The Lumberjack Feedback – Blackened Visions

THE-LUMBERJACK-FEEDBACK_RingMaster Review

As debut albums go, Blackened Visions from French instrumental progressive doomsters The Lumberjack Feedback is a colossus, though maybe that is not so much a surprise given the impressive and intensive tempest of their earlier offerings. The new album though sees the band exploring even more darkly provocative depths and uncompromisingly invasive textures in their sound and sonic suggestiveness. Blackened Visions lives up to its name with physically invasive ease; providing an inventive playground for the imagination and emotions to eagerly conjure within whilst at the same time luring ears into dramatic landscapes.

The band’s first acclaimed EP Hand of Glory in 2013 set the template and intent of The Lumberjack Feedback exploration in composing and sound, it offering a highly ravenous and intrusive adventure which has only grown more compelling and creatively dynamic, not forgetting experimentally bold within Blackened Visions. Between these releases, the Lille quintet drew potent reactions with Ausstellung, a split release with We All Die (Laughing) and the live EP Noise in the Church, both in 2014. Fair to say though, that Blackened Visions sees the twin guitar craft and imagination of Simon Herbaut and Arnaud Silvert, the predacious bass trespass of Sebastien Tarridec, and the united and often duelling enterprise of drummers Nicolas Tarridec and Virgil Chaize, sculpting their most stimulating and immersive proposals yet.

Artwork_RingMaster ReviewThe band’s fusion of crushing doom metal with progressive and post rock explorations, all infused with tar like sludge and intensively fiery stoner-esque fascination, swiftly seduces and devours body and senses with the initial heavy throws of its opener No Cure (For The Fools). The track is a predator, laying down a sonic trail as menacing riffs lurk in the background before bringing it all to the intimidating fore led by the bestial instincts of bass and the united grouchy twang of the guitars. The track continues to crawl over and invade ears as it develops an equally gripping anthemic devilment to the combined but individual rapacity of the drums. There is a touch of Morkobot to the piece and equally in its raw character and volatile intensity, the scent of bands like Neurosis and Pelican, but whereas maybe in previous encounters they would be an overriding presence straight away Blackened Visions reveals a distinction solely from The Lumberjack Feedback.

The excellent start continues with the album’s title track. The melodic first touch and stormy air is an engaging but portentous melancholy fuelled invitation which only intensifies as guitars and bass entwine and creep around firm rhythmic pokes. There is a fearsome romance to the lure of the music too, even as things intrusively erupt and grooves become more sinewy as rhythms forcibly make their trespass. Darkness and invasive shadows always come equipped with a certain lure and so it is with the increasingly fiery and vitriolic landscape and indeed heart of Blackened Visions, song and album.

I, Mere Mortal steps forward next, another sonic coaxing the first contact from within which a rousing rhythmic incitement grabs the imagination and appetite. The anthemic potency of the drums is matched by a throaty bait of bass whilst a repetitive nagging from the guitars adds to the raw almost monolithic tempting enveloping the listener before spreading broader pestilential and ravenous sonic antipathy. The track is irresistible; a gloriously bruising call to arms led by, to simplify things, the thumping drama of rhythms and niggling persistence of guitar.

Karma to Burn like spicing lines Salvation next, melodic acidity which burns on the senses but sweetly entices ears and heart to its cancerous rock ‘n roll leading to intensely viscous doom and post rock spawned exploration. It is a flight into the beauty and hopeful calm found within acceptances of dark and merciless emotional and physical climates, and another song which leaves the body invigorated, thoughts stretched, and emotions exhausted.

A tapestry of drama and creative enmity follows with Dra Till Helvete, the track an addictive and mercurial beckoning turned sonic devourer leading body and imagination into the hellish depths of the underworld with rhythmic magnetism. As through all tracks, thoughts paint a picture and emotions flirt with more intimate realisation, every intrusive note and swinging beat a powerfully impacting and rabidly lingering incitement to be entangled in.

Mah Song (Horses Of God) completes the album, it a rumbling and lumbering beast merging expulsions of rock ‘n’ roll with psyche twisting post rock winds infused with danger lit melodic veins. It is a dramatic and compelling end to a demandingly impressive proposition. The Lumberjack Feedback has unlocked their most destructive and invigorating depths yet with Blackened Visions and it feels like it is just the beginning too; happy days!

Blackened Visions is out now via Kaotoxin Records digitally @ http://listen.kaotoxin.com/album/blackened-visions and as limited edition 500 copy DigiSLeeve CD with 100 copy collector edition 12″ LP on clear vinyl and 400 copy limited edition 12″ LP regular versions will be released during 2016’s second quarter at the Kaotoxin Shop.

https://www.facebook.com/thelumberjackfeedbackband    http://www.thelumberjackfeedback.com/    https://twitter.com/LumberjackFeedb

Pete RingMaster 18//01/2016

Copyright RingMaster: MyFreeCopyright

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Second To Sun – The First Chapter

STS_RingMaster Review

At the beginning of 2015, we had the opportunity to check out the Three Fairy Tales EP and a couple of singles around it from Russian metallers Second To Sun. It was an instrumental experience and adventure which just lit our ears and imagination. Now as the year begins to wind down, another proposition from the trio in the shape of a new album has ruffled the mental feathers and ruptured a rich vein of pleasure. The First Chapter is a nine track exploration of the broadest tapestry of metal styles and invention, carrying on from where the EP and certainly singles left off but breeding new experimental and ferocious captivation.

Second To Sun began back in 2012, formed by guitarist/keyboardist Vladimir Klimov-Lehtinen and drummer Artem Vishnyakov. The departure of the latter saw the band as a one man project for a while before bassist Anton Danilevsky and drummer Theodor Borovsky linked up with Klimov-Lehtinen. Debut album Based On A True Story was released in 2013 to welcoming ears and comments with the Three Fairy Tales EP coming towards the end of the following year, its unveiling drawing greater attention and in turn acclaim. Now the trio unleash The First Chapter, an encounter with a title suggesting it is a climax to the first part of the Second To Sun ascent, and tracks that are opening up a new soundscape and emprise of the band’s composing and sound.

Second To Sun - The First Chapter (2015) _RingMaster Review   As mentioned the Second To Sun sound is a ravenous kaleidoscope of sound described as “modern metal with the elements of black metal and ethnic Finno-Ugric music.” It is a thick and rich tapestry that draws on every strain of extreme and melodic hues you can wish for, creating immersive creative escapades inspired by the history and life of the Finno-Ugrian nations within Eurasia. It is also a highly evocative incitement as shown by album opener Spirit Of Kusoto. Inspired by a holy grove of the Mari people with very deep sacral meaning and serving as a “church”, the track places the imagination in the heart of the forest with the strains of Mari folk song Sun rises lighting ears. It is a potent suggestiveness which soon erupts into a more primal and rugged proposal, rhythms a predatory incitement as the guitar spews caustic hues. Almost as quickly a calm and beauty takes over as the bass continues to skilfully grumble; this another brief exploit in the evolving character and landscape of the track. The piece is riveting, an insight to a dark and bright place with danger and warmth almost fighting over themselves to dominate but ultimately uniting in one fluid enthralment as folkish as it is blackened, as mesmeric as it is intimidating.

Red Snow is an instantly more raw and carnivorous place, a torrent of hungry aggressive sound effectively representing the feel and climate of the tale of nine young men who died at the infamous Dyatlov Pass. You almost feel the cold, the starkness, and turmoil endured as rhythms and sonic imagination create a barbarous and compelling provocation throughout but the track is also as potent in its echo of the rural folkish landscape as voices and percussion amongst many flavours emerge. The track is as rousingly bewitching as its predecessor, a canvas for thoughts to interpret and use to cast their own take on events inspiring the piece before the dark, haunting beauty of Me or Him takes over to seduce and inflame the senses and imagination. Simultaneously mesmeric and bedlamic, each contrast superbly cultured and honed by the band, the track is a predator of sound with a gripping maelstrom of emotion and ideation woven into an irresistible trespass of diversely brewed incitement.

Through the djent, death metal twisted Land of the Fearless Birds and the oppressively enjoyable The Blood Libel, band and album only tighten their grip on body and appetite. The first is another fearsomely predacious offering with bloodied melodies and a psyche stirring atmosphere whilst its successor opens up a cauldron of black/death bred heresy with welcomingly invasive enterprise. Both tracks in their own way, impressively stalk ears and thoughts whilst casting an almost hypnotic lure through the scintillating invention and craft of all members. The imagination of guitar and keys from Klimov-Lehtinen is especially rousing, though arousal of instincts and passions are just as powerfully nurtured by the bass imagination of Danilevsky and the resourceful swings and beats of Borovsky.

Narčat in contrast to the previous pair bounds in like a warrior, bold and creatively tenacious like the young woman inspiring its heart. The track is an undiluted assault of energy, aggression, and a masterfully entwined diversity of metallic and melodic styles, all fused into a bracing tempest matched in its own individual storm by Virgo Mitt. Within the track though, an elegant beauty within a melodic oasis emerges to seduce and shape the tale being conjured in thoughts. The inspiration to the piece of music is as fascinating as the sound, and we suggest certainly checking out the background to all tracks via Second To Sun’s bandcamp to gain even more richness to the experience of the songs.

Completed by excellent bonus track Chokk Kapper, a spiny affair of riffs and rhythms branching out with intoxicating sonic and melodic intrigue and invention, and a demo version of Narčat, The First Chapter is a stirring and forcibly impressive provocateur of ears and thoughts, not forgetting pleasure. As progressive and avant-garde in as many ways as it is technical and extreme, the album confirms suggestions made by previous releases, that Second To Sun is one uniquely thrilling proposition.

The First Chapter is available now digitally and on CD via http://secondtosun.bandcamp.com/

https://www.facebook.com/second2sun   http://www.secondtosun.net/

Pete RingMaster 25/11/2105

Copyright RingMaster: MyFreeCopyright

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[STÖMB] – The Grey

Band

   “Can you hear the sound of the world? This ephemeral echo that slowly burns through the void…

Can you see beyond the veil? This overwhelming presence that enhances the truthfulness of any reality…

And then…When everything has faded away and the world is silent…

All there will be left is resonance…And the grey.”

 

Bred from the prose above, the epic, imposing landscape of The Grey, the debut album from French progressive metallers [STÖMB], is a ten track exploration of desolation and the nothingness consuming life before, during, and after its journey. Certainly that is where it took our imaginations, but the encounter will be the conjuring of diverse thoughts and emotions across all immersing within its potent and compelling adventure. As much as it is for ears, The Grey is an exploration for the imagination too, sculpting instrumental dramas and imposing soundscapes which easily ignite the senses and mind.

With a progressive metal sound entwining rich essences of diversely found flavours, the listing of the Paris quartet’s inspirations probably giving a clearer picture of their invention. Guitarists Tom B and Aurélien DF, bassist Alexandre G, and drummer Olivier R cite bands such as Meshuggah, Tesseract, Klone, Tool, and Animals As Leader as influences to their own striking compositions, and fair to say whatever your imagination is coming up with as you read that spicing is probably close to the mark in regard to album and sound yet a fraction of what The Grey provides as it leads ears and emotions into fresh adventures.

Digi    At around seventy minutes in length, the album is an epic journey and challenges from start to finish whilst rewarding with tracks which transport the listener into the realms they have been inspired to contemplate by its sonic narrative. Maybe combined it all makes for a proposal pushing limits of endurance, yet there is rarely a moment within songs and release where thoughts and attention wanders. From opener The Complex the album simply fascinates; every slither of melodic seduction and roar of primal antagonism a bewitching incitement. The first track alone has it all, its initial caress of beauty evolving into a volatile stroll of ravenous riffs and menacing rhythms within a caustic yet inviting ambience. The only voices across the album come in occasional suggestive samples, an early one helping shape or at least hint to the descriptive intensity and background of the first track.

The portentous feel of the song is replaced by the ferocious and hostile majesty of Rise from Nothing, a ravenous consumption of the senses but composed with a sonic and melodic beauty which ebbs and flows across the rugged rhythmic scenery. It’s consistently tempestuous air and theatre becomes even more volatile and inflammatory as the track proceeds, but like a travelogue it equally enthrals as it slips into new aural lands of mystique and creative colour before making way for Veins of Asphalt. The new detour to explore equally has a wealth of fearsome and endearing enterprise to offer and evolve; jagged riffs and scything beats entangled with a sonic web of mouth-watering craft and virulent temptation. With most tracks within The Grey ranging between six and nine minutes, only two courting slimmer lengths, there is a continually changeable aspect to the dark, immersive flights which is impossible to portray here but take as read very easy to get lost within in person.

Corrosion Juncture is a blend of savage intimidation and melodic ingenuity within a spatial atmosphere, the music a tenaciously magnetic flight through turbulence and calm within a shadowed drenched unknown. The senses are buffeted throughout and ears lit by the masterful endeavour of each aspect of sound as the track drives towards the lighter peace and beauty of The Crossing. It is a brief floatation of warm melodises and transfixing creative charm, a lull in the tempest which is soon consuming ears and thoughts again through the dystopian heat and intensity of Under the Grey. Its busy persuasion has thoughts lost in Orwellian theatre, again evidence of tracks and the band freeing the imagination to explore its own dark corners to their soundtrack. The song is a gripping proposal equalled by the just as potent Terminal City, a bustling rigorous prowl across an intensive, unrelenting daily provocation of life we can all feel akin to.

The track is glorious, the pinnacle of the album alongside its predecessor, though things continue to enthuse appetite and enjoyment as the broader terrain of The New Coming and the mercurial Genome Decline follow. The first of the pair embraces a calmer if still ferociously unstable climate with a smothering tapestry of unpredictable sound whilst its successor is an undulating, rabidly twisted spiral of enterprise and imagination embracing the listener in a thick sonic hug breeding fiery melodies and spicy textures.

The album closes with Only an Echo, a song with its melancholic air and reflective ambience which feels like an epilogue or more an epitaph to the dark premises explored before it. It is a fine and suggestive end to an increasingly gripping encounter. Admittedly at times The Grey is now taken in halves here, yet each time it leaves a lingering pleasure and incitement in emotions and thoughts…Fair to say that progressive metal has another impressive protagonist to contemplate.

The Grey is available now @ https://stomb.bandcamp.com/album/the-grey

http://www.facebook.com/stombofficial

RingMaster 28/05/2015

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

 

Dark flights in ravenous shadows: talking The Kahless Clone with Vito Marchese

TKC

Emerging from the creative invention and imagination of Novembers Doom guitarist Vito Marchese, The Kahless Clone and debut EP An Endless Loop has been one of the most sonically cathartic and emotionally imposing debuts to hit 2015 so far. Exploring a new realm of sound and textures in the instrumental soundscapes making up the release, Vito simply takes ears and imaginations on flights through seductively oppressive soundscapes of encroaching shadows and sombre beauty. It is very different creative exploration to that of his ‘day job’ so we thought we would dig deeper into the man and project. With thanks to Vito who was very accommodating of our questions we looked into the origins of the band, the decision to venture into a new musical direction, his dark music and much more…

Hi Vito, many thanks for sharing time to talk with us.

You are obviously more renowned for your music with Novembers Doom to most at the moment, so when did the idea and seeds to the emergence of The Kahless Clone start to blossom within you?

I had the idea of starting The Kahless Clone at the start of 2013. Another band I was in at the time was dissolving, and I wanted to make sure I had something else going on to fill up that space. Progress was slow at the beginning since Novembers Doom was working on writing our Bled White album, so I was focusing on that.

The accompanying press sheet to the band’s debut EP, An Endless Loop, said the band was formed to be an outlet for your instrumental music. Was that the only reason; was there a need to explore new areas too for you and your songwriting?

Having that extra creative outlet was a main reason, but other reasons included having a project that would be more active with performing live and doing long tours. I also wanted to do a project that was different than what I had done in the past. I wanted to explore some of my influences that I couldn’t really bring to the table in Novembers Doom. In The Kahless Clone I’m able to do some electronic and experimental types of ideas and songs.

I am assuming you have been writing instrumental tracks for a while? Where does this stretch you in different ways to your work with Novembers Doom?

I hadn’t really written instrumental music specifically before this project. I always pictured my ideas having vocals over them, and structuring songs in a way that would complement vocal melodies. With The Kahless Clone I can be a little bit more experimental with structures, and not have to worry about how vocals are going to fit over something.

Have you discovered new ideas and adventures in your writing for The Kahless Clone and the EP which surprised you?

Before writing music for The Kahless Clone I would always focus on creating solid and hooky riff based ideas that would later turn into song structures. The riff was the most important part of the song to me. I have a much different view point on songwriting now. I’m much more interested in creating a mood and atmosphere within the song, instead of writing cool riffs that get your attention.

How did you link up with the rest of the band?

Zach Libbe who did the electronic drum programming was the only person that I hadn’t worked with previously. We have mutual friends, and I had heard his electronic stuff before. I figured I’d shoot him a message and see if he would be down for working together. Luckily he turned out to be a really awesome dude, who knew exactly what I was looking for and was able to create it. I was in a band called Divinity Compromised with Andy Bunk and Ben Johnson. I knew they would be able to add a lot to the songs so I asked them if they would want to work on the EP. I play with Garry Naples in Novembers Doom, and knew he would be a great fit for this project as well. I’ve been very fortunate to have had the ability to work with really great musicians over the years.

Is this a fixed line-up or just for An Endless Loop and musicians will be a fluid line-up for future releases?

I really love working with the line-up that I had for An Endless Loop. I would love to use this line-up for the next release as well. I think it will come down to everyone’s schedules. When I started this project, I knew that I would want to be able to control when the band could go do things like record and tour. I didn’t want to get into a situation where things were ready to go, but some people didn’t have a free schedule. I like to keep things open where if need be, I can find session members for tours or studio recordings.

Your sound is described as dark music. Can you expand on that for newcomers?

When I say dark music, I mean that these songs are based on themes and moods that can evoke dark and somber feelings instead of your typical fist pumping, head banging reaction that most metal brings on. I wanted the listener to be able to get lost in the music and have it wash over them. Also calling it “dark instrumental music” is easier than saying “ambient progressive instrumental post-rock/metal with electronic elements”. It’s also a lot less confusing.

Are there any specific inspirations to your own musical tastes and invention which you would say have spiced your sounds with The Kahless Clone?

A major influence on me for creating The Kahless Clone was the band This Will Destroy You. I first heard them a few years ago, and was just blown away by their sound. I wanted to do something similar to that style, but mixed with my heavier influences, as well as electronic sounds. My goal was to create music that fans of atmospheric post rock, and metal could both enjoy and get something out of.

TKC PromoImageIn regard to An Endless Loop, were the first tracks upon it already set in tone in sound and direction before the other guys were involved in its recording or was there further evolution through their contributions?

I had made demos of the songs with drum parts and keyboard ideas on them. I knew what I wanted, but needed extra help in getting those ideas to actually sound good. I knew the guys would be able to take the ideas and really turn them into something great. I didn’t have any ideas for the bass, because I wasn’t entirely sure what direction I wanted it to go. Should it be a prominent part of the song, or more laid back and holding down the bottom end? Luckily Andy created some amazing bass lines that combined both of those things. Chris Wisco, who is my producer and engineer, then added his creative ideas and input on top of all of that.

Give us some insight into the recording of the EP.

This entire EP was self-financed by me, so it took a while for me to gather the funds and get open studio time booked. It was done in three separate sessions. Zach did the programming at his studio and sent me the finished tracks. After that Garry went in and recorded his drum tracks at Belle City Sound in Racine, WI. A couple of months after that Andy, Ben, and I went in and recording our tracks at Belle City Sound as well. We took another couple of months off, and then Chris mixed and mastered the EP.

How long was it in the making, from seeds to final day in the studio then?

The idea of the band started in early 2013, and the EP finally came out March 17th 2015. It’s been a long time in the making, but I think it was worth the wait. I’m really proud of how this EP came out, and it looks like a lot of people are digging it.

In our review we said the EP “lures ears and imagination into a soundscape of intimidating possibilities and melancholic beauty.” Did you have any specific intent with the release and music or is it a wholly organic exploration for yourself and indeed us?

I knew I wanted to make songs that were able to capture your attention and put you into a dark mind set. It’s easy to dictate how you should feel by the use of lyrics, so I wanted to try to challenge myself by creating feelings by only using the music and song titles. I think the artwork that Heather Lovett did for the EP helps enhance those feelings as well.

Did new ideas and thoughts of experimentation emerge whilst creating An Endless Loop which you are excited to explore further next time around?

I’ve never been into using effect pedals as a main songwriting tool. In the studio, Chris brought out some pedals that I had never used before, and I really liked how they sounded. I’m sure I’m going to explore some new ideas with different effects and tones. I think it’ll help me break out of the same routine you go through when trying to write music.

Have you found fans of your other work are taking to these new adventures and fascinating journeys with keen interest and anticipation?

It seems that fans of Novembers Doom and my other projects are liking what they are hearing from The Kahless Clone. That’s really great news, since I didn’t know how people would react to this EP. I think these songs came out great, and it’s a nice bonus that other people think so also.

What comes next for The Kahless Clone, we can assume it is an on-going project for you?

The Kahless Clone is going to be working on our live show, and focusing on touring and performing live often. A follow up recording is being planned for later this year as well. There is definitely more to come.

…And in other news from other band/projects ahead?

Novembers Doom just released our newest album last summer called Bled White. If you haven’t checked that out yet you can get it anywhere you buy digital music, or from The End Records.

Once again big thanks for talking with us Vito. Are there any last thoughts you would like to leave us with?

Thank you Pete for your support, this awesome interview, and the great review of An Endless Loop! You put a lot of work and thought into your reviews and interview questions. It’s much appreciated. Thank you to your readers as well. You can buy our music at all digital music stores, and you can get our physical cd at www.thekahlessclone.bandcamp.com

Check us out on YouTube, Facebook, and Twitter.

www.youtube.com/thekahlessclone

www.facebook.com/thekahlessclone

www.twitter.com/thekahlessclone

Pete RingMaster

The RingMaster Review 14/04/2015

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

The Kahless Clone – An Endless Loop

vitophoto

Atmospherically and emotionally shadowed, An Endless Loop is an immersive and magnetically evocative slice of post rock/dark metal which lures ears and imagination into a soundscape of intimidating possibilities and melancholic beauty. The four-track EP from The Kahless Clone is a mesmeric exploration for thoughts, a sonically cathartic and emotionally imposing journey casting fascinating and lingering shadows on the senses.

The debut release from the Chicago hailing instrumental band, it is a transfixing proposition which simmers tenaciously rather than sparks a blaze in ears and psyche, yet infests and submerges the listener in a constant tide of mood driven ambiences igniting the keenest appetite. The Kahless Clone itself is the brainchild of Novembers Doom guitarist Vito Marchese, who created the band as a portal for his instrumental songs. He enlisted the help of bassist Andy Bunk, keyboardist Ben Johnson, drummer Garry Naples, and Zach Libbe on electronics, programming etc. for the recording of An Endless Loop. Recorded with and mixed/mastered by Chris Wisco at Belle City Sound in Racine, WI, the EP takes the listener to emotion drenched worlds of encroaching shadows and sombre beauty, providing impacting flights through seductively oppressive soundscapes starting with opener Leave This Place With Me.

The first track slowly emerges from the lapping caresses of a dark cloaked tide, the sea a calming yet portentous coaxing aided by similarly imposing breaths of keys and adjoining piano. Soon after, the piece cradles ears in melodic hands, guitars adding to the elegant beauty as electronic rhythms are courted by a ravenously and primordially snarling bassline and texture. Intensity ebbs and flows across the absorbing landscape of the track, taking the emotion and energy of the guitars and rhythms with it and as much as ears and emotions are fed, the imagination is equalled fuelled for its own dark passages of exploration by the sounds and atmospheric smog.

   I Can Feel Them, but I Can’t Remember Them relaxes air and thoughts again next, its morose yet warm entrance a bewitching collusion between a stark post punk bassline and the ever 10471599_846588275397987_8113942985732759572_nemerging and evolving melodic invention of guitar and keys. The bass of Bunk is persistently compelling bait and a reality check within the ethereal embrace elsewhere. It all eventually ignites in an incendiary and fiery eruption of caustic riffs and flaming sonic enterprise, though still sublimely submerged in the overwhelming celestial swamp of sound, before settling back down for an intimate and wistful close to match the song’s entrance.

The final pair of tracks continue the masterful persuasion and adventure expressed by the EP so far, Everything You See is Gone providing a more heavily rhythmic growl and menace to the forlorn atmosphere around them. It is as if guitars and keys have a pent up angst, ripening and festering inside, unable to break the gripping web of beats and bass predation which itself increases in enmity and temptation. There has to be an outlet though, and that dark emotion finally erupts in a tempestuous fire of mournful sonic endeavour and rampant rhythmic agitation. It is a glorious and epic confrontation, the best track on the release involving and enthralling the listener body and soul.

The closing A Somber Reflection, well its label describes it perfectly though not the creative drama and melodic, almost jazz like invention which seduces from within. It is a masterful end to a superb introduction to The Kahless Clone; a band that greed is already hankering for more from. An Endless Loop is also a release which unveils new depths and secrets with every listen, new essences emerging from within its invasive climates bringing fresh adventures with every partaking of its evocative terrains. For fans of progressive/post rock and instrumental dark beauty, this is a must.

An Endless Loop is available now on CD and as a name your price download @ https://thekahlessclone.bandcamp.com/

https://www.facebook.com/TheKahlessClone

RingMaster 18/03/2015

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://reputationradio.yooco.org/