Destroy Planets! – Mass X Gravity

Though only emerging this past February UK metallers Destroy Planets! have made a striking introduction to themselves with debut EP, Mass X Gravity. It bears all the hallmarks of a craft and imagination which has been brewed over time, indeed the band has a sound which has been two years in the shaping and honing, but equally has an unpolished breath to it which only breeds pure pleasure and the potential of greater exploits to come.

Manchester hailing, Destroy Planets! draws on an array of metal seeded styles and muscular rock flavours for the individual confrontation which surges through their first EP. Raw edges meet with ferocious trespasses whilst both collude with melodic temptation and bold imagination; a tapestry of invention and tenacity which needed little time to intrigue and seize attention. Equally Mass X Gravity is a savage and resourceful force of unpredictability which continues to surprise by the listen as its depths expand to devour greater attentiveness.

As quickly shown by opener Ikon, pinning down the sound of Destroy Planets! is a pointless task, its voice as varied and mercurial as it is uniformly striking. The first track itself immediately sparks ears with industrial metal eruptions across its dark brooding but as quickly springs groove and death metal hues upon the senses; an Enter Shikari meets Machine Head meets Cryptopsy like corruption swiftly igniting keen attention and appetite. By the second though its sound is evolving and growing more fascination, a quality just as potent within the vocals of Tanya Wilson, her multi-flavoured and dextrous tones sheer magnetism in the thickly compelling tempest.

It’s fiercely testing and alluring twists and turns are echoed in next up Stars, the track shaping them in its own creative image as electronic and metal bred trespasses unite in a similarly gripping exploit. Wilson casts throat raw and melodic lures with equal captivation as the grooves and riffs of guitarists Aaron Pettit and Nathan Arif intrude upon and bound the senses. Providing a confrontation as feral as it is carefully woven, the track is a contagious predator with individual and united enterprise as well as its distinct imagination matched by that within the following Immortal. The third track instantly casts a Korn/Slipknot-esque shadow over the imagination though it is soon scavenging the senses with its own particular psychosis of sound and emotion. The whipping beats of Adam Tyree again incite as they punish whilst the dark, voracious grumble of Brad Crane’s bass is a perpetually unwavering lure in the creative tempest and especially goes to make one addictively memorable moment within the song and EP when it singularly courts the nightmarishly haunting melodic tempting of Wilson.

Absolution instantly consumes the senses with grooves and toxic ferocity, fellow Brits VNDTA coming to mind not for the first time but again swiftly band and sound casts their own unique creative character to prey upon and feed the imagination. Arguably the most infernal, vicious, and untamed track on the release, the song just compelled keener attention during its length and subsequent revisit while Bed Of Lies hooked equal greed with its calm melodic beginning and subsequent sonic squall; the latter woven in heavy metal threaded spirals and coated in extreme metal animosity as melodic virulence brews and eventually erupts in voice and sound.

The EP concludes with Save Yourselves, a closing inferno of sound and enterprise that descends with venom and ruthlessness but once surrounding the listener treats them to a myriad of textures and melodically seeded endeavour without losing its crushing intensity. It is a song which epitomises the Destroy Planets! sound and craft and its rich fuel of unpredictability which can only lead to greater adventures ahead.

Mass X Gravity is a challenge, a threat and another of the year’s unexpected but true pleasures.

Mass X Gravity is out now.

https://www.facebook.com/destroyplanetsband/   https://www.instagram.com/destroyplanets

Pete RingMaster 30/08/2019

Copyright RingMaster: MyFreeCopyright

Deflore/Jaz Coleman – Party In The Chaos

Sometimes you just feel certain link-ups were meant to be, collaborations destined to see the light of day at some point even if no-one realised the possibility. One is definitely that between Italian industrial metallers Deflore and Killing Joke frontman Jaz Coleman. The evidence is there to be heard within Party In The Chaos, a collection of tracks which just roars with the qualities and invention of both sides behind one thrilling encounter.

We will let Coleman tell how the union of the two arose. “Over the last 30 years I’ve been asked one question over and over again: what new band do you like? And the answer generally has been zero, there are not many new bands that I like, except while I was on tour, we played Rome with Killing Joke and the opening act was just stunning. They were so powerful, such epic sounds, so cinematic. The logic seems I have to work with them. So to cut a long story short, Deflore came to Prague and we’ve just done a fantastic EP together, such beautiful music, and I hope everybody gets a listen to this incredible Italian band Deflore!

Consisting of Christian Ceccarelli and Emiliano Di Lodovico, Deflore themselves had been looking for “a singer that could understand our music to give us something more then, unexpectedly, Jaz found us.”  So together they entered Faust Records Studio in Prague in the closing moments of 2017 to record the release, Derek Saxenmeyer mixing the record at Enem Studio mid 2018 with mastering undertaken by Oli Morgan in London at Fluid Mastering.

As soon as opener and EP title track stirs into life that acknowledgement that this unity of creativity was meant to be rises up. Amidst the scorched sigh of guitar, rhythms gather and erupt in an incessant coaxing; a lure within which the riveting grumble of Ceccarelli’s bass finds inspiration in the early releases of their companion’s band. With synth and obviously his distinctive voice, Coleman soon escalates that flavouring, but as quickly the song sets out its own voracious identity, one as raucously infectious as it is dramatically menacing. Di Lodovico’s guitar perpetually escalates the drama and contagion as forcibly as rhythms, its nagging grooves and riffs flirtatious amongst the hypnotic rhythmic incitement. Even so imagination and atmospheric calms have their say on the outstanding track, each of the three stamping their creative authority upon the apocalyptic majesty of song and in turn ears and passions.

Coleman takes to synthesizer and piano for the instrumental, Sunset In The West, which follows; joining the atmospheric intimation and dark shadows similarly woven by Ceccarelli and Di Lodovico alongside. It is a piece the imagination can run with, every listen sparking a new aspect to the dark edge of the elegance and melodic calm it casts. Haunting and at times disturbing but wholly magnetic in its deceptive elegance, the track compelled total attention.

Transhuman World completes the release, its industrial portentousness tempered by a fiery but virulent and catchy web of sound. Coleman returns to vocals as well as on synth as Ceccarelli and Di Lodovico infest the threat and raw seduction of the song with their equally firm Def Con-esque drama and imagination fuelled craft.

It completes a trio of tracks which just command attention and ignite the imagination from first to last breath. Whether this meeting of great talent will rise together again who knows but if not, the Party In The Chaos EP will stand as one of the most potent and striking not forgetting irresistible encounters of recent times.

Party In The Chaos is out now via Subsound Records on CD, LP and digitally; available @ https://deflore.bandcamp.com/

http://www.deflore.it/   https://www.facebook.com/defloreband/

 Pete RingMaster 11/07/2019

Copyright RingMaster: MyFreeCopyright

Martyr Art – FearFaith Machines

Self-Dubbed as digital metal, the Martyr Art sound is a voracious mix of varied metal and industrial/electronic textures with more besides from an artist which embraces technology as eagerly as the cauldron of flavours woven into his bold recipe of enterprise. FearFaith Machines is the new and fifth album from the band, a release which for fans and newcomers can only make for one compelling adventure.

Martyr Art is the one man project of Joe Gagliardi III, an Orange County musician whose skills on the guitar are as captivating as the songwriting, vocal prowess, and imagination which equally escape his invention. The band is truly a solo project with Gagliardi playing every instrument before recording, mixing and mastering every second of adventure making up FearFaith Machines. Since emerging in 2004, Martyr Art has shared stages with the likes of Corey Glover, Doyle, KMFDM, Drowning Pool, Saul Williams, Full Devil Jacket, Brick By Brick, Dead Empires, and Moon Tooth whilst releasing a host of well-received singles and EPs as well as those previous four full-lengths. Up to this point Martyr Art had evaded our radar but FearFaith Machines has corrected that and will for a whole new tide of fans such its striking offerings.

The album starts with Motion, metallic electronic pulses and temptations luring ears before raw steely smog brings a rousing scourge of groove and alternative metal awash with industrial espionage. Quickly Gagliardi shows his vocal diversity as throat scarred and clean tones intermingle with the former heading the virulent contagion. Equally his craft on the guitar further ignites the tempest, shredding and picking multi-cultural sonic temptations.

The following cyclone of The Pleasure of Pain is just as invasively magnetic, its industrial inclinations steering the listener towards the waiting metal bred uproar. The cycle repeats with even greater heat and intensity, vocals again a great blend of attack and enterprise matching the adventurous emprise of sound. Like a maelstrom of Rabbit Junk, Squidhead, and Cynical Existence, the track is a captivating fury more than matched by next up Who Are You. The third song scowls as it plunders the senses, raging with punk dissonance as again a web of styles and flavours unite with voracity and imagination on the way to forging another major highlight within the release.

Across the sinister almost psychotic Just and the superb Constrict, the album simply expands its landscape of sound and captivation, the second of the two almost primal in its breath yet precise in its layers of boldly varied texture and spicing while their successor, Thundering, is a dark seduction with hues of bands like Type O Negative and Sisters Of Mercy to its irresistible gothic rock/post punk serenade.

Final track is Binary Slavery, a carnivorous slice of industrial metal gnawing at the senses yet soothing the wounds with melodic caresses though they too come with an edge of trespass to their infectious exploits. It is a rousing end to the album highlighting the craft, imagination, and bold fusions making up the heart of FearFaith Machines.

Gagliardi creates something that is nothing less than unique from the familiar styles and sounds he weaves with, indisputable evidence coming with one of the most fascinatingly individual and simply enjoyable encounters this year.

FearFaith Machines is out now; available @ https://martyrart.bandcamp.com/album/fearfaith-machines

http://martyrart.com/   https://www.facebook.com/martyrartofficial

Pete RingMaster 01/12/2018

Copyright RingMaster: MyFreeCopyright

UnHuman Insurrection – Equilibrium

Hailing from Monselice in Italy, UnHuman Insurrection is a band we suggest you will be hearing a great deal more of and increasing praise for as their debut album reaches an increasing number of ears. Equilibrium offers up eights slabs of metal as broad in their flavouring as they are in their enterprise; a collection of songs which quite simply demand attention.

Rising from the ashes of Burn of Black, UnHuman Insurrection emerged in 2016, initially just going under the name UnHuman. Since their first steps on the Italian metal scene, the band has earned potent support and plaudits and gone on to share stages with the likes of Sabaton, Lacuna Coil, and Arch Enemy. Their sound is a tapestry of industrial, thrash, and melodic metal but has plenty more in its arsenal of enterprise to entice with; a mix well covered by inspirations to the band which include artists such as Testament, Fear Factory, Exodus, Lamb of God, Killswitch Engage, and Machine Head. As Equilibrium reveals, it is a blend which at times has familiarity to it and in other moments an individuality which can only flourish ahead.

The album’s title is a perfect echo to the band’s sound, a fusion of raw and imposing trespasses balanced with a melodic radiance and enterprise; that predation and seduction uniting and in full roar within opener, Primal Instinct. A sonic mist descends initially, its industrial chill quipped with an electronic pulse. Within this breath guitars connect their wires eventually coming to a head and charging through ears with a thrash driven eruption.  The potent clean tones of vocalist Giacomo Cordioli rise within the midst of the growing web of temptation, his calm but tenacious presence courted by the aggressive swings of drummer Alberto Lemoni and the throaty dark growl of bass. Guitarists Matteo Theo Milani and Marco Markwild Piva wrap it all in a web of enterprise, melodic and aggression driven metal escaping their craft and imagination in a track which just captivates from start to finish.

The great start continues through Chasing Hope, it instantly grabbing ears with force and adventure as melodic tendrils vine the song’s immediate trespass upon the senses. Again Cordioli’s vocals come with a harmonic croon as powerful as it is radiant against the heavier darker climate of sound. Milani’s classic metal nurtured vines spring across the track’s growing adventure, the song epitomising that mix of the recognisable and inescapably fresh within its compelling grooving and tenacious adventure.

As strong and rousing as the first pair are, they are eclipsed by the album’s best track, Lobotomized. Straight away the song grips attention and appetite with its sonic nagging, teasing grooves which eventually turn primal as guitars and rhythms stalk the senses alongside increasingly rousing vocals. It is a galvanic edge which escalates in the track’s anthemic chorus; an essence giving an already imaginative encounter greater insistency and captivation as does the subsequent spirals of guitar, every twist and turn escalating the track’s magnificence.

Through the industrial climate of Shreds of Identities, another major highlight of the album atmospherically chilling and barbarously predatory, and the almost demonic realm of The Edge Of Nothing, the album went from strength to strength. The second of the two is an intriguing offering, a track which overall did not quite spark the same greed as its two predecessors yet every moment with it brought fresh imagination amidst unpredictable trespasses to enthral and increasingly impress.

The following Parasite instantly lived up to its title, the song leeching on the senses and imagination with its feral tides of death metal lined riffs and melodic breezes. Another song nagging submission to its lures whilst invading with technical and malevolent enterprise, it quickly declares its presence as another memorable pinnacle of the release, intimation matched by Buried Alive and its electro hued but equally carnivorous exploits. As all tracks though, its body is a lattice of flavours, textures, and contrasts which had us thoroughly gripped and pleasured.

 Ashes And Dust brings the album to a close, it another which maybe did not quite excite as those around such their strengths, but left release and ears in an even stronger union. There are only reasons to recommend about Equilibrium and plenty of them, seemingly more and more emerging by the listen. UnHuman Insurrection maybe pretty much unknown beyond their homeland but most likely not for too much longer if their debut full-length is the sign of things to come.

http://www.unhumanband.com/   https://www.facebook.com/unhumaninsurrection/   https://twitter.com/unhumanband

Pete RingMaster 14/11/2018

Copyright RingMaster: MyFreeCopyright

Spookshow Inc. – Visions Of The Blinded World pt I & II

 

Four years after Part I unleashed its “furiously agitated entrapment of industrial, metal, and electro rock”, a rousing accompaniment to an impending apocalypse, Part II of Visions Of The Blinded World is here to not only continue the arcane adventure but take it into a whole new level of dark deeds and senses trespassing contagion. The project is from Norwegian trio Spookshow Inc., a band which has been curiously ignored by bigger attention so far, a blind eye which if continuing after the full release of Visions Of The Blinded World will be criminal.

The beginning of Spookshow Inc. goes all the way back to 2003 when Lucky Spook (guitar, programming, songwriting, producer) and Soltex (vocals) came together and began creating and nurturing their individual fusion of industrial and heavy metal with electro rock. As proven by the 2014 released Visions Of The Blinded World pt I, there are plenty of other rich flavours to the band’s asylum of sound, Middle Eastern hues alone an inescapably alluring ingredient. With the band’s line-up completed by bassist/keyboardist Sharaz who featured on the final few songs recorded for its predecessor, the second part of Visions Of The Blinded World is an even richer affair of sound and styles, a bolder adventure in an already eager collusion of essences sure to appeal to any appetites for the likes of Pink Floyd, Prodigy, Rob Zombie, KMFDM, NIN, and Pitchshifter.

Visions Of The Blinded World pt I & II has been released as a complete package and should be listened as one to grasp its full dark majesty though each part firmly captivates alone too. It makes for a journey which leaves ears, body and imagination as aroused as they are disturbed, as inspired and animated as they are haunted. As we have covered part I previously, which you can read here, we will explore the second part of the creative emprise, a canter through the haunting shadows and ravenous dissonance of a dystopian landscape lost in extinction luring bedlam. Note though that the first ‘side’ of the album contains two brand new tracks in the shapes of the Seven Trumpets, a track sparked by the biblical legend of the same name but an echo of a split personality, and the horror movie like Lizard Eyes.

Pt II opens up with Virtual Insanity, electronic sparkling the gateway to an infernal surge of electro rock predation as ravenously hungry as it is virulently catchy. Even so, its instinctive urgency has an underlying premeditation of devious intent, melodies and calmer but darker twists adding to the track’s inescapable invasion. Something akin to Rabbit Junk meets Fear Factory, the track instantly has the project’s second part off to a flyer but also connects seamlessly to the nature and presence of the first part of Visions Of The Blinded World.

Already breathless from the superb thickly rousing start, the band show no mercy as Devil’s Triangle surges in with similarly uproarious energy and intent, Spook’s guitar gnawing away at ears as beats swipe at the senses,  Soltex’s vocals in turn matching their boisterous appetites with eagerness and attitude. Again momentary detours bring darker trespass rather than a chance to take a breath, it all adding up to another galvanic assault.

Next up Mindgame does bring calm, its melodic caresses courted by demonic tones of voice and intimation, a sonic Garden of Eden oasis in some ways. Featuring XRC, the track smoulders with toxic beauty; those Eastern hues enticing with siren-esque seduction as darkness await new arrivals. Enthralling and haunting in its distraction, the song slips away for the advancing savage addiction and voracious heavy swing of Little Pill. Eating away at thoughts and senses from its initial original cinematic drama to its esurient stalking, evil soaking every note and castigating syllable, the track with Subliminal Mentality guesting equally got under the skin and nagged away thereon in.

Blackbird From Karachi with D.Tschirner involved is a deceptive creature; evolving from its initial serenade into another predatory confrontation courting chaos and corrosion with almost pernicious incitement, every moment unpredictable and disturbing before the outstanding Prison Planet casts its specific trap. A galactic tango which had the body bouncing and imagination conjuring as intrigue and espionage fuel every contagious touch, it in turn departs to encourage the emotionally harmful but physically infectious dance of Falling Down Pt. I. All three tracks simply hit the spot, repetition occurring across the whole of the album as proven yet again by the dark carnival of Cold Frantic Boy, this another track mixing flirtation and catchy harassment with cinematic intimation as cold vocals bring their own toxic fascination pretty meaning submission to its dark glamour was inevitable.

Across the likes of Match Of The Century / A. Crowley Vs. A. Einstein with its increasingly volatile and ominous disquiet around a hypothetical chess game between the two protagonists and Kissing In Graveyards featuring Underworld, another slice of aural insidiousness, the album continued taking ears and pleasure into new dark corners, the release magnetically broadening its maze of sound and creative villainy before stretching it again with the glorious Midnight Tango, a mesmeric psych surf piece with a caress of The Doors and Calling All Astronauts to its dark rock ‘n’ roll.

The final pair of Follow Me, a carnal trespass of pestilence-laden temptation, and Battle For Babylon with R. Carey (an English- New Zealand based artist better known as Fiery Jack (The Teapot Goblins)) a guest in its stark yet rousing smouldering epilogue, provide a compelling conclusion to the relentlessly enthralling release. In some ways they lack the rousing bait of their predecessors but in just as many are cast in mutually potent lures of dark emotive suggestion.

As suggested the biggest rewards come from listening to Visions Of The Blinded World pt I & II as one but certainly not essential as proven by the individual galvanic prowess of each track. Spookshow Inc. has created a landscape bred in the world’s turbulence and destruction; Part I made us want to know more, the stunning Part II sparked the desire to be lost in its impeding tempest with the band’s sounds for company.

Visions Of The Blinded World pt I & II is available now @ https://spookshowinc.bandcamp.com/album/spookshow-inc-visions-of-the-blinded-world-pt-i-ii

https://www.spookshowinc.com/   https://www.facebook.com/spookshowinc/

Pete RingMaster 02/11/2018

Copyright RingMaster: MyFreeCopyright

Project Silence – Infinity

It has not proved too hard for us at The RR to be hooked on the creative animus of Finnish industrialists Project Silence these past years ever since the release of their debut album 424 in 2012. Even as their electro-metal based sound has evolved and embraced a host of extreme and raw metal textures across subsequent encounters, each encounter has accentuated our fascination come addiction with their music. It is fair to say that the blackened death hued adventure of the band’s last album, Slave To The Machine, did not quite hit the personal spot but still had more than a few moments of irresistible and striking adventure. Now two years on, the Kuopio quintet has returned with a seven track scourge in the shape of Infinity; a release which quite simply is their finest moment.

Infinity sees the Kuopio hailing quintet of Delacroix (vocals, programming, keyboards), S (guitar), J (guitar), Silve R (drums), and Sturmpanzerjäger (bass) in many ways returning to the industrial breeding of their roots whilst still exploring the variation of flavours involved in the creative weave of its predecessor. From its first breath there is a sense of fresh maturity and boldness to the sound, the initial trespass of opener We Will Rise a contagion loaded tide of muscular riffs. It is a fierce yet infectious nagging with a touch of Fear Factory to it which ebbs and flows as the guttural growl of Delacroix entices. As heavy as it is portentously dark, an insurgent sound tempered by the melodic tease of keys, the sonic incitement just stirred ears and imagination; a result only escalated across its successors.

The equally outstanding From Beyond follows, its initial lure new wave-esque amidst swift gothic hued intimation before its black hearted dance emerges. Even then it is a prowling venture of threat and magnetic suggestion; technical death metal dexterity merging with industrial rapacity to increasingly fascinate as its electro instincts escape sonic darklands before the tantalising drama and ungodly seduction of No More envelops and devours the senses. Soaked in malevolence, the track subsequently swings from its sinful crawl into a just as nefarious canter, Crowley-esque hues lining the increasingly transfixing and ravenous encounter.

Forgotten shares its own diabolical instincts and adventure next, its gait and character as volatile as it is sonically and melodically imaginative; again a weave of flavours mingled and worked with compelling enterprise while Pulse swings and stomps straight after with tenacious endeavour and a mercurial breath seeming not sure whether it wants to dance with or ravish its victim; for the main simultaneously doing both.

The final pair of Anthropophagite and Day Of Reckoning brings Infinity to a mighty close; the first is just superb as it feasts on the flesh and senses of the listener whilst nagging increasing attention and lust with its repetitious riffs and grooves. As keys spread their melodic toxins and vocals their taunting malevolence, the track simply escalates its lures before leaving its successor to infest body and spirit with its Rammstein spiced death soaked craft and immorality. As all tracks, it offers an invasive but captivating web of styles and flavours within its industrial metal nurtured adventure leaving the listener bouncing in deed and thought.

In many ways Project Silence has taken the strongest and most adventurous ingredients from their previous releases to breed the rousing exploits of Infinity but there are just as plenty fresh and new elements which keep the band as one of the most exciting proposals within industrial and indeed extreme metal.

Infinity is out now via Sliptrick Records across most stores and available @ https://projectsilence.bandcamp.com/album/infinity

http://www.projectsilence.info/   https://www.facebook.com/projectsilenceband/   https://sliptrickrecords.com/project-silence/

Pete RingMaster 06/10/2018

Copyright RingMaster: MyFreeCopyright

Squidhead – Cult[ist]

“There are horrors beyond life’s edge that we do not suspect, and once in a while man’s evil prying calls them just within our range.” [H.P. Lovecraft, The Thing on the Doorstep]

It is more than curiosity which fuels the imagination and predacious captivation of the debut album from Squidhead. Inspired by the darkest depths of the nightmare universe of HP Lovecraft, Cult[ist] lures and exposes the listener to unmentionable and unforgettable horrors across eight slices of modern death metal though that is a tag which just does not do it justice. Technically compelling with an array of flavours spun from an additional fusion of industrial and electronic metal, the album is an invasive often venomous encounter but one just imposingly seductive.

With its seeds sown in 2009, Squidhead started in Belgian as the instrumental solo project of The Painter, better known back then as Pierre Minet. The project was officially unveiled at the end of 2013 with the Prohibition EP released a few months later to potent acclaim. It was a stirring adventure for ears and the imagination, Minet’s craft and enterprise striking across its five tracks inspiring thoughts to conjure their own dark tales. As the band ventured upon the live scene, Squidhead has subsequently evolved in personnel and in turn sound. The result of three years creativity, Cult[ist] is an infernal treat of a proposition around the ever magnetic prowess of The Painter. Alongside him The Crawler unleashes tenebrific intimation through his bass and The Orator unveils nightmare realms and imagery with visceral vocal trespasses; each a source of dark tempting more than complementing the eight stringed conjuring of The Painter.

The storm courted opening to the album coaxes ears into the waiting clutches of Abyssal Worshippers, keys hinting as they lay a sinister lure into the waiting web of intrigue and opacity. Swiftly The Painter immerses ears and thoughts with technical adventure, his strings flaming with suggestion and craft but equally as potent settling into the almost carnivorous trap laid by the feral jaws of the bass and The Orator’s throat scarred vocal painting. Having run with the imagination on Squidhead’s previous offering, it was a surprise and initially wrong-footing to have some of the visual interpretation done for us but quickly the band showed there was plenty of room to create one’s own nightmares too.

The great start is immediately built upon by Mantra Of Insanity, the initial spiral of guitar drawing the fierce punches of drums and the gnarly breath of the bass before Orator spills the song’s animus of intent. Even in its rampant state, the track feels like it is stalking the senses, preying on their fears and nightmares whilst teasing with melodic tendrils carrying their own line in devious relish. The bass sadly loses some of its irritability as the song evolves and becomes an incantation like proposal yet it all works perfectly before Awakening stretches it’s carnal and in time more elegant if still rabid appetite led by the ever magnetic endeavour of The Painter. As with all tracks, every listen brings new twists and shadows to explore and similarly each delves into their pits sees the songs blossoming to greater heights.

Through the invasive dynamics and technical claws of the excellent Lucid Nightmares and the murky palette of the equally riveting Mad Painter, band and album entwine the senses in a tapestry of creative cunning and manipulation. Both tracks just enslaved attention and an already greedy appetite for the release while Whispers Of The Deep prowls and summons thoughts with intimidation and atmospheric beauty to match its predecessor’s captivation.

Similarly Torn Skies ignited the psyche and passion with its bordering on barbarous stomp, its rock ‘n’ roll virulent and voracious with spinning webs of guitar accentuating its creative alchemy. Leaving the senses breathless and imagination ablaze, the track is another major rival for best moment within Cult[ist] though the choice does twist and turn among this last quartet of tracks much as they themselves within their seriously tempting bodies.

Verbis Diablo brings the album to a richly alluring close, its more mercurial gait and air posing challenges, perils, and temptations to greedily devour. It is a fine end to an album we hoped big things of due to Prohibition but has revealed a band and sound which has evolved to be a far richer and darker experience, much as the worlds it finds its inspirations in.

Cult[ist] is out now @ https://thesquidhead.bandcamp.com/

http://www.squidhead.be/   https://www.facebook.com/squidheadproject

Pete RingMaster 26/04/2018

Copyright RingMaster: MyFreeCopyright