.1 is a maelstrom of malevolent vocals, angelic melodies, and hypnotic persistence around the darkly serpentine psyche of Astharat with its viciously rasping temperament. Pt.2 is a briefer and clearer provocation from the album’s central figure, its uncompromised intent and less muggy atmosphere presenting a clarity which is as imposing and intimidating as the tempestuously spawned onslaughts.

Both the piano led Love Is Not Available with its appealing scuzzy touch and the bewitching Garden Of Eden leave thoughts and ears engrossed, though neither can live up to the earlier songs. Each does provide their own individual and rewarding dramas, the first of the pair an emotive reflection which shines with beauty within a more vociferous hazy breath. Its successor is fuelled by an infectious rhythmic resourcefulness within a meandering and magnetic caress of melodic keys and heaven spawned harmonies. It is an elegant instrumental unafraid to show its sores and blemishes and though as mentioned it cannot live up to earlier successes, it lingers to pleasing effect.

The wonderful I Am God has no such problems, its beauty and majesty creating another major highlight. With again the piano honing the song’s expression behind the enchanting unique tones of Langenfeld, the track is mesmeric and littered with gripping touches like the colder surfaced backing vocals of Meyer and the rustic electronic scattering which brings a real edge to the smouldering grace of the song. Its emotive grandeur is followed by the weighty intensity of the narrative’s closing chapter Harmful Scab. A short and imposingly potent press on the imagination, it makes a satisfying conclusion to the album’s story, though it still has a trio of remixes to offer, from Centhron, Blackest Light, and Grausame Töchter, all offering pleasing interpretations to a thoroughly impressive and enjoyable release which just gets better and more colourful with every listen.

Revenge of the Antichrist is available now @ http://devil-m.bandcamp.com/album/revenge-of-the-antichrist

http://www.devil-m.de/

8.5/10

RingMaster 26/08/2014

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/

 

Mono Inc. : Nimmermehr

     MONO INC._Bandfoto

     Nimmermehr sees German rockers Mono Inc. follow last year’s acclaimed and successful album After The War with another slab of expansive gothic rock that takes the listener on an eventful and thrilling ride of sound and adventure. It is an album which employs the essences of numerous eager styles and their dynamic devilry whilst creating a fun and ultimately pleasing romp of invention and imagination.

Formed around 2000-2001 by then drummer Martin Engler (moving to lead vocals in 2006), guitarist/vocalist Carl Fornia, and original vocalist Miky Mono, three musicians who had played together previously in  both Wild Thing and Mono 69, the Hamburg band soon built a strong reputation for their stadium rock type of gothic bred sound. Albums such as debut Head Under Water of 2003 and re-released a year later, Temple Of The Torn in 2007, and Pain, Love & Poetry the following year all earned the band strong attention and impressed responses. The previously mentioned After The War set the band upon another level of world awareness which the vibrant Nimmermehr (meaning Nevermore) will only cement. Released via NoCut Entertainment it is a collection of tracks which tease with unpredictability and persuade with open passion and distinct charm, the line-up of Engler and Fornia alongside bassist/vocalist Manuel Antoni, and drummer/vocalist Katha Mia creating a shadowed sun of melodic and atmospheric breath with darkly emotive and tantalisingly provocative enterprise.

Opening track Heile, Heile Segen instantly cups the ear in roaming keys and a romping bassline, guitars brewing a scratchy invitation MONO INC - Nimmermehr - Artworkwhilst the German sung vocals of Engler bask in the great electro embrace punctuated with a breath of elevated energy. It is an infectious stomp which seizes the senses from the first second and leads them into a potent dance of electro contagion and pop rock urgency guided irresistibly by not only the vocals of Engler but the teasing sultry tones of Mia alongside. Arguably there is nothing particularly new going on but when it sounds this good and enjoyable there is not issue to be raised, the song a great mix of Konstrust and Hanzel Und Gretyl.

The following Seligkeit continues the great start, its muscular electro pulses a potent incitement going hand in hand with the cracking beats of Mia which vein the magnetic weave and drama of the keys, they driven hard by the sinewy riffs which spark up in mini crescendos throughout. As in its predecessor the vocals are a warm hug within the sturdy presence of sound, the combination an incendiary call for the passions. Again as the first song and across plenty of the album, there is a familiarity at seductive work which whilst pointing to an absence of ground-breaking ingenuity going on undoubtedly makes an imaginative use of existing and diverse rich spices.

The excellent My Deal With God is an irresistible anthem for the passions, the surprising seemingly Irish lilt to chorus and even the vocals at that moment just scintillating whilst the dynamic weave of melodic and electronic sound with a gothic emotive embrace, are pure virulent infection. A plea to limbs, voice (luckily it is sung in English to enable a full persuasion), and energy, it is an early major highlight of the album but just one in many as shown by the following Kein Weg Zu Weit with its sultry air and ambience washing a stern rhythmic pulse and evocative guitar narrative. As in evidence now the ability of the band to create choruses which resonate and ridiculously tempt is almost regal, this song a slow evocative walk with refined elegant twists as contagious as the riotous devilment of the previous song.

Both the outstanding Euthanasia and its mighty equal The Clock Ticks On cast accomplished fusions of symphonic winds within gothic rock expanses, the first a bewitching chalice of glowing melodies and enriching imagination whilst the second is a heavyweight stomp bringing the intensity of a Rammstein into the pop suasion of an Ace Of Base or Propaganda. It is a riveting melodically fuelled waltz smouldering with eastern mystique and driven by insatiable revelry, and in league with the first and the melancholic beauty that is Alles Was Bleibtnergetic which splits them, makes for another stunning stretch of triumph Nimmermehr.

The great gravel kissed vocals of Engler marks the impressive sorrowful croon of A Better Way To Die next whilst the invitingly busy lures of Herzschlag and the impossibly contagious Days Like This leave the senses and passions exhausted but invigorated, The third of the trio is a stirring and galvanic blaze of rock and pop. Like a union between Bryan Adams and the more pop spiced era of The March Violets, and much better than that sounds, the song is a fire of glorious anthemic enticement, quite irresistible and totally enslaving.

Completed by the electro rock pop provocation of Ich Teile Dich Nicht and the decent enough piano and vocal led title track, Nimmermehr is a powerful treat which shows no mercy in its capturing of the imagination and emotions. It is one of those bait loaded releases which simply leaves you full and basking in deep satisfaction.

www.mono-inc.com

9/10

RingMaster 09/08/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

Machine Rox – Activate Your Anger

Machine Rox

© Alex Cooke Photography

After struggling to catch a breath after the riotous, energetic and overwhelmingly exhausting Activate Your Anger EP from UK industrial/electro band Machine Rox, you can only sit back with a satiated hungry appetite and contemplate basking immediately again in the feast of satisfying sounds. Like that favourite meal you may constantly choose in a restaurant, the release is a familiar and arguably unadventurous encounter for the palate, but one which brings the deepest and fullest senses ravaging pleasure.

Machine Rox began in 2007 as the solo project of Richard Kaltenhauser (aka Richard K), a member of industrial bands Meat Machine and Global Noise Attack (who supported the likes of Rammstein, Napalm Death, and Covenant). His ideas and sounds blended the potent essences of electro, industrial, and ebm with a corrosive metallic guitar bred attack for as subsequent releases show an impacting and incendiary brawl of a magnetic encounter. The arrival of Aga in 2010 on backing vocals and keyboards brought the project into a band stance with two years later joining Aga and Richard (electronics, vocals, guitars), drummer Nuj Farrow and guitarist Valerian Oproiu added their presence for the live aspect of the band. Since then Machine Rox has supported bands such as Leaetherstrip, V2A, and Deviant UK, and played numerous successful and acclaimed shows and festivals. Activate Your Anger follows a quartet of well received EPs which has increased their stature rapidly but with the new Static Distortion Label EP and its increased aggression, intensity, and contagious energy, expectations are of this being a trigger point to even greater awareness.

The London based band immediately coats the ear in a static cursed electro rub instantly joined by heavy caustic riffs, predatory 175430660-1beats, and burning sonics as opener Move Your Body (Until You Die) winds up its lethal dance. A thumping pulse driven rampage with devilment and rhythmic belligerence in tow is an easy persuasion especially with the dual vocals of Richard and Aga offering a devil and angel seduction. Whether from the acidic melodic venom of the guitar or the bewitching wantonness of the electro spotlights and their spearing shafts of warmth, the track is an unrelenting tempest which incites a full engagement and compliance to its irresistible call.

The following Night Riots is not just content to follow in the wake of its compelling predecessor without making its own contagious declaration on the ear which it does by initially provoking and caging the senses in commanding and synapse resonating throaty beats. Hitting the primal target which leads again to capitulation before the forceful and greedy energy as well as the infectious temptation beckoning and grinning from every note and corner of the track, the band without quite matching the potency of the first track holds the passions in its grasp and takes them on an invigorating irresistible ride.

Next Nothing steps up to offer a snarl to the release which reminds of Ghost In The Static, its bruising and scuzzy sound and intensive sinews the most imposing and threatening part of the EP. It like all the songs has hooks which deep root themselves in the listener for the most potent contagion though up against the following Where You Are still looks like a novice in that department. Taking centre stage with an instantaneous swagger and impossibly catchy lure, the new song is an intoxicating hypnotist with sparking crystalline seduction and an authoritative cogent rhythmic web which enslaves the senses and passions. Virulently infectious with a presence which is like Dead Or Alive meets Hanzel und Gretyl with Marilyn Manson and Angelspit in close attention, the track is electro manna for which there is no defence.

Bringing the release to an equally riveting and explosive conclusion is firstly Time To Survive, the track bringing back a thicker muscular wall of sound to further tease and exploit the now brewed ardour towards it with insidiously entrancing sonic enticement and ravenous heavy duty rapaciousness, and finally a remixed version of Next Nothing. Though Activate Your Anger does not offer anything dramatically new, it and Machine Rox unleash a tempestuous energy exploding experience which few recently have rivalled.

http://www.machinerox.com/

8.5/10

RingMaster 28/04/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com