Project Silence – Flesh Of The God

PS\- Reputation Radio/RingMaster Review

Though less than two years since Finnish industrial metallers released the rousing and impressive single One Way to Hell, time seems to have gone particularly slow waiting for the next instalment of their creative ravishing of ears and imagination. The wait is now over as the band unleashes new single Flesh Of The God, a track building on the potential and gripping qualities of its predecessor and those bred in the band’s previous debut album, and with ease revealing itself as the Kuopio quintet’s finest moment yet.

cover\- Reputation Radio/RingMaster Review   Project Silence began as 2008 opened its eyes, originally as a dark electro /aggrotech seeded solo project for founder and vocalist/programmer/keyboardist Delacroix. Towards the end of that first year drummer Silve_R alongside guitarists J and Mr. Sanderz were brought into the project with the following summer seeing the band begin work on their first album. Its creation and songs saw a stronger industrial and melodic metal flavouring evolving in the band’s sound, one reinforced by the rabid throaty tones conjured by new bassist Sturmpanzerjäger who joined up at the start of 2012. 424 was released in the winter of that year, its sprawling brawl of intense promise within a conviction of brutality and rabid enterprise soon awakening attention and acclaim. The album was as diverse as it was uncompromisingly contagious, a potent base from which One Way to Hell grew its own fresh and creative fury across two songs. It was a new stretching of the band’s imagination and bracing sound but now shown as also one step towards the fiercer and more skilfully incendiary design of Flesh Of The God.

The new single makes a low key yet ominous arrival around ears, keys brewing a sonic mist and warning from which the song erupts with rampant riffs, rousing rhythms, and rugged creative terrain. The keys continue to weave an alluring atmospheric coating around song and imagination, within which the vocals of Delacroix, aligned to equally volatile sounds, pounces with emotive growls and venomous expression. Melodic persuasion is just as potent and persuasive in the tempest too, bringing a warmer climate and tempering to the hostile emprise trespassing and thrilling the senses but simultaneously emphasizing its power and uncompromising attitude.

Electro, metal, industrial, symphonic and more are textures and spices all entwined within the creative maelstrom of Flesh Of The God, the result Project Silence’s most inventive, explosive, and virulent offering to date.

Flesh Of The God is out now @ http://projectsilence.bandcamp.com/album/flesh-of-the-god

http://www.projectsilence.info/ https://www.facebook.com/projectsilenceband

RingMaster 16/06/2015

Copyright RingMaster: MyFreeCopyright

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

 

Pavillon Rouge – Legio Axis Ka

Photo Groupe

If there were still to be active dance floors after the apocalypse then the new album from French industrial metallers Pavillon Rouge would be the perfect fit for the dark mood and decayed energy it assumedly would possess. A fusion of black metal with industrial/techno bred voracity, the band’s sound and second full-length Legio Axis Ka, make for an erosive and ravenous affair but with a contagion which never leaves the body to simply bask in pestilential depths, dictating its movement across nine pulsating predatory tracks. The accompanying press release also states that their sound and intent explores ethereal 80s new wave atmospheres, and though not always as immediate within the tempests there are elements of the dark wave scene of that era pervading their latest release, scents of bands like The Chameleons, Joy Division, and Pink Industry offering themselves to thoughts. Ultimately though, Pavillon Rouge casts a sound which has its own distinct presence and an album in Legio Axis Ka which constantly and aggressively stimulates ears and imagination.

The band was formed in 2008 by musicians Mervyn and YVH, with the intent to merge black metal with hardcore techno. Highly acclaimed debut album Solmeth Pervitine was released in 2011 and was soon declared one of the best industrial black metal albums. It was followed by shows for the band with the likes of Psygnosis, Himinbjorg, Svart Crown, and The CNK, supporting the album and pushing forward their increasing attention grabbing emergence. Recently signed with Dooweet Records, the quintet of vocalist Kra Cillag, guitarist/vocalist Mu Cephei, bassist E.Shulgin, drummer Sorthei, and guitarist/programmer Mervyn now return with their second onslaught on the senses. Released on the Swamp Records side of Dooweet, Legio Axis Ka is a vicious seduction, a mesmeric violation which however you want to look at it, leaves the senses raw and emotions entangled in its increasingly magnetic tempest.

10347166_793523130703256_1060036933092637261_n   An immediate embrace of synth beauty amidst an evocative ambience immerses ears as album opener Prisme vers l’odyssée shows its introduction, a potent and atmospheric lure which is soon consumed by a thunderous tirade of rhythms and rabid riffs. Vocally too the song offers a merciless and diverse squall yet within it all the keys continue to cast a provocative and emotionally expressive voice. That industrial element is a nagging incitement within the evolving theatre of guitars and keys too, keeping feet and body agitated as the heart of the track spills its venomous and caustically poetic premise. Lyrically the album is sung in the band’s native tongue so there is little to its obviously dark climate that we can reveal but if the words and premises match the passion of the delivery then it is a brooding exploration just as potent as the sounds around them.

The following L’enfer se souvient, l’enfer sait takes the strong start up another step with its muscular rhythms and riff clad prowling wrapped in an electro hued colouring. The dynamic and persistent techno bred heartbeat of the song again has limbs on alert whilst thoughts and emotions are entangled in the melodic and vocal imagination lighting up the abrasing atmosphere of the song. Track and album definitely need close attention and several plays to unveil all the underlying twists and creative nuances within inhospitable surface and murky air, but it only adds to the satisfaction and drama of the stark, almost visual soundscapes sculpted.

Mars stella patria does not hang about tempting the listener either, electronic percussion and anthemic band roars immediate virulent bait. Their infectiousness seems to seep into the industrial climate, which offers warped noise and textures, as well as the chilled melodic enterprise adding its weight to the song’s persuasion. It is an endeavour spiced with a touch of Sisters Of Mercy and Bauhaus, and as the track continues with open clarity around its warmer elements, shadows impose upon and the raw vocals prey on the senses. It is fair to say that each song individually brings a new step up in the presence and persuasion of Legio Axis Ka, this one with its increasing rabid turbulence another strong step in its ascent, a compelling move almost matched by the mercilessly tempestuous storm of A l’univers. Electro pulses resonate through bone and psyche from the off, enticing feet and emotions to lend their eager energies to its call whilst the melodic and sonic invention of the band provides a ravenous celestial and dirty terrestrial landscape for ears and emotions. Not as instant as its predecessor, the song subsequently wins over appetite and thoughts whilst revealing more of the inventive ideation and songwriting craft of Pavillon Rouge.

Both Aurore et Nemesis and Droge Macht Frei enthral and enslave, the first laying down its first potent tempting through a delicious dark bassline before brewing up a sonic and emotional tsunami of ferocious ire and intensity. Its successor provides the first truly insatiable full-on invitation to unleash the dance floor moves, its rhythmic stomp a pulsating infection which leads and drives the song even when enveloped in rabid smog of noise and sonic rapacity. As ever there is much more to the songs and both engross with melodic ingenuity and the often understated but open imagination which brings striking contrasts and unpredictability to all offerings on the album.

From a raucous stomp Pavillon Rouge offer a celestial flight with Kosmos Ethikos, synths and samples aligning for an atmospheric exploration with a big brother like edge to its air before Notre paradis takes its own similarly seeded soar through a new spatial climate. There is a much darker feel and texture to the track compared to the last though, an ominous breath which coats guitars and vocals, not forgetting intimidating rhythms, as keys warmly and eloquently swarm around the senses. The pair offers their own sparking new adventures for the imagination to interpret before the closing Klux santur provides a transfixing finale to the album. With the most distinct eighties feel to its body and melodic enterprise yet, the track is a swirling maelstrom of light and emotional malevolence. It is a cyclonic treat to close things up, a seducing and senses ravishing end to an album which increasingly enthrals given time and attention.

The Grenoble based Pavillon Rouge have not offered an easily accessible proposal with Legio Axis Ka but who wants easy when far greater rewards come with uncompromising intensity and evolving creative assaults. The band finds the perfect blend of industrial and black metal fury for a proposition which fans of either genre should seriously contemplate.

Legio Axis Ka is available now via Swamp Records @ http://findiemerch.com/fr/pavillon-rouge-legio-axis-ka/#

https://www.facebook.com/LuxDiscipline   http://www.luxdiscipline.com

RingMaster 22/04/2015

Copyright RingMaster: MyFreeCopyright

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

 

Tactical Module – Before Crisis

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You can never tire of being impressed by the growth and almost visual evolution of certain artists and one who seems to inspire increasingly potent acclaim is Tactical Module, the one man project of Michael Davis. Across his last trio of incitements alone, the British musician/composer has magnetically enthralled and excited with his fusion of industrial metal, digital hardcore, and EBM. Each encounter has shown new and often dramatic steps in the growth of the band’s sound and songwriting and new EP Before Crisis is no exception. Arguably it is not a big step forward from the last album Into Exile but certainly there is an even greater balance and fluidity between the raw and confrontational side of the vocal and sonic ferocity and the melodic and infectiously vivacious elements which so contagiously mark out songs. Increasing maturity and experience comes with every release of an artist and certainly Before Crisis is embracing an impressing wave of it through Davis.

Forming Tactical Module in 2010 to unleash a creative freedom restrained by being in bands and to explore darker and more aggressive electronic music, the Poole hailing Davis was soon sculpting a handful of digital EPs and remixes to increasing attention. Inspired by bands such as Nine Inch Nails, Ministry, KMFDM, Godflesh, Gary Numan, Skinny Puppy, Killing Joke, and Depeche Mode, Davis made a potent breakthrough with the Dead Zone EP in 2012. It swiftly gripped appetites and a more serious spotlight upon release, marking out Tactical Module as an emerging force and talent. Both the feverishly grasped single Where Angels Rise and first album World Through My Sight in 2013 reinforced his growing reputation whilst the Resurrection EP that same year and its successor Into Exile early 2014, found Davis breaching new plateaus with striking experimentation and emotional voracity. Released as 2014 closed its eyes and evolved into the New Year, Before Crisis cements the stature of Tactical Module in Britain’s electronic underground scene whilst as mentioning earlier showing an even more honed and masterful resourcefulness to Davis’ creativity.

The instrumental Awaken sparks the imagination first, its slow dawning of rhythmic enticement an intrigue loaded lure before synths spin their emotive sonic web. There is a portentous air to10261995_786876598003130_5830102883858603546_n the opener and a prowl of dark shadows which bring a stark and threatening edge to the melodic charm of the piece. It is a magnetic lead into the EP and the following equally intimidating presence of Poison Within. Growing within a synth woven cage of gentler persuasion, the song eventually steps forward as an electro punk provocateur but an antagonist unafraid to employ the flavoursome melodies and sonic expression which coaxed in ears and appetite initially. As stormy in its disturbing quieter moments as in its open musical and vocal rages, the track ebbs and flows masterfully, waves of hostility feeding the appetite again and again within the equally imposing charm of the song.

Next the EP’s title track steps forward offering an immediate infectious shuffle of agitated rhythms under another brooding electronic sky. Davis as expected unleashes a cutting narrative with pleasing abrasing tones soon after whilst around him guitars add a caustic spice to the brighter revelry of the keys. It is a light to the song which as across all tracks, is held in check by the thick smog of angst and heavy shadows which fuel vocals and sounds alike. Here though it is given a longer leash which allows a diversity and tempting aural colour to have their just as potent say on the imagination, as repeated in the excellent To the Skies of Oblivion straight after. A song first found on the Resurrection EP, its bounds through ears and into the passions with a devilish tenacity and energy. It has an inescapable infectiousness which even aligned to the almost rabid furies in voice and menacing rewarding lulls which stalk the song never misses a step in its thrilling march.

The raw atmospheric opening of Assemble is an immediate temper to the previous devilry, its great stark and cold opening spreading an oppressive ambience which in turn courts an abrasion of hip hop spiced electro rock. Vocally too Davis briefly toys with a slither of rap enterprise to match the eventful adventure flirting within the invasive climate of the track’s electronic landscape. It is a slow burner in comparison to other tracks upon Before Crisis but emerges just as striking and enjoyable.

The final new song on the release is What Lies Beneath, another coming in from a distant pasture to embrace ears in drama and a blend of creative antagonism and melodic grandeur. Also a slower persuasion, the song is a compelling narrative of sound and emotion but just lacks the indefinable spark of earlier tracks and misses igniting the passions as successfully.

The EP is completed by a trio of remixes, the song Before Crisis being redefined by Ruinizer and Assemble receiving creative treatments from Cease2Xist and Dali, the latter of the three working the psyche with particular deftness and all offering captivating dimensions to the originals.

Tactical Module has again shown itself to be a bright and imposing spark in the UK electronic scene through Before Crisis. It is a release little to find an issue with, though just as an experiment we would like to see Davis being more adventure into his vocals ahead, and a tempest of invention fans will devour greedily.

Before Crisis is available now @ http://tacticalmodule.bandcamp.com/album/before-crisis

https://www.facebook.com/TacticalModule

RingMaster 07/01/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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MACHINE ROX,THE FORMIDABLE INDUSTRIAL METALISTS UNLEASH NEW VIDEO!

Machine Rox

Bred through the carnivorous creative hunger of founder Richard K, British industrial metallers Machine Rox provide an irrepressible resistance-proof contagion striving to persistently ignite the senses. Since their formation in 2007, the band has sculpted a merger of metal and electro rock which rampages whilst pushing the boundaries of band and genre. Machine Rox now tear open the envelope even further with their stunning new video single.

Check it out at

‘Lost My Mind’ – http://www.youtube.com/watch?v=zZOjy7Lo4tM .

Machine Rox began as the solo project of musician/songwriter Richard K, ignited by his rich experiences and adventures from being part of industrial metallers Meat Machine and Global Noise Attack, with whom he shared stages with the likes of Rammstein, Napalm Death, and Covenant. The project grew with the addition of band member Aga in 2010, her unique backing vocals and keyboard seduction adding a new potency which took the well-received strengths of the band’s first two EPs to new commanding heights with the “Driven” EP. The recruitment of guitarist Valerian Oproiu and drummer Nuj Farrow in 2012 saw the quartet concentrating on lighting up the live arena, which they did to wide acclaim and with accomplished delivery through festival appearances and national shows. 2013 became Machine Rox’s strongest and most successful year to date as the foursome signed to Static Distortion Records and unleashed the voraciously received EP “Activate Your Anger ” and debut album “Shout”. With the recent “Intox” EP, a new toxicity rose to the surface of the band’s ever evolving and refining sound. Now with the band’s sophomore album “Next Level”, which is unveiled this September, the quartet have crafted a colossal record that is poised to break the mould. From the engaging synth work and anthemic pounding guile of the new video single ‘Lost My Mind, to the texturing and progressive groovage of ‘Illusion’, through to the hard-hitting beatings of ‘You Belong To Me’, this is a record that should not be overlooked.

Now with a hefty fanbase in tow, nearly 10,000 likes on Facebook, a killer new album, a host of festival appearances and a spanking new video single, there’s nothing stopping the band.

MACHINE ROX LIVE:

Saturday 11 October – DARK7 festival at The Electrowerkz, London;

Sunday 2 November – Cesspit Club, Sheffield.

www.machinerox.com     https://www.facebook.com/machinerox

Radium Valley – Tales From The Apocalypse

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Standing impressively tall with an album and sound which plays like a mix of Rammstein, Poets Of the Fall, and Type O Negative yet emerges as something richly flavoursome in its originality; French metallers Radium Valley provide a seriously compelling and fascinating proposition. Debut album Tales From The Apocalypse is a full immersion for ears and imagination into an apocalyptic lyrical and emotional landscape coloured by a tempestuous yet fluid blend of industrial, gothic, and melodic metal. It is a masterful darkwave fuelled incitement which just grows and flourishes the more time and attention it is given.

Formed in 2012, the Limoges hailing band takes inspirations from the likes of Rammstein, Paradise Lost, Ghost Brigade, and Katatonia into their sound, as well as lyrically for certainly their first full-length an eighties background embracing its current events and culture. The combination paints a wasted world stopped by the Chernobyl disaster and littered with radiation embraced survivors. It makes for a vivid and intriguing canvas to which Radium Valley casts similarly dark and turbulent sounds. Produced by Alexandre Granvaud and Romain Janvier, with its mastering done by Logan Mader (Machine Head, Soulfly, Fear Factory, Gojira), the Pavement Entertainment released Tales From The Apocalypse is a riveting and often haunting proposition.

The nine-strong band instantly awakens the imagination with Song of rain, a vintage sample discussing the first nuclear bomb luring in attention against a sonic croon and distortion kissed ambience. It is not long before the musical weight and prowess of the band is seizing ears, melodies from guitars and keys laying down thick enticing smog which is littered with jabbing beats and dark throated bass temptation. A slight relaxation then brings in the impressive vocals and further expressive hues from the keys, their electro seeding a dulled yet mesmeric radiance in the imposing heart of the song. It is a seamless and impressive mix of textures, dark and light extremes as enthralling as the dramatic narrative presented by the increasingly impressing clean vocal delivery.

As the album proves itself to be, the opener seems to get bigger and better with time, something emulated by the following Sweet infection. The second song emerges from a cyber-sculpted darkness with melancholic keys which equally image003have a bold statement to their presence, before flowing into an electronic glaze and synth rock infectiousness. Finding a presence which is somewhere between Depeche Mode, Nine Inch Nails, and Poets Of The Fall, the song soars over the senses with a sultry caress and fiery temperament. It is a bewitching song which seduces more than grips but to the same successful end before the Numan-esque start of For all of us takes over. Raw abrasing riffs stand perfectly against the electronic sizzle of the synths whilst vocals once more gently but powerfully spark thoughts with their theme. There is rich drama to the song which comes in waves without ever departing, the strikes of guitar and inventive bass designs alongside them creating much of that gripping lure.

Both Darkest hours and Behind me create their own slice of intimidating but welcoming persuasion, the first an almost brawling proposition which switches between urgent rampages and slower crawls of predation without losing any of its fluency, despite the turbulence of sound and passions explored. It is an intrusive treat of a track allowing no rest to take in the sights yet leaves no sense of dissatisfaction, just hunger to go back to explore more. Its successor merges electro elegance with a voracious metal appetite to produce a captivating adventure calling on sparks of Rammstein, Fear Factory, and Paradise Lost. There is also a seeming intimacy to the touch and heart of the song which only fires up the vocals and rhythmic punch of its striking exploration.

Next comes Le terrain vague à l’âme, the first of two interludes with the second, Une charogne coming before the final track. With each being predominantly a French spoken vocal piece they do not really add much for us language handicapped souls so it is hard to evaluate their presence, something much easier to do with the excellent instrumental Radium Valley. It is a rigorously descriptive piece of composing which takes the imagination through its provocative soundscape into a rugged and violently hued terrain, the skills of the band providing a threatening and contagious journey.

Through the melodic tempest of Into the undergrounds and the hostile yet theatrical Last resort, the album ventures into new aspects of its starkly bred and adventurously expressive character. Each provides a memorable creative emprise, darkly poetic proposals which leave a lingering and inviting mark on emotions. Their unique offerings lead, after the other interlude, into album closer Wings of disease. It is possibly the least gripping track on the album but still a thoroughly engaging and unpredictable pleasure with the band no less impressive in sculpting its structure and temptation.

It completes an outstanding release in Tales From The Apocalypse, an album needing time to truly show its depths but rewarding with a blistering and exciting encounter. Radium Valley is a band destined to grab your attention at some point and their debut album definitely makes a potent suggestion that the time is now.

Tales From The Apocalypse is available now on CD via Pavement Entertainment and in a slimmer digital version via http://radiumvalley.bandcamp.com/album/tales-from-the-apocalypse

https://www.facebook.com/pages/Radium-Valley/167565643399615

RingMaster 25/09/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Devil-M – Revenge of the Antichrist

Band

A tale of torment and corrosive emotional shadows, Revenge of the Antichrist is a compelling concept album which ignites the imagination, pushes thoughts, and inflames ears. As much as those are always wants, at times the body also needs a stimulus to feed from and the new album from German industrial metallers Devil-M is packed to the rafters with rhythmic bait and hypnotic sonic incitement persuasion to pull limbs and torso into its imaginative devilry. At times a release which makes you draw rapid awe bred breath and in other moments a testing yet enthralling challenge which needs some work to embrace, Revenge of the Antichrist is a gripping and rigorously fascinating treat.

Devil-M is the brainchild of Max Meyer, the band emerging in 2006 as a solo project for the Schöningen hailing musician. Merging his interest in movie scores with pungent electronic diversity, the project was soon contributing soundtracks for independent movies like Die at Dawn. 2009 saw Meyer turn the proposition into a band format which was swiftly followed by a relatively well-received release of debut EP Willst Du sterben and a host of live shows with bands like Nachtblut. In 2011 first album Kannst Du sterben was unveiled to strong and positive responses, its success followed a year later by the uniting of the current line-up of guitarist Lars Everwien, bassist Lisa Hass, and Sonja Langenfeld on keys alongside Meyer. Shows with band such as Grausame Töchter, Centhron, Vlad in Tears, Angelspit, and FabrikC pushed the band’s presence and reputation further which Revenge of the Antichrist and its fiery blend of industrial metal and cinematic/theatrical endeavour can only reinforce and open a wider attentive spotlight upon Devil-M.

Drawing on inspirations like Lars von Trier’s movie Antichrist and Pink Floyd’s The Wall, Revenge of the Antichrist tells the dark story of Astharat, a man suffering schizophrenia who kills his wife, and his mental turmoil and descent. The album begins with the two parted Rising, both Unholy and Siddhartha Gautama within the seamless track uniting for a transfixing opening. Keys instantly craft an appealing lure which a potent rhythmic enticement accentuates before an ascent of dark harmonies and energy comes in to help build an imposing and intriguing wall of sound and coaxing. Moving into more antagonistic shadows, the track begins stalking the senses and prowling the imagination with raw riffs and threatening beats, guided by the equally caustic tones of Meyer. It is a trap impossible to resist entering; the melodic call of keys a deceitful welcome into the jaws of an intensive examination and corrosive landscape. Like a mix of Nine Inch Nails and God Destruction, the track is an irresistible doorway into the album’s musical and lyrical narrative.

The following Apokrypha soon rewards entry with an even stride of pulsating beats and crowding riffs within a climactic atmosphere of harsh electro squalls and acidic melodies. The song is a bruising and simultaneously seductive Albumcover - Revenge of the Antichristproposition, the varied guttural roar and clean vocals of Meyer a pleasing texture within the climactic air and inventive stroll of the song. The track is the coming out of the tale’s demonic character with sounds colouring thoughts and ideas as potently as the lyrical premise. Its impressive presence is matched by the clearer but no less menacing scenery of Astharat, the full emergence of the album’s protagonist adorned with celestial harmonies latched to predatory intent and textures. Again as with its predecessor, the often subtle and at times dramatic twists and turns makes for a riveting encounter though they are not as imposing as in the previous song or as addictive as in the next up Scrabbed Angel. Its initial electro teasing is a tempting which soon takes on a leering edge to its addictive beckoning. Once the rhythms are in open swing the virulently contagious instrumental provides an inescapable toxicity of turbulent intimidation and primal seduction.

From one pinnacle of the album another instantly steps forward to steal the soul. Rebirth is a rabid surge of charging rhythms and tenacious hooks, a nimble footed and heavily shadowed dance of evocative lures and destructive ingenuity honed into another powerful charm offensive crafted by the keys and the delicious backing tones of Langenfeld. Openly inspired by Marilyn Manson and blessed with a Hanzel und Gretyl like revelry, the track is a glorious incitement and pleasure, a success which in many ways the album never manages to match again.

From Birth To Death though is certainly a formidable successor and proposition, its initial repetitious nagging of whispered vocals rich bait behind which a raw blaze of guitar busies itself before erupting into a ferocious slice of metal seeded brawling with a thick air of early Pitchshifter and Prong against the swirling electro colouring of keys. The song is an unfussy and thrilling grazing on the senses, a voracious onslaught to bring another varied twist to the album as the lead character relentlessly spells out his presence.

There is a feel of the harsher side of Dope to the following Good Way Of Dying as well as a Numan-esque gothic resonance to the impressive track. It is another where the guitars take a slightly more prominent position and the song definitely blossoms from their caustic lead to offer something different again before the two parts of the title track envelope ears and thoughts. Pt.1 is a maelstrom of malevolent vocals, angelic melodies, and hypnotic persistence around the darkly serpentine psyche of Astharat with its viciously rasping temperament. Pt.2 is a briefer and clearer provocation from the album’s central figure, its uncompromised intent and less muggy atmosphere presenting a clarity which is as imposing and intimidating as the tempestuously spawned onslaughts.

Both the piano led Love Is Not Available with its appealing scuzzy touch and the bewitching Garden Of Eden leave thoughts and ears engrossed, though neither can live up to the earlier songs. Each does provide their own individual and rewarding dramas, the first of the pair an emotive reflection which shines with beauty within a more vociferous hazy breath. Its successor is fuelled by an infectious rhythmic resourcefulness within a meandering and magnetic caress of melodic keys and heaven spawned harmonies. It is an elegant instrumental unafraid to show its sores and blemishes and though as mentioned it cannot live up to earlier successes, it lingers to pleasing effect.

The wonderful I Am God has no such problems, its beauty and majesty creating another major highlight. With again the piano honing the song’s expression behind the enchanting unique tones of Langenfeld, the track is mesmeric and littered with gripping touches like the colder surfaced backing vocals of Meyer and the rustic electronic scattering which brings a real edge to the smouldering grace of the song. Its emotive grandeur is followed by the weighty intensity of the narrative’s closing chapter Harmful Scab. A short and imposingly potent press on the imagination, it makes a satisfying conclusion to the album’s story, though it still has a trio of remixes to offer, from Centhron, Blackest Light, and Grausame Töchter, all offering pleasing interpretations to a thoroughly impressive and enjoyable release which just gets better and more colourful with every listen.

Revenge of the Antichrist is available now @ http://devil-m.bandcamp.com/album/revenge-of-the-antichrist

http://www.devil-m.de/

8.5/10

RingMaster 26/08/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

 

ANTI CLONE have their ‘Hands Sewn Together’, on 25th August‏

anti clone

RSR-Photography 2014

 

APOCALYPTIC UK METAL CREW ANTI CLONE RELEASE DEBUT RECORD!

“Less a sleek sports car and more a Mad Max battle wagon, this is an EP from a band who are signalling the way heavy music is likely to sound in the years to come. I hope to God they’re right.” Get Your Rock Out

Pulling from a plethora of areas from Marilyn Manson and Slipknot, to Mudvayne and Tool, Anti Clone lay down a captivating blend of hard-hitting cutting metal laced with a biting industrial edge. The Brit noise chiefs have their rebooted new EP ‘Hands Sewn Together’, out on Monday 25th August and available through all stores.

Bursting out of Boston, Lincolnshire and originally formed in 2011, Anti Clone had a turbulent start due to personnel changeovers, however they finally solidified their line-up with brothers Peter Moore (Lead vocals) and Drew Moore (Drums & Programming), linking up with fellow brothers Conor Richardson (Guitar) and Liam Richardson (Guitar) as wellas Fraser Burch (Bass) who rounds up the unit. The five-some soon forged a reputation in their local area for their commanding and formidable live performances rammed with blistering energy and ferocious riffs. Soon after the rising metalheads widened their horizons to break out on their first UK tour in 2013 with their friends, ‘Eridium’. The shows were a rampant success and rapidly increased Anti Clone’s national profile. The band have since gone on to play around the UK sharing stages with a host of heavyweights from ‘ESO’, ‘Lavondyss’, ‘RSJ’, ‘Sworn Amongst’ and ‘Bloodshot Dawn’ to ‘Maplerun’, ‘Evil Scarecrow’ and the legendary, ‘American Head Charge’.

The metal newcomers continued their ascent with the release of their debut single ‘1984’, which was produced by the Grammy award winning producer, Matt Hyde (Machine Head, Trivium, Fightstar, As I Lay Dying and Slipknot). The track and accompanying video attracted over 7,000 unique views and led to the band being featured in Terrorizer Magazine, as well as securing widespread support from the underground.

The industrialists have just inked a management deal with ‘Black Radar Management’, who’s stable includes American Head Charge, RSJ and Maplerun. Now with the national release of their killer new EP ‘Hands Sewn Together’, which boasts five killer tracks, from the explosive past single ‘1984’ to the alluring low-slung groove of ‘Take This Pill’ and the hammering Tool-esque dynamics of ‘System’, the stage is set for Anti Clone to truly soar.

youtube.com/AnticloneHQ | www.twitter.com/AnticloneHQ | www.facebook.com/AnticloneHQ |  http://www.anticlonehq.com/ |