Crushing landscapes with US metallers Backblast

US outfit, Backblast, create a heavy metal roar embracing the flames of other styles and flavours. It is a proposition which is constantly growing and evolving as well as building on the success of the Manassas, VA hailing band’s well received debut EP, of 2015, The Area is Clear. We recently had the chance to get to the heart of the band with drummer Chris Tamberella, exploring its origins, growth, the band’s latest attention drawing release and more….

Can you first introduce the band and give us some background to how it all started?

We are a five piece metal band consisting of Dan Cunningham on vocals, Jake Ford on  lead guitar, Adam Pritcher on rhythm guitar and backup vocals, Wilsen Rivera on bass and myself, Chris Tamberella on drums. In 2015 Dan and I, along with original guitarist Marcos Eguia, began recording tracks in Dan’s basement. After 6 months of writing and recording, we decided to bring the studio to the stage.

Had you been involved in other bands before?

Wilsen has been in a number of projects including Kaemon, Bourne of Ash, Greythor, Pandora’s Box, Sanguinus and some solo work on Wilsen’s Sessions.  Dan was is a heavy metal band in Newport News, VA called Kaivol Motak who enjoyed local success.  Jake was in a band for a few years in high school and since has filled in periodically for the Miami based band Inferion.

What inspired the band name?

The majority of our band members are military veterans and have experienced the back blast of an RPG before.

Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

There was no specific sound that we targeted at first. We played what came naturally which was best described as rock. After recording The Area is Clear, we wanted to add more to our sound but didn’t know exactly what we were looking for. Enter Adam Pritcher and his heavy riffs and we were on our way to making metal songs. Since then we added Wilsen on bass which opened the doors for another evolution in the band with his ability and experience. The final piece to our sound is the addition of Jake Ford. Adding a lead guitar to our sound has provided more opportunities for growth and another evolution in our sound. With the addition of Jake we are steering in somewhat of a power and progressive metal sound. Who knows what we will create in the future.

Do the same things still drive the band when it was fresh-faced or have they evolved over time?

Our band has evolved in all aspects including what drives us now. As a band we want to push ourselves and churn out the best sound possible. That can only occur if we are all driven individually and as a unit. When we started in Dan’s basement we were messing around and seeing what came out. Right now we feel like the sky is the limit between the five of us and are excited for our next release and to continue bringing our brand of metal live on the east coast.

Has it been organic, especially the movement of sound or more the band deliberately wanting to try new things?

Everything that happens with our sound is organic and nothing is forced. We certainly want to try new things but we haven’t limited ourselves into what we are trying. If it feels right we move forward. If it’s clunky or not smooth than we move on to something else.

Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

With five guys in the band there are many different inspirations. We all share some of the same likes such as Black Sabbath, Dio, Lamb of God, Iced Earth but some of us like reggae, jazz, classical music, electronic music and more. For myself as a drummer I am inspired by Chris Adler of Lamb of God and Jimmy “The Rev” Sullivan of Avenged Sevenfold.

Is there a general process to the band’s songwriting? 

Most of our songs are based off guitar riffs. Sometimes that riff is structured before it comes into the band room or it may just be a small riff that starts with a jam session and grows into a full track.

And lyrically, where do you draw the inspirations?

Past experience, current political climate and what happens inside Dan’s head (which could be scary).

Would you give us some background to your latest release?

Our latest release is a four song concept EP, The Ringmaster. It revolves around an evil entity “The Ringmaster” who has pulled in all the outsiders of society and placed them under his spell. He lures with them with the promise of hope and acceptance but his true motive is to create an army of minions. After realizing their fate those who have come under his power rise up to fight back. In this story the good guys just might not win.

Give us some insight to the premise behind its songs.

The first song, The Ringmaster, tells the story of our protagonist and gives the listener a hint of his plan. Next is To the Grave which lets the newly acquired minions understand what is actually in store for them under the big top. The third track Uprising is when the battle begins. The minions have come together to throw down with “The Ringmaster” for an epic battle of good and evil. Our battle finally comes to a bloody finish with Bend the Knee. Who will be left standing?

Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

We are 100% ready to record each track when entering the studio. Studio time is a pricey endeavour and we don’t like to burn money. The blade is sharpened before we hit record.

Tell us about the live side to the band, presumably a favourite aspect of the band?

Our live shows are our bread and butter. I promise you will not be bored. At one point you could be two feet away from a slinging guitar or about have Dan singing in your face. Our shows require audience participation and I promise you won’t be able to resist joining in.

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods?

Our region has had a recent bump in the past year but it is an uphill battle. The underground metal scene has some very strong bands and personalities but the only way we grow is standing side by side. We are doing our part to make sure the scene keeps pushing.

How has the internet and social media impacted on the band to date? Do you see it as something destined to become a negative from a positive as the band grows and hopefully gets increasing success?

At this point social media is crucial for BackBlast and for all underground bands in any genre. On one hand social media gives any band exposure that would typically cost a ton of cash for free. On the other hand our music is free. There seems to be some formula for success through social media and we are still doing the math.

 Our big thanks for sharing time with us; anything you would like to add or reveal for the readers?

Right now you can grab a free copy of our EP, The Ringmaster, by going to our Facebook page. Give it a like, and shoot us a message to get your free download code!

Pete RingMaster 02/05/2018

Copyright RingMaster: MyFreeCopyright

Monte Pittman – Inverted Grasp of Balance

Pic stephanie-cabral

Pic stephanie-cabral

I wanted to make the heaviest and craziest music I ever have” is how Monte Pittman described one of the intents behind his new album, Inverted Grasp of Balance, going on to add, “I really feel that it’s an album that will grab you and demand your attention.

It is an aim which is powerfully realised and statement swiftly proven true by his fourth album, though he should have added the adjective ‘rousing’ in there somewhere too as the Metal Blade encounter certainly raises the spirit and energies with forceful potency. The successor to acclaimed predecessor The Power of Three, Inverted Grasp of Balance sees the ex-Prong guitarist and long-time collaborator and guitarist with Madonna narrow the diversity to his sound without losing its broad character, a move which has brought a fresh intensity and predacious heaviness to another fiercely contagious and anthemic proposal from him.

Beginning the writing and creation of Inverted Grasp of Balance almost from the minute the work with The Power of Three concluded, Pittman teamed up with drummer Richard Christy (Charred Walls Of The Damned, Iced Earth, Death) and bassist Billy Sheehan (Mr Big, David Lee Roth, Winery Dogs) to record the album with Jay Ruston (Anthrax, Steel Panther) handling production duties. From its first breath, the release launches itself at ears with an urgency and raw energy arguably not heard before in a Pittman offering, opener Panic Attack rising from a great sonic probing into a tempest of thrash fuelled rock ‘n’ roll. Pittman’s pick toys with guitar strings, creating an ensnaring web from the first seconds before both Christy and Sheehan collude in a fevered charge. Like Metallica meets Foo Fighters, the track romps and stomps, the trio creating a virulent tempest ensnared with the striking craft and imagination of Pittman’s grooves and splintered solos.

It is a mighty start which maybe even raises the ante in the following Arisen in Broad Daylight, certainly keeps the persuasion as intensive as the track excites and incites body and spirit. With moments of carnivorous personality, its powder keg of infectious energy and aggression simply infests the senses leaving the appetite greedy which successor Guilty Pleasure feeds further. Rising from the closing strains of the second track like a close cousin, the track is as grievously confrontational and irritable as it is an epidemic of punishing rhythms and bewitching guitar interplay, Pittman’s ever strong and galvanic vocals like a ringleader. With an excellent moment of predatory calm, the song makes a play for best track honours.

evolve_cover_RingMasterReviewThe Times Are Changing has a less menacing nature to its body next, but still weaves a network of sinister grooves and invasive rhythms to challenge the senses while Double Edged Sword entangles classic metal hues in its melody thick and magnetically volatile climate of sound and intensity with Sheehan’s bass a gloriously snarling and adventurous beast. Both tracks make a compelling persuasion with the brief Skids like hooks of the second a nice tempting touch around another fine wine of a solo before the haunting melodic seduction of the short guitar sculpted instrumental Cadabra allows a breath to be taken. It is a recovery quickly spent though as Pride Comes Before the Fall uncages its feisty prowl of cantankerous rock ‘n’ roll and even more impressively California devours the senses. Starting on a deliciously grumbling and inventive lure of bass, the track skirts ears, sizing them up with dark intent before sharing a half catchy and half raptorial proposal.

Through the ferocious virulence of Be Very Afraid and the drama soaked creative psychosis and tenebrous air of Obliterated, enjoyment of Inverted Grasp of Balance is firmly reinforced, the latter a muggy imagination inspiring instrumental after which Skeleton Key returns to a lighter and warmer landscape built on commanding rhythmic muscle and impassioned melodies and vocals.

Completed by New Blood Keeps Us Alive, a moment of melancholy spawned acoustic captivation which brews and explodes into a heart sharing roar, Inverted Grasp of Balance simply hits the spot. It might not be the most unique offering this year and is at its strongest in its first half but with the songwriting of Pittman its most rounded, his guitar craft exhilarating, and Christy and Sheehan matching in their individual invention, few releases will be as enjoyable in the short and long term than Inverted Grasp of Balance.

Inverted Grasp of Balance is out now via Metal Blade Records and through http://www.metalblade.com/us/releases/monte-pittman-inverted-grasp-of-balance/

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Pete RingMaster 29/09/2016

Copyright RingMaster: MyFreeCopyright

Meshiaak – Alliance Of Thieves

Meshiaak_RingMasterReview

Formed in Melbourne, Australia and unleashing a debut that stirs up the instincts and passions like the first temptress/tempter encountered by awakening youth, Meshiaak have announced themselves as one essential proposition for all thrash metal enthusiasts. Alliance Of Thieves is one of the most formidable, exhilarating, and accomplished introductions sure to be heard this year; arguably no surprise with its line-up consisting of 4ARM’s Danny Camilleri and Teramaze’s Dean Wells alongside bassist Nick Walker and drummer Jon Dette who lists Slayer, Anthrax, Testament, and Iced Earth in his notable exploits. Together they have swooped into the heart of thrash and given it a fresh injection of imagination and creative energy; not exactly breaking its boundaries but providing the genre and more with a new compelling character to get excited over.

Recorded at the Green Day owned Jingletown Recording Studios in Oakland, California and mixed by Jacob Hansen (Volbeat, Pretty Maids, Destruction, Anvil, Aramanthe, Epica, U.D.O., Primal Fear), Alliance Of Thieves ignites ears with opener Chronicles of the Dead. Initial rhythmic stabs and a drizzle of sonic enterprise coaxes the senses, both soon part of a thumping persuasion which swiftly has ears and appetite eagerly awake. The vocals of Camilleri quickly grip attention too with the backing roars of Wells just as potent, while together their guitar endeavours create a web of inventive infectiousness around the equally gripping rhythmic thrust of Dette and Walker. The track is superb, whether winding teasingly around ears or driving through them like a ravenous juggernaut simply triggering spirit and instincts.

The first track also shows the melodic prowess and suggestiveness of grooves that Meshiaak are also able to conjure, the song a tapestry of intrigue and unpredictable invention which continues in the following It Burns at Both Ends and across the whole of Alliance Of Thieves. Whereas its predecessor has essences of Machine Head meets Testament to it, the second track quickly shares Slayer-esque hues once the listener has drifted through exotic climes into another tide of Dette’s addictive rhythmic craft as rabid riffs crowd around Camilleri’s imposing and rousing vocals. Calm and intensely hungry, the song is a beguiling mix of contrasts and energy, matching the inescapable persuasion and intensive quality of the opener.

art_RingMasterReviewThe dark and sinister I Am Among You follows, its initial lure setting the emotional scene before the band toy with the imagination with a Fear Factory/Metallica like trespass of the soul. Predatory and often demonic but from start to finish commandingly seductive, the track manages to eclipse the might of those before it, setting a new plateau within the album in pleasure and imagination before Drowning, Fading, Falling floats in on orchestral melancholy. Soon the mountainous beats of Dette and another brooding bassline from Walker are courting the sonic weave of Wells, together crafting another encounter which skilfully merges raw intensity with melodic tempers. A slow burner in relation to the earlier tracks, it grows into an easy to get greedy over threat, each listen, as with the album, revealing new layers and nuances within its storm.

Through the harmonic and emotionally plaintive At the Edge of the World, a song as musically vast as its suggested landscape, and the sonically antagonistic Last Breath Taken, band and album simply taken a tighter grip on the passions; both songs in their individual way casting lava-esque melodies amidst thrash fuelled intrusive intensity, though the first of the two is a ‘gentler’ tempting and outshone a touch by its rawer successor. The pair in turn gets outdone by the brilliance of Maniacal. Again Metallica is an open flavouring yet once more a spice to something you can only out down as unique Meshiaak.

The album’s title track careers through ears straight after, every second a ravishing crescendo of sound and creative instincts leaving bliss and exhaustion in its lingering wake. There is a hint of Anthrax/Megadeth to the impossible to resist proposal, Dette alone makes the hellacious partnership between band and ears worthwhile but mightily matched by the whole of the quartet here and across Alliance of Thieves, song and album.

The album closes on the shadowy balladry of Death of an Anthem where sultry melodies and a smouldering climate surround the again impressive tones of Camilleri. Its air and emotion though becomes more volatile with every passing minute as the track bewitches and brings easily one of the year’s finest releases to a superb end. As suggested earlier, maybe we should not be surprised the quality of Alliance Of Thieves considering its creators but any hopes and expectations you might have had for the encounter will surely be blown away with swift results.

Alliance Of Thieves is out now via Mascot Records @ http://www.mascotlabelgroup.com/meshiaak-alliance-of-thieves-cd.html and most online stores.

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Pete RingMaster 24/08/2016

Copyright RingMaster: MyFreeCopyright

Blood Divisions – Self Titled

Blood Divisions _RingMaster Review

Blood Divisions, band and EP is the coming together of a host of metal’s talented for a two track encounter that without sending excitement into overload provides one very satisfying offering. The self-titled proposal will also see a portion of proceeds raised by sales donated to Rock & Rescue, a charity helmed by acclaimed producer Jay Ruston, as well as the Warren County Tennessee Humane Society; that alone is worth the investigation and offering of your cents and pennies.

Released via Metal Blade Records, the EP features two cover songs brought to life by the likes of, amongst many, Ralph Santola, Dave Austin, Greg Gall, Terry Butler, and Chris Jericho (full list below); the latter when recently talking about the project stating “BLOOD DIVISIONS is an all-star collection of some of the most talented musicians to ever come from the legendary southern Florida metal scene. Being a HUGE fan of all of these musicians and their legendary bands, especially Nasty Savage, when David Austin himself asked me to lay down the vocals, I responded immediately, ‘YES! What songs do you want me to sing and how many studded leather gauntlets can I wear?’ I’m so honored and proud to be a part of the project and very excited with the results. Trust me, it’s going to tear all of your fuckin’ heads off, in the best possible way!

First track is a cover of the Nasty Savage incitement The Morgue, a song which has ears and imagination fascinated from its opening breath of keys and sinister dark stringed portentousness. Drama oozes from every choral fanfare and melodically epic enticement as the song grows within ears, it soon settling into a dark chamber of string plucking craft and rhythmic predation lorded over by the distinctive tones of Jericho. Shadows continually come alive as the musical narrative evolves, enthralling ears and attention with only a slight slip of persuasion when the song opens into a more expected heavy metal stroll, though again twists and turns are part of the continuing adventure. There are times it feels like the track is trying to fit in as many of the individual skills of the line-up as it can within the nine minutes or so, and it’s fluidly reflects that a touch but nothing to defuse a thoroughly enjoyable and increasingly alluring encounter.

The second track is a take on the Scorpions classic Top of the Bill, another resourcefully solid version if one which did not take with personal tastes as potently. To be honest our preferences generally never include an appetite for heavy metal/seventies hard rock in their menu but nevertheless and as expected with the musicianship on offer, the track still persuades with a blaze of vocal and creative dexterity in an enjoyable stomp.

Whether Blood Divisions is a one off or something which may as a project evolve we will see, but whichever its EP is certainly worth a moment of your time whilst supporting worthy causes.

Blood Divisions features:

Chris Jericho – vocals

Dave Austin – guitars (Nasty Savage)

Ralph Santola – lead guitar (Death, Obituary, Testament, Iced Earth)

Terry Butler – bass (Obituary, Death, Denial Fiend, Massacre)

Greg Gall – drums (Six Feet Under)

Bill Owen – lead guitar (Purgatory)

John Mahoney – lead guitar (Fester)

Ben Meyer – lead guitar (Nasty Savage, Low Brow, Gardy Loo)

Blood Divisions is available now as a digital EP via Metal Blade Records

Pete RingMaster 31/08/2015

Iron riffs and heavy passions: Introducing Wölfrider Interview

Wölfrider

Hailing from Wrocław, Polish heavy metal band Wölfrider drew outside attention to match that at home with the release earlier this year of their self-titled debut EP via Goetic Records. Packed with four tracks which charge ears with tsunami like strength and sonic voracity, the release was a sign post to the broader emergence of the band. Grabbing the chance to find out more about the band we had the pleasure to chat with vocalist Rafał ‘Rambo’ Gębicki and drummer Bartek Dolewski.

Hi guys and thank you for talking with us.

Can you tell us about the beginnings of the band?

Rambo: The core of the band came out from previous project called Clairvoyant. Guys wanted to play something new under new name. This was the beginning of 2012 when I joined them. After a month of rehearsals we played the first show. A few months later with ready material we entered the studio to record our Wölfrider EP. Everything has happened in leaps and bounds.

You sculpt your songs with an energy and passion which recalls traditional heavy metal at its purest. What are the major inspirations to band and its members?

Rambo: Most of our influences come from Western Europe, Heavy Metal Gods like Running Wild, Grave Digger, Accept, Judas Priest, but you can hear also some of the ‘epic’ ones – Bathory, Manilla Road. Each of us draws from other sources, for example, it may be Iron Maiden, Exodus, Iced Earth and even Death.

What are the backgrounds and experiences Wölfrider members brings to the band?

Bartek: We’ve got quite big experience during our activity as Clairvoyant…lots of gigs, developing songwriting, improving process of managing a band, and so on. As we progress we started the new band with a blank card so to speak yet locked and loaded. Rambo comes from Deversor and he had lots of work to do, because his singing style and technique had to be changed to the new material. Since only vocalist changed we all knew each other very well and there were no surprises – just going further in music.

There is a great metal scene in Poland it seems from the outside but hard to find that wider recognition for bands there. How have you found it?

Bartek: Well you have to remember that most of metal musicians in Poland have normal regular jobs and it’s hard to focus on your job, paying attention to your musicianship, and any promotional actions at once. So you have to have really organised way of doing your things. The second important factor is of course money. And currency exchange. If someone wants to be recognised outside his/hers country most probably has to pay for publishers – in Euro, USD or GBP. That could be very expensive due to rate of exchange and that money could be spent on something else for band, like a good audio equipment to practice better etc.

Tell us about your debut EP which recently came out via Goetic Records.Wölfrider2

Rambo: Okay, so long story short. We recorded, mixed and mastered our EP in DIY style. Later on some kind of distribution was needed and we mailed to couple of indie record labels (major ones didn’t give a fuck about us). Goetic Records from Canada owned and ruled with pride by awesome guy – Kosta Bayss – he helped us with promotion and digital distribution. I guess we are the only one non-black metal band over there but it’s not a big deal for us – it’s more like an underground family. Back in the day – yeah, a couple of months ago, fucking ancient times – Goetic Records had nothing to do with releasing physical CDs due to some limitations. Now Kosta can sell his bands like a boss over the Internet on classic CD packs, you have to check it out.

Though all track stand out Hearts of Iron steals its extra share of the glory for us. Give us some background to the song.

Rambo: Our music mastermind – Kamil – is a huge fan of strategy PC games so guess where the name comes from. You can Google it. This one particular song was written by him, we just got music sheet, changed almost nothing at all – somehow it started to have its drive and vibe. Most of our stuff is done after many trials and errors on rehearsal room. Not this one. Maybe we shoot jackpot with Hearts of Iron.

Does the EP sum up your sound or are there already new surprises waiting to be unleashed in your next release?

Rambo: EP is just an introduction to Wölfrider’s realm. In the next album we’ll include a couple of licks for fans, not exactly new material – you can hear it already at gigs. First of all – we got our sound tuned way lower than typical Heavy Metal band…mostly due to Deceiver Of The Gods by Amon Amarth. So that’s quite unique for our type of music – tuning in B-Standard is common among extreme metal bands. On the other hand my singing style has changed – it’s much more modulated. Some ideas have to be re-visited and full album release needs more brainstorming but don’t worry, it’s gonna be shitting thunders and blasting metal – pure heavy as Polish vodka. You know, we are trying to be as honest in our music as possible. We have nothing to lose anyway.

What is the live scene like for you and metal in general in Poland?

Bartek: I think it’s about the other countries. There are really few people from seriously pro bands signed to major record labels that are making living from the metal music. Average, casual guys like us have to be as much accountants as musicians to make everything works. About metal scene in Poland? I may be wrong and controversial but I think that extreme metal bands and thrash metal guys have way more attention. Lots of independent indie record labels are interested in death/black metal bands and looks like there are more shows for that kind of metal. And thrash metal has its own renaissance – but it’s just mine opinion based on my observations. Hopefully most of metal heads aren’t strictly bounded to one kind of metal and you can see Cannibal Corpse fans at some classic heavy metal gig.

There is roar and power to the EP which suggests the songs live are real wall shakers. On stage is where the real magic happens for the band?

Wölfrider3Bartek: First of all thank you for really cool opinion about our music. It’s always pleasure to have that kind of description about the EP, this is what we intended you and other fans to feel.

We try to do our best on stage and work on our presence as much as on technical and musician skills. We play for quite a time and definitely can hear and feel band mates playing, correct something messed up – you know – and just have great time showing people that we love to play metal and have fun on stage. We work really hard to not just be another boring band with bunch of dudes that’s stay the entire show in one spot and not even look at the audience. Metal used to be – and still is – about aggression and playing loud. Most of all about raw energy, this is the root, the foundation of rock ’n’ roll music. If there is no Ultimate Power Armageddon on stage (in positive way) then you’re doing it wrong, son.

What is coming up for Wölfrider in 2015 and from you for fans?

Rambo: We plan to play as many shows as possible. Your band cannot be real and serious without gigging for real fans – world is not limited to Internet. We have booked a couple of events related to “tribute to Bathory” since we are huge Quorthon fans. More details should be soon. That’s about performing live. We would love to present just a little sneak-peak of our upcoming full album by releasing a single – maybe along with video clip. That would be a real killin’ teaser that will show just a little the way that we’re heading with our music.

Once again thanks for the interview, anything you would like to add?

Bartek: Yeah, whoring for views, subscriptions and likes on social media websites. Check us out on:

Facebook: https://www.facebook.com/wolfrider.band

YouTube: https://www.youtube.com/user/wolfriderofficial

Bandcamp: https://wolfriderband.bandcamp.com/

Goetic Records: http://www.goeticrecords.com/

I want to add that we know that there are bunch of our fans outside Poland, even outside Europe. For those people and many others we have an idea to live stream our gigs on YouTube or other platform – so please, wait for news!

Pete RingMaster

The RingMaster Review 15/12/2014

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Acheron – Kult des Hasses

ACHERON band photo

     A more than decent time has passed since the last release from US blackened death metallers Acheron, album The Final Conflict: Last Days Of God; a time which also saw the band temporarily come to a stop in 2010. Now well over twenty years since unleashing the musical malevolence they have become renowned for, the band uncages their newest tempest, Kult des Hasses. Released via Listenable Records, the ten track sonic pestilence is a masterful and creatively insidious plunge into the darkest ravenous creativity of the band and possibly it’s most expressively hungry yet.

    Calling the band’s sound blackened death metal has always been missing the flavoursome toxic essences from thrash, doom, and heavy metal which lick and lethally spice their releases and Kult des Hasses is no different. The album seduces, suffocates, and consumes with riffing caught in a wide net of influences, a rhythmic provocation which leaves an array of bruising wounds, and a melodically honed sonic adventure which fuses a plethora of styles. Adventure is a good description of the release, one dragging the blackest malevolent and vitriolic depths with lyrical provocations casting the band’s distinct views over themes such as the occult, misanthropy, and sexual perversion, their extreme Satanic/Anti-religious corrosiveness never far from the surface either. We will be the first to admit that a full awareness of all their older sonic expulsions is lacking but taking Kult Des Hasses alone, Acheron has set standards which emerging bands should want to aspire to.

    Over the years band founder vocalist/bassist Vincent Crowley has played with current and former members of bands such as ACHERON-COVER-hiresMorbid Angel, Death, Iced Earth, Angel Corpse, Immolation, Dimmu Borgir, Nocturnus, Incantation, Equinox, Estuary, and Sathanas within Acheron, and the new album provides no less inspiring names alongside the trio of himself, guitarist Art Taylor, and drummer Kyle Severn. Joining the trio on the recording there is guest lead guitarist Ricktor Ravensbruck (Wolfpack 44, Electric Hellfire Club , Wolfen Society) as well as numerous vocal guesting from the likes of Kam Lee (Ex-Massacre, The Grotesquery, Bone Gnawer), Jim Lippucci (Soulless), John McEntee (Incantation/Funerus), Jill McEntee (Funerus), Zdenka Prado (Estuary),and Ash Thomas (Estuary/Faithxtractor). Mastered by Dan Swano, the album is a tide of invention and imagination, all tracks forcibly intrusive and persistently contagious in which ever guise they come in.

     Opener Daemonum Lux wastes no time making a gentle acquaintance, riffs instantly rummaging through the ears from its first second and rhythms splitting their insistence with firm and determined, if restrained swipes. Almost eight minutes of constantly evolving enticement, the song alone tells you all you need to know about the sonic sculpting and imagination available to the band in their arsenal. Themed around the infamous encounter Aleister Crowley had with the demonic entity known as Choronzon, the song leads thoughts and senses on an exhaustive spiral of undiluted voracious enterprise, twisting with every minute through virally melodic temptation and voracious contagion. It has to be said, and applies to the album itself, for such a dark and pestilential offering the swagger and catchiness of the offering is surprising and irresistible.

     From the lengthy intensive start the band through the following Satan Holds Dominion and Raptured To Divine Perversion refuses to remove its foot from the throttle of the urgency which marked the opener, instead aligned to the forceful creative fire racks it up a notch in the case of the first song and merges it with an acidic heavy metal suasion for the second. Both tracks trample through the ears with sinews bulging and a predacious appetite to provoke and challenge lyrically and musically. Their thrilling onslaughts are matched by the equally voracious Jesus Wept (Again And Again), a provocations about twisted visions of torturing Christ within nightly dreams-states. Like those before, the song riles the imagination and ignites the passions with an intensive presentation of skilled and dramatically breathing endeavour, every twist drawing emotions and thoughts deeper into its clutches.

    After the predatory Thy Father Suicide, the album hits its highest elevation through Misanthropic Race and Whores And Harlots. The first of the pair is sonic and rhythmic savagery let loose, but within a torrent of spiteful craft and ingenuity which simply manipulates and seduces the passions and imagination. Guitars weave and entwine their melodic ingenuity amongst the merciless riffery whilst the bass prowls and assaults the psyche from within the enslaving rhythmic bait, which again tempts with ridiculously easy success. Its companion is an infiltration of sexual wantonness through a barrage of energy and sound which is just as salacious and virulently addictive. Lashing the senses into willing submission and chaining emotions into an appetite which greedily devours the virulent display of unbridled guitar debauchery, the track is masterful in demand and reward.

      Asphyxiation (Hands Of God) and Concubina Do Diabo leaves no ounce of satisfaction and violation untended, both distinct in their presence but united in their prowess and efficiency in captivating the darkest corners of the listener. They make an inventive and incendiary bridge between the previous high plateau and the closing triumph of the release, the monstrously anthemic Devil’s Black Blood, the song an out and out thrash/death metal slab of rock ‘n’ roll. It is a riotous conclusion to an excellent return by Acheron. Whether Kult des Hasses is the band’s strongest effort to date we will leave for others to decide, but for death metal with the bravery and skill to be so much more, this is one magnificent offering.

www.facebook.com/pages/Acheron/128581467223407

9/10

RingMaster 26/02/2014

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InfiNight -The Vision

InfiNight_Band

Whether The Vision, the new EP from German heavy metallers InfiNight, is exactly offering anything new or unheard before is debatable but for straight up enjoyment and anthemic irresistibility there are no questions over its offering. The five track release is a strongly satisfying and pleasing slab of power metal fuelled enterprise, one which leaves you licking lips for more whilst it unleashes an expanse of sound which feeds appetites from numerous aspects of melodic metal.

Formed in 2001, the quintet of vocalist Martin Klein, guitarists Dominique Raber and Marco Grewenig (ex-Inner Logic, ex-Arctic Winter), bassist Kai Schmidt (ex-Inner Logic), and drummer Hendrik Reimann (ex-Inner Logic, ex-Godslave) has built and earned a loyal potent fan base and reputation for their sound and shows. Their impressive sharing of stages with the likes of Children of Bodom, Motörhead, Nevermore, Six Feet Under, and the Scorpions across gigs and festivals has enhanced their status certainly in their homeland and within Europe whilst their two albums, Sea of Knowledge (2005) and Like Puppets (2011), has brought great responses and good acclaim upon the band, InfiNight being compared to the likes of Nevermore, Queensrÿche, and Iced Earth. The Vision EP is their next exploit in gaining wide recognition and whether it will be the key to that awareness is up for discussion but it will recruit plenty more eager fans their way quite easily.

Hideaway opens up the EP and instantly seizes attention as guitars carve out a fire of compelling riffs as the drums hold court with Infinight_TheVision_Coverthumping heavy beats. Taking mere moments to hit its stride the song enthralls the senses further with an energetic stroll of predatory riffs ridden by the excellent vocals of Klein. There is a dark almost carnivorous tone to the guitars and certainly the bass which offers constant intimidation even when the melodic flames of Raber and Grewenig ignite air and passions, and it is this depth of sound which grips tightly as the smouldering charms of the excellent song flare up throughout to provide another richly appetising aspect to the song. The slip into a more hard/alternative rock aside with again Klein impresses powerfully is unexpected and thrilling, that moment alone questioning that earlier thought that there is not much new going on. In invention that can be argued for sure. As the rising crescendo of passion and intensity climbs to forge a tremendous climax, the song is simply a virulent contagion which lingers wonderfully.

The following short instrumental The Passage is a raw and abrasive post-apocalyptic like strength of evocative ambience evolving into closing seconds of orchestral colour which make way for A Loss of Love. The song opens with the vocals of Klein crooning over the melodic elegance of keys and warmth. It is an ok start soon elevated by the epically honed expulsion of melodic and symphonic lilted persuasion. Superbly crafted and presented, with guitars and vocals a tempting heat over the eighties fuelled melodic caresses of the keys, the song is a welcoming adventure that does struggle to match the heights of the opener but grasps the listener all the same in a blaze of anthemic power which is hard to turn down or resist participating in.

Transformation is another short instrumental, a piano led emotive piece with towering rhythms and a symphonic breath. To be honest as intriguing and interesting as both instrumentals are, and excellently delivered too, they are too short to make the impact the band probably wanted. They do not hang around long enough to inspire distinct thoughts and visions in the listener which really leaves them as feeling like fillers, something the composing and craft does not deserve. That is soon forgotten though when final song, the title track, explores the ear and passions with another scintillating stomp of riffs, rhythms, and sonic imagination. It makes a powerful conclusion to the release, it and the first track stirring riotous bookends to The Vision.  As the guitars scorch the song with sizzling melodic fire, their touch searing the tantalising spine of incessant rebellious drums from Reimann, it makes for a brilliant finish to an impressively decent and enjoyable release.

The EP does feels like a teaser in many ways to something bigger and whilst listening to The Vision you only hope that is the case, InfiNight having something bigger and longer in the works for the near future. An exciting thought.

https://www.facebook.com/InfiNight

8/10

RingMaster 05/08/2013

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