Worselder – Paradigms Lost

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

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

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

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

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

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

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

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

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

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

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

Pete RingMaster 20/06/2017

Copyright RingMaster: MyFreeCopyright

Huntress – Starbound Beast

Huntress-Promo-1

Though not flawless, Spell Eater the debut album from US heavy metallers Huntress, made a strong impression, its potent sounds and in the face devilry receiving mixed responses but always sparking something. For us it bred a definite appetite for what was to follow, a keen hunger which new release Starbound Beast teases with, satisfies more often than not but also leaves a sense that maybe the album is resting on earlier laurels rather than forging its own unique and forward driving adventure. It is certainly an appetising and frequently thrilling collection of powerful multi-flavoured tracks but lacks the dramatic impact which its predecessor ultimately achieved.

The Californian band fronted by the always potently pleasing vocals of Jill Janus, a classically trained singer who toured Europe as a teenage opera starlet before moving onto performing with Dave Navarro in a project called Under the Covers, arrived with a wind of brewing excitement and recommendation with their first full length, the anticipation for that already seeded as the band signed with Napalm Records and helped intensely by first single Eight of Swords. Made up of guitarists Blake Meahl and Anthony Crocamo, bassist Ian Alden, and drummer Carl Wierzbicky, some of whom ex-members of Professor, Dark Black and Skeletonwitch, alongside Janus, Huntress it is fair to say split opinions with their debut and are sure to do the same with Starbound Beast. It is fair to say the band and release does everything you would wish for in a heavy metal release, its sound a constant blaze of barging rhythms, predatory riffs, and soaring stormy vocals drenched in passion, but throughout the additionally thrash, death and black metal spiced encounter something is missing or been allowed to escape which leaves the new album bringing up the rear to their first rampage into the world.

Produced by Zeuss (Shadows Fall, Hatebreed, Agnostic Front), Starbound Beast starts like a beast on heat, its opening full song 494_Huntresscoming after the brief chaotic tempest seared by the classical tones of Janus weaving harpy like harmonic toxicity across its sky, the instrumental Enter The Exosphere. The following Blood Sisters sets its dramatic walls from the start, flames of sonic taunting and melodic colour caging the attention whilst rhythms frame it all with deliberate prowling intent. Once secure in its entrapment the excellent vocals of Janus, with a husky growl to her tones, rides boldly on the cantering charge of eager riffs and probing drums jabs which then open melodic arms through the infectious chorus. Throughout there is a constant menace to vocals and sound which flares up and casts shadows over the rampant muscle clad energetic core. It is an excellent track which twists and turns through dark provocation and warm evocation, the perfect scenario for light and dark to wage physical debate within brewing thoughts and maelstrom courting imagination.

It sets a high standard and equally lofty hopes and expectations for the rest of the album which are immediately dented by the following I Want To Fuck You To Death. The song has already seemingly come under fire from many quarters and though we would argue that it is not as bad as many claim, in many ways it does not do the album any favours. Co-penned with Lemmy, the song has a power metal grandeur in intent and a rapacious hunger in certainly the breath and the delivery of the verses, but as the predictable and underwhelming chorus loses the established pull of the track it sounds like a weaker fish from another pond, not the devil spawn lake of Starbound Beast.

Destroy Your Life gets things back on track, its striking melodic and fevered guitar invention standing out as much as the fury that is Janus’ vocals. The solo within is a sizzling detour from the greed of the song, its flare and craft lighting up hot sceneries for the band to exploit with the returning vociferous appetite of the sound and intensity. It is another of the more prominent highlights which the title track, which to be honest took time to persuade but eventually did succeed especially with Janus at her potently sirenesque best, the thrash driven carnivorous Zenith, as well as the following tracks Oracle and Receiver all make very decent attempts in emulating. The second of these savages the senses with primal greed and air scorching intensity vocally and sonically to lift the album back to its highest plateaus whilst the others hold their own with inventive endeavour to undoubtedly leave strong pleasure.

Completed by the more than decent Spectra Spectral and the stirring Alpha Tauri, the album offers plenty to enthuse over and take enjoyment from, especially taking songs individually but Starbound Beast as whole does seem to lose an undefined something Spell Eater which had and feel like a lost opportunity. Despite that Huntress and album still secure a regular appearance on our playlist.

http://huntresskills.com/

7.5/10

RingMaster 28/06/2013

Copyright RingMaster: MyFreeCopyright

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Huntress: Spell Eater

Before a sound was really heard the buzz behind Californian metal band Huntress was beginning an avalanche like consumption, the coming of a new force in metal being shouted from the rooftops. Good and creative, if not forceful PR is essential for any band to gain attention but it is of course with the sounds where things accelerate or grind to a halt. Spell Eater is the debut album from Huntress following on from just one single and it without doubt declares that this really is a band going places and swiftly. The album is not striving to create new directions and sounds but simply staying true to its metal inspirations, it also will and has spawn divided and often vociferous opinions on the band, but it is impossible to ignore it. The band creates metal firmly veined with classic metal alongside melodic black and thrash metal plus extras all brought with modern thought and intent. Their music is an event, a show that you immerse within or not. It is not world changing or life altering but a show that leaves one satisfied and energised. It is like a musical version of Xena Warrior Princess, bold and in the face, at times over the top and occasionally verging on silly, but always brought with a great quality and drama plus most of all it is just great fun.

All attention and even band info is seemingly centred on front woman Jill Janus which is understandable though a little unfair on the fine musicianship and sounds from the rest of the band who include ex-members of Professor, Dark Black and Skeletonwitch. She is certainly the initial focus the band is gaining attention for, a force with a voice and style as striking as her appearance and demeanour. A classically trained singer who toured Europe as a teenage opera starlet, she has already marked her resume with things like performing with Dave Navarro in a project called Under the Covers, creating Felliniesque cabarets and parties, working as a club promoter, DJ, and appearing in Playboy, but Huntress is certainly her greatest triumph. The seeds of the band began really when she met LA underground metal band Professor in 2009, the moment things fell into place.

Two years on and Huntress sign with Napalm Records, with first single/video Eight of Swords being released just before. The beginning of this year saw the recording of Spell Eater and April 27th its release to what surely will be a great response either positively or negatively, for it is an album that will not simply creep in and out again, it is here to make a noise. Produced by Chris Rakestraw of Sunset Lodge Recording, the release is a rampant and salacious feast for the senses, an easy to get to know and impossible to forget slab of metal. It preys upon and stirs up the senses with the wicked mischievousness of a horny witch and the evil deviousness of a snake, all venomous intent and delicious temptation.

The album opens up on the title track and slicing melodic intrusions from guitarists Blake Meahl and Ian Alden which instantly grab attention before they join in a galloping assault through the ear alongside the strong muscular bass of Eric Harris and the combative rhythms of drummer Carl Wierzbicky. As this takes root Janus steps forward with her startling and impressive delivery and voice. Whether she strikes with elevated clean notes or her imposing and deeply pleasing coarse style she never misses the mark, her training and natural ability put to a full and riveting use.

The song itself is a strong opener without being anything notable but that is soon changed with the following Senicide and its following companions. The growling bass paces behind the expressive guitars adding a menace to the acidic creativity, whilst the eager riffs and commanding rhythms forge a mighty framework for the vocals to mesmerise and thrill within. The song as the album is confident and complimentary to all that produced it, the music allowed to shine as much as the vocals and all individual parts given open clarity without losing the tight group sound.

The album simply gets better and better as it winds its metallic charms around the senses. From the excellent Sleep And Death, where Janus soars the vocals skies whilst bringing a serpentine malevolence, through the slightly bestial Night Rape and the best track on the release Snow Witch, to the predatory Children, the album thrills and lights up the ear with accomplished sounds and ideas. It is not as mentioned groundbreaking stuff but it is damn infectious.

If you liked previous song Eight Of Swords, also on the album, you will love Spell Eater as that is arguably the least impressive song on the album. Huntress might be the beneficiaries of much hype but as the album proves they are not exactly proving it wrong.

RingMaster 23/04/2012

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