King Satan – King Fucking Satan

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In a world bent on self-destruction from the intimacy of relationships through to the broader intolerance of religion and the greed of those governing it up front and behind the scenes, never has there been a more suitable and insidiously compelling soundtrack to it all than the new album from King Satan. Recently released by the  Finnish outfit, King Fucking Satan is a ten track devouring of the senses and an insatiable trespass of the psyche as flirtatious and contagious as it is emotionally pestilential.

Originally a solo project for vocalist, multi-instrumentalist, and producer King Aleister Satan (aka fra. Zetekh, the frontman of Saturnian Mist) when it emerged in 2015, the band has subsequently expanded due to live show demands with Kate Boss (vocals, synths, piano), John Oscar Dee (guitars, bass), Martin Shemhamforash (synths, bass), and Magister Demaniac (beats, additional instruments, programming) completing the current line-up. Musically King Satan creates and fester a senses consuming, body inciting fusion of black and death metal with dark electro, EBM, aggrotech and more besides whilst lyrically and emotionally, nothing is left out from being invaded and violated; the album exploring themes “found within occult philosophy, psychological mind-fuck and even sociological satire hand in hand with renegade rock ’n’ roll spirit that surely bows to nothing and no one!”

Dance With the Devil pretty much sums up the experience of listening to the album as well as providing the title for its opener. As a dark atmosphere crowds around ears, a vocal trigger brings hungry beats and synth cast temptation upon the senses. Equally predacious and alluring, with increasing addictiveness and virulence as melodies and hooks play, King Aleister Satan’s vocal trespass bullies and harries, every syllable explored and sharing primal instruction. Like a mix of God Destruction, Skinny Puppy, and label mates Barathrum, the track infests and incites, its infectiousness and inviting hooks as loaded with viciousness as its boldly direct animosity.

It is a great manipulative start soon matched and overshadowed by As Above So Below, a song managing to be even more primordial and catchy as nagging rhythms pound and synths cast their toxic melodies and hooks; an infectious trait matched in the swing of the punk/black metal scarred vocals. Within moments bodies are bouncing and hips swinging, something we have seen in close attention, as thoughts are twisted and stretched by the corrosive vocal and lyrical intrusion. Addiction appears inevitable so be warned as indeed in regard to Enter Black Fire which though not quite having the body as firmly in its puppeteer grip keeps things feverishly pulsing as thoughts are taken on a tour of ascending oppressive power and its escape.

Psygnosis has everything lustfully involved and enslaved next too, its musical psychosis the fuel for more unstoppable infectiousness and lyrical humour honed drama. Physically exhaustive and imaginatively tenacious refusing to leave the listener alone with its creative bordering psychotic enterprise, the track is superb, a new major highlight though instantly eclipsed by Sex Magick. Stomping over the senses with every beat a haymaker and each synth nurtured sortie of ears a rebelliously sexual coaxing, the outstanding track grows into a relentless and licentious tide of industrial/ EBM contamination adding J-Pop like ingenuity with the vocals of Boss glorious and a devilry akin to something Mindless Self Indulgence might expel.

The predatory instincts of Satanized course ears next, its infectious electro canter a bold niggling of the senses around the raw air and tone of vocals and word before Of Internal, Eternal & Spiritual War, with its haunting Cimmerian crawl through an ominous atmosphere woven around darkly whispered vocals and harmonic siren cries, envelops the senses.

Recalcitrant causticity gets its head in the electro punk epidemic of Spiritual Anarchy straight after; defiance and vocal antagonism a potent contrast to the quenchless dance and devious endeavour of synths and guitars while Destroy the World is a calmer but cancerous embrace of the senses. Suggestive melodies vein an invasive smog of sound and intent which dowses the listener in emotional and sonic malignancy.

The album closes with a similarly toxic climate and reflection, though Kali Yuga Algorithm has a thicker sinuous texture to its layers and black industrial, rancor coated wake-up call. The track leaves a lingering imprint on the senses as pretty much all within King Fucking Satan, a release which enthrals on the verge of rapture and provokes to the point of brutality for seriously one of the most rousing and enjoyable stomps this year so far.

King Fucking Satan is out now via Saturnal Records and available @ https://saturnalrecs.bandcamp.com/album/king-fucking-satan

http://www.kingsatan.net/    https://www.facebook.com/kingsatan616/

Pete RingMaster 20/06/2017

Copyright RingMaster: MyFreeCopyright

OMRÅDE – Nåde

2015 saw the release of an album which deserved far more attention than it got and warranted every syllable of praise offered its “visual and aural telescope.” Edari was the invention of French duo OMRÅDE who now return with its equally startling successor Nåde. That first full-length made ears and imagination pay attention, the second simply demands it and repays with what will surely be classed as one of the major adventures of the year.

OMRÅDE consists of vocalist/guitarist Bargnatt Xix, known elsewhere as Christophe Denhez of Nerv and previously Mur and In The Guise Of Men, and drummer/keyboardist/programmer Arsenic, christened Jean-Philippe Ouamer and the skin hitter of Idensity and formerly of Nerv. Together they weave a collection of avant-garde soundscapes nurtured from everything around the ambience hued climates of post rock, industrial, electronica, and avant-garde metal, and that is simplifying their fascinating explorations of sound and emotion. It is a mix which created a compelling proposal in the cinematic adventure of Edari and now the even more aurally haunting and stirring Nåde.

Whereas the first album felt like looking across a broad canvas of universes there is much stronger intimacy fuelling Nåde, like ears and thoughts are peering in on the tempestuous fortunes and emotions of a single soul representing the surroundings and lives within a noir lit and suffocating climate. That is not to say it does not venture through worldly landscapes too, just they all feel cored by the same instinctive melancholy and depressive clad spirit. Influences upon the project include the likes of Ulver, Manes, and God Is An Astronaut, essences certainly seeping across the new album along with an equal infusion of Nine Inch Nails/Palms scented shadows and suggestiveness.

Nåde opens up with Malum and swiftly has electronic beats and guitar coaxing ears as Denhez’ vocals share the song’s heart and beleaguered emotions. Pretty much haunting thoughts and psyche from its first breath, its inner psychosis is just as swift in stirring the imagination as vocals hint at a soul trapped yet seemingly revelling in the inevitability of inescapable turmoil. Strings and brass soon after bring their seductive shadows and flames respectively to the blossoming atmosphere and body of the song, a cinematic wash in tow yet that personal dispute continues to voice things. It is a stunning piece of music and vocal insight, instantly surpassing anything on that impressive first album and just the start of a uniquely stirring journey.

The following XII has a gentler touch, its hazy atmosphere jazzy and sombre yet with a warm glow which only attracts like a night’s final brandy. Keys tease as Leo Sors’ guesting sax woozily blows with suggestive prowess, each flame embracing reflective vocals and in turn a hotly simmering funk shuffle. With Bernard-Yves Querel adding his guitar, the track at times is something akin to 6:33 certainly with the emerging depths and mercurial intensity of the track; ears and imagination enthralled and sucked into its unpredictable enterprise and dark instrumental theatre. Whereas the first was physically provocative, the second is emotionally inciting with just as rich results before the outstanding Enter beckons the listener into its melodically woven, progressively shaped, and increasingly virulent proposal. With a snarling brooding within the guitars and an unstoppable catchiness lining its brewing rapacity, the song is a lively cauldron of infectiousness and trespassing anxiety, each conflicting with and accentuating the other.

Hänelle is pure heart ruptured melancholy, another track which builds in intensity and intimate drama on every level from an initial smoulder nurtured as much by Jonathan Maronnier ‘s clarinet as emotional shadows while Styrking Leið is a haunted croon; a siren like lure of vocals and keys and if slower to tempt as its predecessors simply growing into another lingering highlight especially with its increasing visual potency and emotional desperation. The song sees Edgard Chevallier guesting on guitar while next up The Same For The Worst features additional vocals from L. Chuck D in its jazzy intoxication with Julien Gebenholtz’s bass a captivating pleasure all on its own. Becoming more fevered and intense with emotion as sounds share a volatile almost bedlamic restlessness, the track has ears and thoughts gripped. Certainly it is not the easiest listen within Nåde but boy is it one of the most rewarding and impacting.

The final pair of tracks ensure captivation and pleasure is as burning as ever. Baldar Jainko is as similarly intensive as the previous track, its heart and scenery a sharing and conflict of peace and faith with emotions and suggestiveness working on personal and worldly levels. Closing track, Falaich, is almost apocalyptic in tone and touch; an epilogue or portent of our emotional and physical destructions and apathy to it which is seriously gripping from start to finish and only increasing the vice as it provokes the darkest thoughts and richest enjoyment.

It is easy to suggest that if Edari impressed and impacted on you previously, Nåde will blow you away and for newcomers to OMRÅDE, the moment when music might just become much more than ear pleasing.

Nåde  is released May 26th via My Kingdom Music.

https://www.facebook.com/Omradetheband    http://omradetheband.wix.com/omrade

Pete RingMaster 26/05/2017

Copyright RingMaster: MyFreeCopyright

Freak Injection – Freak Is Fashion

Unleashing in the words of its press release, “Blood, Sex and Psycho!” the Freak Is Fashion EP is quite simply a temptation rather hard not to get down and sweaty with. It is a new slice of devilment from French industrial/electro rockers Freak Injection, a rousing four track escapade fusing the familiar and the fresh in a roar sure to inspire the freak in us all.

It is fair to say that big surprises are not as prevalent within Freak Is Fashion as flavours which tempt like old friends yet the Paris hailing quartet create an aural captivation and physical incitement many unique offerings can only dream of. Inspiration to Freak Injection comes from the likes of the Prodigy, Nine Inch Nails, Nina Hagen, Madonna, and Marilyn Manson, though Freak Is Fashion leaps upon the listener more like an insatiable fusion of Animal Alpha, Die So Fluid, and The Guilt with Kontrust like lunacy leading and fuelling it all.

With the raw essences of metal and punk colluding with electro and industrial revelry, the Freak Injection sound needs little time to infest ears and psyche as EP opener and title track reveals. As soon as its initial electro spiral is joined by distortion kissed vocal coaxing, there is no r escaping the song’s devilry and rebellious intent. Within a breath rhythms are pounding upon the senses like migraine, riffs simultaneously harrying them with their dirty tone as hooks and electronic bait are unleashed with insatiable intent. The vocals of Charlie RED just as swiftly get a hold of ears, her infectious guile and mischief accompanied by the melodic teasing of guitarist MAC-F as Kevin Hapexia’s bass heavily prowls. Continuing to probe with the swinging beats of Anthony bordering on the psychotic at times, the track makes a riveting and body rousing trespass to kick things off, its schizophrenic character increasingly unveiled as its bounds along.

The following Sex Me is an instantly panting arousal of sound and creative intrigue, its introduction a slower, more controlled yet insatiable proposal with instinctive seduction lining every note, beat, and vocal taunting. With an increasing swagger, riffs grow in weight and rhythms in impact but equally so too does an unpredictable web of twists and deceitful turns never going quite where you expect and greatly pleasing because of it. Again it is hard to say that the song is truly unique, certainly not across its whole body yet there are only fresh and enthralling times in its midst. It is qualities equally found within successor Crosses, a meaty stomping of electro pop ‘n’ roll which has the body bouncing,  hips swerving, and vocal chords induced within its first anthemic roar. Charlie is again a beacon within a blaze of tenacious captivation naturally fitting and sparking rock ‘n’ roll instincts.

The release is completed by Psycho (Russian Boy), an emboldened motivation of sound which arguably fits expectations of the tags given to the band’s sound more than most but brews volatility in its rock ‘n’ roll which just detonates in ears. It is a high-voltage end to a creatively bustling and animated, not forgetting fervour driven, rampage that the inner freak just cannot refuse.

Freak Is Fashion is out now.

https://www.facebook.com/Freakinjectionmusic/    https://twitter.com/Freak_Injection

Pete RingMaster 23/05/2017

Copyright RingMaster: MyFreeCopyright

Bait – Self Titled

art_RingMasterReview

If there is a sound which lives up to its creator’s name more than that of UK post punk project Bait, we have yet to have the pleasure. As in irresistible evidence in a self-titled debut album, it is a snare for ears and imagination; a lure body and instincts alike cannot ignore and as primal and creatively visceral as it is intricately woven.

There is very little we can tell you about Bait, next to nothing to be honest except that it is the solo project of a musician/visual artist which made a seriously impressive introduction to attention within the Alternative Occupations EP released by the Southend based and the outstanding Asylum’s label Cool Thing Records which now lets the band’s first full-length off the leash. Sound wise, Bait conjure a proposition which cannot escape inspiring eager references to Killing Joke in their early days and also of bands like Red Beat, the Malicious Damage label mates of Jaz Coleman and co at the time. Just as quickly though, the band’s own unique character and imagination is infesting album and psyche in what is simply one of the most exciting things heard here in a long time.

Must Meditate opens up the album, its initial coaxing of increasingly excited electronic pulses and vocal endeavour united under musty sonic atmospherics. It is an intriguing introduction boiling up with every second into a tempestuous challenge of metal, industrial, and post punk espionage. Attitude fuels the potent mix, vocal prowess adding to the agitated nature of the song whilst synths and rhythms swiftly bring Killing Joke’s debut EP, Turn to Red to mind.

It is an outstanding start quickly backed up and shadowed by new single Push The Elephant. It is a predacious proposition, stalking the listener even with its boisterous gait while drawing their physical and vocal involvement with an infection spreading alchemy of sound and invention. Wiry hook lined melodies and a brooding bassline only add to the virulence hungrily at play, a united wall of temptation stirring a lustful appetite and participation in no time.

Hate One Another, Love Your Selfie brings a dark funk infused proposal next, its minimalistic yet broadly contagious enterprise woven with the nagging potency of Pop Will Eat Itself. Like a seductress, the track weaves its body calmly around tears, deviously underlying wantonness adding to its lure before Waspy consumes the listener with its punk spawn dance. Beats swat the senses with belligerent keenness whilst guitars caustically bubble on their surface with the melodic tempering offered by keys only seeming to add to the cantankerous air of the track.

The track which provided Bait’s offering on the aforementioned EP is next, I’m Still Here a glorious prowl of hypnotic rhythmic trespass and vocal captivation within a swarming tide of riffs and bass predation. Like a sinister blood lusting yet mischievously devilish mix of Shock-Headed Peters and Brian Brain, the song is pure addiction sure to repeat in many ears and nightmares at its own whim.

Humour is as potent an asset of the album and sound as its invention, Greatest Of The Teeth and the inspirational attributes of Janet Street Porter breeding another attitude driven confrontation to get greedy over. Again thoughts find seventies flavouring to refer to, Rema Rema and to a lesser extent Swell Maps sparked in thought by the compelling incitement but as usual all hues in a tapestry of sound and imagination distinct to and acting as irresistible Bait.

The album concludes with the pair of MZ 4416 and As Far As the Rope Goes. The first is a hungry muscular rock ‘n’ roll assault loaded with more piercing hooks than an abattoir and just as meaty whilst its successor haunts ears and thoughts with angular grooves and deceptively toxic melodies amongst respectful rhythms as vocals snarl with defiance. Both provide a ridiculously enjoyable and striking album with the close it deserves, each adding to the net of lingering temptation quickly drawing back lustful attention.

Bait is a thrilling proposal, band and release as suggested something which gets the juices flowing and you get the feeling they have only scratched the creative surface. Happy Days!!

The Bait album is released March 17th through Cool Thing Records @ https://bait.tmstor.es/cart/product.php?id=31492 with the single Push The Elephant out now.

https://twitter.com/hate_bait

Pete RingMaster 28/02/2017

Copyright RingMaster: MyFreeCopyright

MiXE1 – Don’t Break Apart

cover_RingMasterReview

It has been a fair while since the release of their debut album Starlit Skin, two and a half to be more accurate, but MiXE1 has leapt back into view with an ear grabbing roar of a new single which just demands attention. Showing an even greater meatier edge to the band’s emotionally fuelled melodic and electronic beauty, a fusion of textures which has been already explored to great success by them previously, the release is an imposingly stirring and provocative proposal with a B-side just as equipped and likely to draw a new wealth of ears and fans the way of the band.

Formed by Mike Evans (vocals/synths) in 2010 as a solo project, MiXE1 began heading towards being a full band with the addition of Lee Towson (guitar/bass/synth/vocals) two years later, today’s line-up completed with the subsequent addition of Lee O’Brien (drums/synth/samples). Singles and EPs along the way have all lured new spotlights and greater attention to match the growth in the band’s sound and Evan’s evocative songwriting. Starlit Skin was an acclaimed result of that on-going evolution with its lead single Talking In Our Sleep alone exciting new appetites. It has been a publicly quiet time since the excitement of their release died down but as Don’t Break Apart swiftly reveals it has not been a creatively infertile time or seen a lull in their sound’s development.

Don’t Break Apart instantly pulsates upon the senses, its golden harmonic touch laying on jabbing rhythmic pulses. Evans’ swiftly engaging tones step forward soon after, his ever expressive tones courted by synth bred caresses whilst that initial rhythmic coaxing persists. It is a gentle yet commanding lure with an underlying intensity which erupts as the chorus in time envelops the senses, warm and harsher textures united in infectious enterprise. That snarl infects the following twists and emotive throes of the track, the union of contrasting essences a magnetic web around an openly inflamed heart. Metal and heavy rock spices only add to the drama and adventure of the dark and rapacious incitement, the song showing the fresh move in the MiXE1 sound.

Accompanying the song is Meteor, a fireball of a proposition descending on ears with predacious intent from its first breath. A flame of guitars incites a wall of industrial toned synth bred intensity within which Evan’s warmer expressive vocals glow, backed by the similarly alluring tones of Towson who simultaneously offers a lively brooding bassline to get greedy over. With scything beats and bracing riffs building an industrial metal collusion with the synth rock endeavours of the synths, the track is a glorious blaze of sound and energy matching and occasionally over shadowing its companion.

With the release completed by the increasingly engaging remix of Don’t Break Apart by Ruinizer and featuring guest vocals from Richard K of Machine Rox, Erlend Eilertsen from Essence of Mind, and Roman Marisak out of Professional Murder Music/Spacetime along the way and extra synths from Studio-X, MiXE1 has returned brighter and bolder than ever before. Don’t Break Apart also provides a powerful teaser for the band’s second album due later this year, something we are already getting a touch impatient for.

Don’t Break Apart is available now @ https://mixe1.bandcamp.com/

https://www.facebook.com/mixe1   https://twitter.com/mixe1music

Pete RingMaster 22/02/2017

Copyright RingMaster: MyFreeCopyright

Circle of Dust – Machines of Our Disgrace

As treats go, the re-release last year of all four Circle of Dust albums was rarely rivalled, until the last sigh of 2016 that is and the unveiling of a brand new collection of songs from the 90’s emerging industrial / electronic-rock project. Circle of Dust was the introduction to the craft and stirring talent of artist/producer Klayton, the fore-runner to his acclaimed and inspiring project Celldweller though the differences to the pair of propositions is an open roar no more potent than in the breath-taking Machines of Our Disgrace.

The quartet of Circle of Dust releases in Circle of Dust, Brainchild, Metamorphosis, and Disengage and also the Misguided album from his side project Argyle Park had been ‘lost’ to our ears for over twenty years with the rights to all unavailable to Klayton after the labels they were released through shut down back in the nineties. After two decades chasing, he re-gained ownership of the rights in 2015 and set about re-mastering each of the five full-lengths last year, expanding all with additional demos, unreleased bonus tracks, acoustic/alternate versions of tracks as well as some new remixes.

Whether they were the spark to writing new Circle of Dust songs and creating a brand new episode in its distinct landscape of adventure or a new album was an idea already in motion matters little in the face of an imagination lit and gripping proposal offered by Machines of Our Disgrace. Entangling metal and electronic essences in a virulently infectious industrial incitement, Klayton and album set another bar for others to be inspired by. There is formidable steel to riffs and a backbone of rhythms which invade the senses with a crunch throughout the release while surrounding them a multi-varied and ever present snarl stalks sound and lyrics.

machines_of_our_disgrace_cover_RingMasterReviewOpening with the suggestive air and throbbing ever intensifying lure of brief encounter re_Engage, the album swiftly consumes ears and thoughts with its title track. From behind an initial sample, repeated throughout, Machines of Our Disgrace looms, advancing with rapacious intent before launching its metallic riffs and wiry guitars grooves. Electronic provocation unites with this predacious embrace, senses and imagination infested and pleasured by the predacious tapestry as Klayton’s tones prowl with harmonic enterprise and invasive potency.

It is an exceptional full start sparking body and emotion and backed just as powerfully by next up Contagion. Living up to its name, the track soon surrounds ears with a treacle like melodic tempting, subsequently beginning a relentlessly catchy enticement with just a whiff of Ministry to it, that evolving into a more Dope/Society One like trespass as Klayton’s vocals prowl and question while the song reveals its full repertoire of creative stimulation.

There is no relinquishing of imagination and appetite with Embracing Entropy next. Featuring Celldweller, i.e. the combining of Klayton’s two unique creative sides, the track pulsates with intrusive drama and invasive energy. As across the whole of the release, samples are skilfully and evocatively used whilst sounds feverishly bubble, igniting senses and thoughts in turn. From blisteringly agitated to melodically seductive, the song is a theatre of sound and texture, inescapably persuasive and hungrily addictive.

Just as powerful is the ferocious presence of Humanarchy, the track a ravenous threat of metallic and vocal rabidity locked in allegiance with a just as imposing electronic swing while after the warning of Signal, the following alt_Human uncages a sonic tempest as enjoyably challenging as its lyrical examination of science and morality. Fuelled by rapacious infectiousness, the song easily infests body and imagination with a swift and almost prurient craving.

Hive Mind is a simmering, bordering on predatory croon tempting ears like a blend of synth pop era Ministry, Ghost In The Static, and Nine Inch Nails while straight after Outside In and Neurachem serenade and growl respectively. The first of the pair is an absorbing melodic embrace, almost warm in its touch, whilst its successor is an irritable and fiercely captivating trespass binding ears with metallic and introspective melodic seducing, both adding further pinnacles to the lofty heights of the release.

A sonic kaleidoscope evocatively devours ears next with k_OS, samples narrating its dramatic landscape before Neophyte bubbles and bursts in electronic espionage for another irresistible, contagion loaded adventure for the imagination to lose itself in.

The album closes with Malacandra, a brooding fog of sound and atmospheric suggestion haunting ears and thoughts alike across its instrumental soundscape. It is an edgy and emotionally charged piece of noir lit evocation bringing a superb adventure to a powerful and magnetic close.

Even though Celldweller has forged pleasure and lust in ears and imagination, Circle of Dust has been missed, its distinct industrial presence an absence never filled until now with the exceptional Machines of Our Disgrace where Klayton swiftly suggests he is ready to push genre boundaries once again.

Machines of Our Disgrace is out now via FiXT across most online stores and @ https://circleofdust.bandcamp.com/album/machines-of-our-disgrace-2 or http://fixtstore.com/circleofdust

http://circleofdust.net     https://facebook.com/circleofdustofficial    http://klayton.info

Pete RingMaster 17/01/2017

Copyright RingMaster: MyFreeCopyright

Ventenner – Invidia

Ensuring 2017 gets off to a powerful start, UK’s Ventenner are poised to release their new album; an encounter which from start to finish rapaciously devours ears and imagination. Increasingly irresistible with every passing slice of alternative metal, rock, and industrially infused electronic involvement, Invidia is the natural yet inventively bold offspring of the band’s previous successes across. When giving us the heads up last year about the forthcoming encounter, band founder Charlie Dawe (vocals/synth) suggested that “This one is set to be a lot heavier, more powerful and a superior record!” It needs little time and barely one listen to confirm his hopes and assessment are right on the money.

Variety and imagination has never been lacking in the Ventenner sound as evidenced by previous albums This Is The Reason of 2012 and the acclaimed Distorture two years later. Power and forceful enterprise has never been absent in the band’s music either since emerging initially as a solo project for Dawe in 2007. Ventenner’s last album alone was an encounter leaving “the senses beleaguered and imagination ablaze from start to finish”, its emotionally raw dystopian soundscapes seductive and compelling but indeed Invidia while embracing similar qualities taps into an almost primal yet involved intensity and abrasive energy which consumes the listener.

Produced by Esoteric vocalist/guitarist Greg Chandler, Invidia also unveils the most intricate tapestries of sound from the London based outfit yet starting with opener The Start Is The End. A synth resonates in ears first, it’s coaxing swiftly joined by the prowling tones of Dawe with restrained but striking rhythms alongside. As riffs and hooks bring their invention to the mix, the song breeds a Nine Inch Nails scented predation; exotic hues lining an emerging melodic suggestiveness within a controlled yet tempestuous proposal. Throughout, the song’s character is intrusive and raw yet magnetically infectious, traits blossoming throughout the album.

cover-art_RingMasterReviewBreak In Two reinforces the release’s impressive start, its resourceful entrance calmer yet just as instinctively invasive as its predecessor’s as a Gravity Kills meets Celldweller air grows and colludes with Ventenner’s openly distinct imagination. A gorgeous melodic hook caps off a mighty temptation, its prowess and potency matched by the sinister charm and emotive fire of next up Saligia. Almost devious in its weave of flirtatious melodies and sonic causticity, the song is pure addiction as industrial metal and electro punk merge for a hauntingly irritable raid on the senses.

A superb and masterfully woven conflict of textures makes up Enemy next, an outpouring of beauty and the beast sound and creativity lined not for the first or last time within Invidia by a Pitchshifter like essence while next up Be Still brings fresh crabbiness to ears as Ventenner again confirm their expertise at aligning melodic elegance and bordering on hostile emotional and musical tetchiness.

The former of the essences is embraced primarily by the bewitching Only The Empty Remain, though it too has a disgruntled undercurrent which erupts throughout before Circle while carrying a touch of Society One to itself, roars commandingly, making its mere two minutes another of the most powerful and essential moments within Invidia.

Dividing Seed just as enjoyably hits the spot, its web of guitar and synth intrusiveness as disarmingly seductive as it is cholerically bracing; essences further inventively twisted by successor Bruxism. A bear of a song with bone shuddering beats and senses binding vines of sonic invention around the emotional challenge of Dawe’s vocals and words, the track is sheer power but tempered by the disarming flow of melodic grace and harmonic beauty which breaks through the October File spiced tempest.

A predatory air is cast by Anamnesis, a trespass captivatingly countered by the reflective melodies and warm textures blossoming in voice and sound. Like two souls in dispute yet eager union, the track adds to the pinnacles of the release before being instantly matched by the imagination gripping landscape of closing track Omega. Its melancholic beauty immerses ears and thoughts in a haunting almost spatial flight accentuated by Dawe’s transfixing tones in a temptation which alone urges a swift return to the roar of the album.

Distorture impressed two years ago but has been easily eclipsed by Invidia, already one of this year’s important highlights. In many ways the Ventenner sound has come of age yet it is easy to still feel there is plenty more for they and us to discover.

Invidia is released via Hibernacula Records 20th January on CD and also digitally and on vinyl through http://www.ventenner.com/store

http://www.ventenner.com/

https://twitter.com/ventenner   https://www.facebook.com/Ventenner/

Pete RingMaster 10/01/2017

Copyright RingMaster: MyFreeCopyright