Exorcism – World In Sin

CsabaZvekan_Reputation Radio/RingMaster Review

Following up last year’s highly enjoyable album I Am God, Exorcism unleash new EP World In Sin, an encounter in similar vein to its predecessor and sure to excite fans of artists like Black Sabbath and Dio as well as those with the appetite for a more modern take on their heavy metal. Five richly flavoursome and inventive tracks make up its presence and prove that the quality and adventure of the last album was no flash in the pan, nor the success the band had with it you suspect.

Exorcism is primarily vocalist Csaba Zvekan, a Serbian multi-instrumentalist who has a long list of potent bands and releases under his belt (Sardonyx, Killing Machine amongst them with latterly Metal Machine and Raven Lord also on-going projects). Forming Exorcism in 2006, he has recruited a host of talented musicians to bring his songs and music to ears within the 2014 full-length and now World In Sin, the likes of guitarist Joe Stump (Raven Lord, Holy Hell, Reign Of Terror), drummer Garry King (Joe Lynn Turner, Jeff Beck, Achillea), bassist Lucio Manca (Raven Lord, Solid Vision), and keyboardist Alex Wind amongst many adding their talent on the new offering.

World In Sin opens with its title track and immediately encases ears in melodic keys and vivacious riffs courted by firm rhythms. It is not a dramatic start but a quickly engaging one, especially once the distinctive and powerful vocals of Zvekan begin the track’s narrative. A great throaty bassline from Logan Christopher adds to the building drama, its lurking presence resonating bait alongside the inventive enterprise of Stump, rhythm guitarist Andy Drake, and Zvekan. Though the song does not quite ignite ears and emotions as potently as subsequent songs, it makes for a solid and enticing entrance to the release.

ExorcismWorldInSin_Reputation Radio/RingMaster Review   The following Black Day In Paradise has a similarly potent template and presence to it but also an additional drama which flirts through bass and guitars as vocals and keys colour their predation with a warmer invitation and adventure. Its elevated energy, compared to that of its predecessor, also adds a more anthemic feel to the song, setting up ears and appetite nicely for the EP’s best two tracks which start with Virtual Freedom. Instantly there is a darker more intimidating edge to the song, riffs and rhythms aggressively alluring as slithers of sonic acidity spear the tempestuous character of the encounter. Zvekan prowls the song, roaring with full throated skill throughout whilst Stump once more uncages a fiery intrigue of imagination through one blazing solo and spiky melodic tempting. The track is outstanding, invention and anthem tattooed on its creative predation.

Next is Sahara a song just as impressive and thrilling as the last. Its initial breeze and Eastern suggestiveness has the imagination instantly lit, a tantalising mystique colouring the opening caress before bass and guitars create a tapestry of infectious and descriptive endeavour. That hue continues through bass and melodies whilst the song’s solo is a sultry spice winding around the dance of drum beats. Though, as no fan of fade outs, the ending niggles, the song takes the listener on a new adventure within familiar terrain, its scenery crafted with brand new detail and colour.

The closing Black Star also has a dark and enthralling theatre to its character and sound, leading ears through a shadowy and intensive landscape of creative and vocal drama. It has a hard task matching up to the last couple of songs but holds its own with a rhythmic contagion and guitar sculpted, almost sinister, sonic tale that grips attention. With the dynamic vocals of Zvekan guiding thoughts, it is a fine end to another resourceful and highly pleasing encounter with Exorcism

World In Sin is available as a Limited Edition EP of 666 copies via Dream Records now @ http://www.exorcism13.com/exorcism-world-in-sin-limited-edition-ep/ with a digital release on all platforms on June 15th

http://www.exorcism13.com/    https://www.facebook.com/exorcismband/

RingMaster 03/06/2015

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Exorcism – I Am God

ExorcismBand1

Considering the people involved in heavy metallers Exorcism, it is no real surprise that debut album I Am God is an impressive blaze of highly skilled and riveting adventure. It is a fiery encounter with a collection of tracks which for the main bring the imagination and emotions intensive satisfaction whilst taking them on incendiary explorations. The only uncertainty is why band and album are being classed as doom/heavy metal as though there are melancholic themes, slow and dark inciting shadows, and weighty emotional textures at work within the release, its sound is dramatically heavy melodic metal.

Exorcism was formed in 2006 by Csaba Zvekan of Raven Lord and Zvekan with many of the tracks on the album written in that period by the vocalist. Originally set to be part of his solo album, the songs were set aside as the always busy Zvekan explored and emerged with other projects across the years. Resurrecting the tracks last year after his management company Rock’N Growl and Zyx Records/ GoldenCore Records took an interest in the songs, Zvekan has filled out Exorcism with the addition of guitarist Joe Stump (Raven Lord, Holy Hell, Reign Of Terror), bassist Lucio Manca (Raven Lord, Solid Vision), and drummer Garry King (Joe Lynn Turner, Jeff Beck, Achillea). It is a mighty line-up bringing their experiences rigorously to bear on the album.

The album needs mere seconds to impose its stature and potential on attention and senses, opener End Of Days stretching over the ExorcismIAmGodCoverlistener with stern rhythms and wiry melodic teasing whilst riffs and bass offer bestial textures to their sound which grips the imagination as much as the sonic enterprise. It is a potent and intriguing start increasing its suasion with the ever impressive vocals of Zvekan. As the track expands its narrative and shadows it is probably fair to say that you can concede the doom reference though it is more a spicy flavour than an imposing presence within the heavy metal consumption. In many ways the album is like the song, making strong and captivating first impressions but evolving into long term compelling triumph over time.

The guitar craft of Stump veins and flares within the track, repeating the act time and time again as proven by the following title track, its dark canvas a provocative wrap stalked by bass and rhythms and subsequently ignited by Stump’s prowess alongside the ever rich vocal flames of Zvekan. The track is a weightier proposition than the first, its gait a lumbering instigation but with the gritty vocals aligned to melodically driven keys and guitars, there is more of a thick stoner/grunge feel to the scenery. It is a powerfully satisfying track though not as potent as the previous track and the brilliant Voodoo Jesus which steps up next.

The song is a bewitching mix of rich styles, enslaving textures, and enthralling invention, easily the best track on the album. From its first second, grooves and sonic lures squirm through ears on the way to slipping right under the skin, their intent skirted by crisp rhythms and the again carnivorously toned bass. The bait and toxicity that Manca brews with his string plucking is pure addiction across the album, a definite highlight and here making an irresistible allurement. The track rumbles and twists like a demonic temptress; a metallic medusa with rippling riffs and sonic snakes mesmerising the imagination whilst that persistent warped groove and imposing hypnotic rhythms chain the passions tightly. It is a glorious slab of melodic metal with the sinews of a bear and poise of a robust gazelle, coloured by mouthwatering malevolence and demonic seduction.

The pair of Last Rock N Roll and Master Of Evil are given a hard task following such a triumph but both make a formidable attempt, the first with blustery sonic weaves clad in a pleasing acidity as rhythms and riffs ravage the air around them and the second with transfixing flirtation and muscular enticements. A shimmering glaze soaks ears first before the bass once again steals focus with its rapacious almost portentous appearance. Both aspects continue to coax potently as scarring riffs and the expressive tones of Zvekan explore the corners of the song. The unpredictable turns and avenues taken by the track greedily hold appetite and thoughts gripped but it is the bursts of ingenious invention which spear the song and the anthemic lure of the Zvekan which lights the fuse for a lustful devouring of the passions. It is another scintillating pinnacle upon the loftily peaked release taking the listener on an incredible journey through dark innovative climates.

In some ways the album never finds the same plateau again but certainly never leaves satisfaction and enjoyment looking for their next meals, though the song Exorcism admittedly does not stir up much more than approval when it steps up next. It is nicely crafted vocally and musically though but too deep into classic heavy metal for personal tastes. Things lift again with the blues kindled furnace of Higher as it roars and stomps eagerly, again a grunge essence joining the blazing melodic metal fuelled charge, before Stay In Hell merges a cinematically seeded wash of sinister yet elegant keys with enveloping emotive melodies and scorching sonic enterprise for an absorbing flight through climactic skies and a sultrily flamed emotional landscape.

The album comes to a close with firstly the vigorously smouldering and intensively heated Fade The Day before the old school metal surge that is Zero G brings a thrilling finale. Striding with heavy rabid Sabbath-esque rhythms and riffs the track simply cages the passions, inflaming their ardour with sonic exploits from Stump which send tingles down the spine and an imaginative adventure which reaffirms the aggressively inventive and exploratory realms the album continually offers. It is a breath-taking close to a raucously exciting release, though there are moments when you feel the band do not go far or often enough into the vat of ingenuity which sculpted the major moments of the album such as Voodoo Jesus. Nevertheless I Am God is a real treat and the marker which suggests Exorcism could be Csaba Zvekan’s most important project yet.

I Am God is available via GoldenCore Records/ZYX Music now!

http://www.exorcism13.com

9/10

RingMaster 25/04/2014

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