Mason – Impervious

We are not going to kid you by saying that it is the most unique album you will embrace this year, though bold adventure it certainly does not lack, but you will have to go a long way to find something as seriously rousing and simply enjoyable as Impervious. The new album from Australian thrashers Mason, it surges through ears with rabid energy and unbridled aggression and proceeds to raise the ante groove by searing groove and hook by virulent hook.

Bursting from the Melbourne music scene in 2007, Mason openly embraces the Bay Area thrash scene and the obvious protagonists in the genre’s general eighties borne assault and consumption of world metal. A self-titled debut EP of 2011 was followed by the band’s first album two years later, Warhead which included guest guitarist Jeff Loomis (Arch Enemy, Nevermore) sparking far wider attention the way of the quartet. Its success was matched by that of second EP, Unmerciful last year and a live presence which over time has seen Mason share stages with the likes of Harlott, Havok, Accept, Revocation, Toxic Holocaust, Accept, Mutank, and Annihilator and play across Asia, Europe into Canada. Impervious looks and sounds like the key to the locks of the biggest spotlights and awareness, a tempest taking little time to get down to persuasive business.

The portentous lead of intro Eligos lures the listener straight into the waiting clutches of Burn. Within seconds it is careering through ears with predatory riffs and rhythms as vocalist/guitarist Jimmy Benson stirs things further with his eager snarls. Swiftly you can hear the touches of bands like Testament and Kreator in the song’s assault but only to enhance its oncoming and subsequently relentless irresistibility. Creative twists and turns come with a definite Mason identity to further entice and excite whilst the chorus amidst it all is manna for rock ‘n’ roll instincts. The track is superb, a rebel rousing, bone shaking treat setting the tone and adventure of things to come.

Tears of Tragedy is just as rapacious in energy and aggression next, the spiky tones of Benson as inspiring and tempting as his and fellow guitarist Grant Burns’ exploits. The rapier like swings of drummer Nonda T. and surly tones of Steve Montalto’s bass similarly stir spirit and appetite, their at times almost primal presence hungrily driving the sonic enterprise and assault of the song.  With fiery melodies and descriptive sonic weaves webbing the encounter, it is another stirring slice of full throttle thrash to match its predecessor.

Both tracks hint at an even bolder adventurousness and individuality in the Mason writing and imagination which is more pronounced within next up song, The Afterlife. It too has top gear in full use but wraps it in a melodic and technical prowess which is almost overwhelmed at times by the song’s ferocity but a constant impressive pleasure throughout. It too has a chorus which gets under the skin within one round of its anthemic call while pushing the album’s already lofty heights on again.

The album’s title track follows; its tone almost barbarous as it sizes up its victim before consuming the senses with ravenous riffs, biting rhythms, and sonic animosity, this all bound in a virulent contagion which infests the psyche with ease. Individual flair again is as open as the animosity within the song’s irresistible presence before Cross This Path descends like a pestilential horde upon the senses. Saliva and venom drips from Benson’s tones, violence from Nonda T swings as the track carnivorously chews on ears. It is a predation superbly tempered by the sonic dexterity of Burns and Benson, though every tendril spun and melody uncaged certainly sears the senses.

Sacrificed has plenty to live up to as successor to its mighty predecessor and with its sonic webbing and thunderous air gives it a potent shot if without quite making the last few steps. Nevertheless, the track captivates as it pushes evidence of an even bolder appetite unafraid to experiment imagination within the Mason sound and potential before Hellbent on Chaos savages and entices in equal measure. It too might lack the final sparks of earlier companions, such their heights and not its shortcomings, yet has body and spirit inescapably hooked on its creative scourge.

The album concludes with the apocalyptic mayhem of Created To Kill. With words unleashed in rapid fire to match the concentrated trespass of riffs and rhythms, the song devours the senses. The bass of Montalto is a murderous ingredient in the suggestive patterns of the guitar, its predacious intent as darkly inviting as the flying beats and rabid riffs are insatiable.

It is a stunning end to one outstanding encounter which will surely put Mason on the metal map with a forceful bang. The future of thrash metal is in good, old school inspired, but increasingly bolder and imaginative hands.

Impervious is available now

http://masonofficialmetal.com/    https://www.facebook.com/masonofficialband/    https://twitter.com/masonthrashband

Pete RingMaster 10/10/2017

Copyright RingMaster: MyFreeCopyright

Acrania – Fearless

Acrania Color Publicity #1_Reputation Radio/RingMaster Review

You would imagine it hard to be thrown off kilter and truly surprised within the broad landscape of metal nowadays, even in the avant-garde and experimental realms which blossom and scintillate from the unique creative minds of bands like Trepalium, 6:33, Pryapisme, and Hardcore Anal Hydrogen to name a few. One band which has and continues to through new album Fearless is Mexican death metallers Acrania. The release is a psychotic fusion of extreme metal and lyrical confrontation with virulent Latin rhythms, celebratory melodic revelry, and schizophrenic imagination. You could call it death jazz or funk core to make up tags, we call it one of the most exhilarating encounters you will hear this year.

Mexico City based Acrania began in 2006, taking their time to unite and hone their blend of Latin Jazz and Metal before releasing their first encounter, the In Peaceful Chaos EP the following year. Three years later debut album Unbreakable Fury was unleashed, its well-received presence supported by the band playing a mini tour in Germany with the support of The Wacken Foundation. Its 2012 successor stirred up even more attention and acclaim, An Uncertain Collision named Best Album Of The Year in the Kalani Metal Awards. From there Acrania has extensively toured around Mexico and Europe sharing stages with bands such as Diablo Swing Orchestra, Death To All, Exodus, The Agonist, The Faceless, Legion Of The Damned, and Havok along the way. Now Fearless has all the qualities to thrust the quartet into the broadest keenest spotlight, and the presence to inspire listeners to salsa and bomba whilst head banging like a dervish.

Fearless explodes from its first breath through People of the Blaze, the opener a tidal wave of rigorous rhythms aligned to a hypnotic groove. Its air is instantly and furiously busy as a sonic aggression surrounds it all whilst percussion get rowdy and the vocals of rhythms guitarist Luis F. Oropeza growl and squall over the concussive web of sound. Predictability is as absent in the band’s sound and song as dullness, a quick step into a temptation of throaty bass and spicy jazz seducing from Alberto Morales G. and César A. Gallegos respectively, a trigger for hips and feet to heavily flirt with the floor. At the same time a trespass of bruising rhythms and metal bred antagonism becomes the spark to testing neck muscles. It is a fascinating and bewitching incitement which never settles in one form or moment for more than a clutch of body moves before twisting in on itself all over again for a breath-taking maelstrom of addictive flavours and incendiary intent.

Cover_Reputation Radio/RingMaster Review     The excellent start continues through Poverty Is in the Soul, the beats of drummer J.C. Chavez S. a swift protagonist rifling through ears and stirring up an eager appetite. Its lively start slips into a reflective few seconds before challenging and inviting the listener through a slim but intimidating lead into the relentless fierce shuffle of its body. The sturdiest rhythms throw themselves around like a mosh pit whilst the more traditional percussive tempting just lights ears with exotic persuasion. The scythes of melodic and sonic enterprise from lead guitarist Gallegos equally spark the imagination, especially when they evolve into acidic strands of incitement alongside the same musician’s sax exploits.

Undoubtedly Fearless is a proposition needing numerous plays to explore all of its involved and finely entwined textures and corners, but equally it is an immediately impacting adventure sparking ears and energies as proven again by I Was Never Dead. The track is a bracing and hostile fury, though as much as it is fearsome it is irresistibly tempting as rhythms and sax stir up a hornets nest of lustful responses reinforced by another lively bass line and the spiralling invention of the guitars. The great rabid tones of Oropeza are the least adventurous aspect, his delivery pretty much the same raw assault on every track and for personal tastes and to be fussy lack the desired diversity to match the sounds, though to be honest it has no negative impact on songs at all. The malicious jazz of the song makes way for the funkier caustic escapade of Blinded by Power, it as expected a constant evolution slipping through ravenously aggressive, sublimely beauteous, and melodically charming climes in creating its progressive tango. It is a glorious adventure, a roller coaster of turbulence and melodic radiance before the punkish festivity of Overflow rouses ears and appetite into another seriously wanton greed, after which a respite for the body comes through the brief and evocative instrumental En el Puerto. Its quaint and nostalgic air slips into Hypocritical Conflict, an instant thick embrace of discord and raw intensity which brews and grows into a hellacious swamp of sound and agitation, though in turn that spins into a transfixing blaze of jagged jangly riffs and bass bait. Everything gets fiery and intense again before…well the changes and turns are numerous and a treat for all to find out in another major pinnacle of the album.

Man’s Search for Meaning starts with a hypnotic cacophony of percussive beats and a roaming dark bass line aligned to the potent narrative and tones of Oropeza. From there the song’s every second heads towards another seamlessly aligned and mixed collective of sounds, styles, and ingenuous ideation. As the album, the track is ripe with Latin tradition and flavours bound in a death metal breeding and malevolence, though it has to be said at no time within Fearless is there ever a moment when the suffering and oppression lyrically portrayed is matched by a similarly destructive musical assault.

Fearless is completed by Point of Collision, a final riveting tapestry of deranged imagination and experimentation which just grips ears and pleasure like a mix of System Of A Down meets Cynic meets Pryapisme. It is a final treat to an outstanding release, a triumph for those prepared to be challenged, at times bewildered, and ultimately thrilled. Acrania should definitely be a recognised world-wide presence after this.

The self-released Fearless is out now @ https://acraniaofficial.bandcamp.com/album/fearless

http://www.acrania.net/   https://www.facebook.com/acraniaofficial

RingMaster 19/06/2015

Copyright RingMaster: MyFreeCopyright

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