Peekaboo Primate – Misanthropical

PP_RingMasterReview

Bedlam suggests an element of chaos to its madness, an uncontrolled essence which certainly does not fit the character of Misanthropical, the new album from Finnish alternative metallers Peekaboo Primate. Yet in every other way the word best describes the creative diversity and inventive loco of the band’s irresistible incitement. The release holds ten tracks which twist and turn like a kinetically sonic kaleidoscope weaving an eclectic array of flavours into their own distinct imagination fuelled escapades.

Peekaboo Primate is like the joker in the pack of modern metal; not the fool playing with a lunatic demeanour just for attention, though mischief is never far from their imagination and songs, but the bold protagonist using unpredictable exploits to ignite the senses and inspire thoughts towards, in the case of Misanthropical, a world where “as ugly, brutal and harsh but sometimes also beautiful as it is – everybody wants to be part of the greatest party of our time before our species go extinct solely by our own hand.

Hailing from Tampere, and originally under the name of Airhead, Peekaboo Primate was formed in 2004 by vocalist Lauri Lepokorpi and drummer Riku Airisto. The original line-up also included Hannu Kumpula and Tuomas Kumpula up to the release of the band debut album Peek-a-boo Primates in 2011. Following its release, the band changed its name to Peekaboo Primate with its personnel subsequently completed by the addition of guitarist Matti Auerkallio and bassist Juhani Rytkönen.

The time between albums has seen the band’s sound evolve and become even more defined in its real uniqueness, though if looking for a hint to what band and Misanthropical offer, imagine a mix of Dog Fashion Disco, American Head Charge, and Five Star Prison Cell with a touch of 6:33 to it. From its first heartbeat the album has ears and attention gripped; Spray Tan opening things up with an assault of tenaciously unpredictable rhythms and hungry riffs as wiry grooves wind around their thick bait. The vocals of Lepokorpi are just as dynamic and impressive, carrying an air of Chad Gray to their rousing presence at times as keys and guitars create a masterfully tempestuous and exotically dramatic theatre of sound

PP_Cover_RingMasterReviewIt is a thumping start matched in quality and irresistibility by the psychotically cultured Ha Ha. Sonic and rhythmic stabs court vocal shenanigans from the start with heftier beats soon adding their instable intent to the quickly compelling mix. Slithers of jazz and groove metal flirt with avant-garde psychosis as the track grows and writhes as well as anthemically incites in equal measure before allowing Nothing the opportunity to prey on an already submissive appetite and imagination for the release. The song saunters along with flirtatious and intimidating hues to the fore, Lepokorpi like the ringleader in its midst as his narrative challenges and highlights the issues theming the magnetic proposal.

From its initial intriguing low key start, The Unleashed soon unveils a pulsating and sinister body of synth bred sound as exotic and sultry hues in female voice and melodic suggestiveness add an alluring invitation. The challenging words of Lepokorpi probe and echo in the background before with unpredictability as enjoyable and prominent as ever, the track slips into a reggae cultured shade of character, though it is just one moment in the revolving journey of the encounter.

An addictive dose of pop ‘n’ roll grips next in the outstanding shape of Heroine, its catchy colour led by the great guest vocals of Noora Louhimo from Battle Beast. The rest of the song is a predacious prowl with the again effect coated tones of Lepokorpi stirring up riffs and rhythms between the flames of pop temptation. Within moments, it is sure to have bodies bouncing and voices fully involved, as ours, before Mama Earth rumbles as sonic spices zoom in and out across its growling tone and nature; that American Head Charge reference coming to the fore here, across a wonderfully grouchy yet fiercely inviting proposition.

As its predecessor, Star has a more ‘straight forward’ adventure to its body, though as the last treat too, there are plenty of unexpected and seamlessly woven together twists to catch out expectations and enthral the imagination, especially when uncaging some creative aberration midway. It’s more composed sanity and boldness is contrasted by the delicious raw frenzy of Peekaboo Primate, the track a demented slice of noise rock infested avant-garde/nu metal mania and quite irresistible as it stalks and bruises the senses.

Some of its punkiness survives in the cantankerous luring of ears by Follow My Lead, though the song is unafraid to bring some pop seeded melody and contagion into its imposing metal shuffle between even more irritable and aggressive trespasses.

Ending with the melodic caress of 291112, an emotively suggestive instrumental which fits easier into the scheme of the album with each full listen, Misanthropical is ripe pickings for the imagination and enjoyment. It offers a canvas and adventure which persistently provides fresh twists and surprises even after numerous listens. We will admit, we had not heard of Peekaboo Primate previously, a band which right now it is hard with their music to get out of our heads.

Misanthropical is released on CD and digitally May 12th via Inverse Records.

http://www.peekabooprimate.com/   https://www.facebook.com/peekabooprimate  https://twitter.com/peekabooprimate

Pete RingMaster 12/05/2016

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Wolfhorde – Towards The Gate Of North

Wolfhorde_-_Promopic_RingMaster Review

Like a warrior bold in its conflicts and proud of its beauty loaded landscape, the debut album from Finnish folk metallers Wolfhorde is an attention grabbing and imagination sparking confrontation. Towards The Gate Of North is a weave of melodic elegance and impassioned folk bred charm aligned to contrasting Viking roars and dark trespasses in word and sound. Fair to say band and album stride the familiar inspirations of Nordic and Viking mythology but twisted into adventures and creative lures which are forcibly fresh and individual to Wolfhorde.

Hailing from Keuruu, Wolfhorde formed around the year 2000 as a quartet and after a couple of demos or so, began majorly sparking intrigue and broader fan support with the EPs Deathknot and Nyvinland in 2010 and 2012 respectively. It is fair to say that the band’s first album has been a bit of a highly anticipated offering for a great many, and the trio of guitarist/multi-instrumentalist Werihukka, drummer/vocalist Hukkapätkä, and bassist Nuoskajalka are about to put themselves on the metal map with their voracious release.

Themed from “sad and gruesome stories about the end of the world in the Viking heritage and mythology”, Towards The Gates of North begins its journey from “the beginning of the end on to the beginning of a new world” with the instrumental Vegvísir. From its first touch, warm acoustic caresses collude with pulsating beats in a seductive call; traditional and melodically poetic essences emerging to paint a portrait of a vast beauty soaked landscape coloured with warm and cold climates with matching emotions. It is an inviting yet shadow kissed introduction to the album’s emprise potently awakening appetite and imagination ready for the more tempestuous Fimbulvetr. Swiftly it is rhythmically bolder and firmer, Hukkapätkä and Nuoskajalka unveiling an anthemic yet intimidating web around which the keys and guitars of Werihukka share their suggestiveness. Things darken again as Hukkapätkä’s bearish throat scarring vocals add their uncompromising impact yet melodies and a shamanic tempting radiate and evolve in response as the track immerses ears in a transfixing incitement.

Wolfhorde_-_Towards_The_Gates_of_North_RingMaster ReviewThe creative and evocative drama of the first pair continues through Taivaankappaleiden Kato next, the track arguably a more expected folk metal charge with TÝR and Ensiferum like textures adding rugged hues to again alluring melodic and traditional qualities which from start to finish help give the album a rousingly celebratory yet unpredictable and enjoyable deceitful character. It is a great quality which, even in more familiar sounding songs like this, offers something individual to Wolfhorde, as proven again by the outstanding Death Long-Due and its mix of clanging iron like textures and mischievously appealing melodies sculpted from another great blend of traditional and electric enterprise.

Through the theatrical pomp and boisterous roar of The Retribution and the dark invasive charm of Unyielding, the album has hips and imagination enslaved. The first is a rousing revelry swiftly inciting feisty bodies and energy to get fully involved whilst its successor provides a melancholy aired saunter through dark scenery with prowling shadows linked to turns of galvanic revelling in turn bonded to ferocious provocation. The song in many ways epitomises the album, its twists and turns defying expectations whilst sculpting an adventure keeping ears and thoughts on their eager toes.

Boundless Agony is no exception, the raw delivery of Hukkapätkä’s vocals the strongest contrast to the swinging merriment of melodies and devilish hooks as feistier urgency and antagonistic elements bond with the band roar and the increasingly volatile nature of the exotically hued song in general. Another major highlight within Towards The Gate Of North, it catches the breath before the kicky exploits of the superb Lycomania run wild with rhythmic rabidity and sonic devilment. As all tracks within the album, it is a fiery contagion of sound and creative tempting, and as all only rewards repeated listens with its gripping invention and innovative contrasting of textures and flavours.

The finest moment of the album also confirms the potency of each member singularly and together, the trio then revealing their richest exploration in the creative trail of closing epic The Gates of North. The nine minute stroll is a full adventure on its own; a provocative and dramatic narrative of sound and tone that twists the imagination with its progressively tinged flight.

With maybe just a small want for more diversity in the vocals to suit personal taste, Towards The Gate Of North leaves ears enriched and pleasure full. It is a striking offering sure to push Wolfhorde into the broadest gaze of folk metal and indeed the metal scene generally; and seriously easy to recommend.

Towards The Gate Of North is out now via Inverse Records.

http://www.wolfhorde.com   https://www.facebook.com/WolfhordeBandOfficial/   https://twitter.com/wolfhordeband

Pete RingMaster 25/01/2016

Copyright RingMaster: MyFreeCopyright

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One Morning Left – Metalcore Superstars

OML promo_RingMaster Review

Metalcore Superstars is the new album from Finnish melodic metalcore band One Morning Left, and our introduction to a sound which quickly you get the marmite factor feeling about in, it breeding love or eager dislike with little in between. As the eleven rousing tracks of the encounter run riot through ears with their bedlamic burst of styles and flavours, we quickly fell into the former opinion and keenly embraced its ferocious mayhem.

It has been three years since the quintet released their seemingly well-received second album Our Sceneration; it’s uncaging in 2013 quickly followed by the band increasing their live presence and hitting stages alongside the likes of like Adept, F*ckface Unstoppable (Bam Margera), Protest The Hero, and We Butter The Bread With Butter and more across Europe. 2014 saw the band begin working on Metalcore Superstars, its creation an extensive affair as the band honed their new ideas into its slightly psychotic character until arriving at the seriously eventful confrontation grabbing ears today.

Maybe the best way to generalise the One Morning Left sound is ravenous metalcore with the punk contagion of Billy Talent, the techno adventure of Silent Descent, and the mischievous prowess of Hollywood Undead; it coming with a hardcore/avant-garde surge of attitude. The result is a full-on and enjoyably unpredictable protagonist, even if one that flirts with a loss of control at times.

art_RingMaster ReviewOpener OML_KVLT sees the band announcing themselves in anthemic style, the vocals of Mika Lahti a busy and tenacious mix backed by those of guitarist Leevi Luoto. Checking out tracks from previous releases, there seems a lighter tone to the creative devilment of One Morning Left this time around with Metalcore Superstars but equally a more rabid snarl to their sonic and lyrical warfare amidst bolder drama to their imagination. The first track continues to stir ears and appetite with its fiery nature and pungent tapestry of flavours, subsequently creating a virulently infectious incitement that chews on the senses.

The following Heavy Metal Finland flirts with nintendocore like bait initially, it’s tempting aligned to vicious growling and broody dynamics which erupt further within the emergence of the tempestuous proposition. Without the constant spark of its predecessor, the track pleases as it toys vocally with heavy and death metal spices as well as similarly varied textures musically; enjoyably backing up the strong start without quite making the same impact.

The guitars of Luoto and Ari Levola aggressively dance with sonic attitude within ¡Derailed! next, but also they are unafraid to unleash some funk seeded flirtation whilst keys engage in a kaleidoscope of electro flavours and atmospheric suggestiveness. All the time moving towards a bruising confrontation, the track provides a galvanic finale within a formidable rhythmic web cast by drummer Niko Hyttinen before the outstanding You’re Dead! Let’s Disco! has body and energies fully involved in thumping aural devilry. Like Hadouken! meets The Browning, the track is a chest beating slab of sonic and vocal defiance again lit by the off-kilter imagination of keys and programming from Veli-Matti Kananen and bracingly driven by his bass lines and the swinging scythes of Hyttinen. Careering on the precipice of psychotic chaos, the track leaves body and emotions bursting with lust, a success matched by The Recipe, it a more controlled but no less forcibly resourceful and deranged web of concussive textures and fascinating theatre.

Kings and Queens throbs and pulsates straight after, its opening a haunted cascade of electronic splatters leading to a warmer toned but more punk bred aggressor as melodically engaging as it is infectiously cantankerous. That Billy Talent air is at its strongest here in a song with an inventive weave maybe less exploratory than others on the album but is still sculpted from a heftily flavoursome torrent of ideas. Its lean take on that thick diversity elsewhere works a treat, providing one more major highlight.

A muggy collage of metal and punk ‘n’ roll colours Fast and Furious 6.66 next, its electronic calms only bringing more intrigue loaded variety to ultimately an enraged bluster of the song whilst Devil’s Nest rumbles and grumbles from a sinister melodic entrance into an exotically hued adventure with duelling contrasts against aligning radiances and hostilities. A dogged but invitingly invigorating swamp of noise and flavour, the track grips attention and eager involvement with its theatre of enterprise leaving the album’s title track to bully and harry senses next, though it too is unafraid to seduce with the beckoning fingers of melodies and harmonies.

A great carnival-esque air comes with the riveting Eternity; the penultimate treat playing with a My Chemical Romance meets AFI hand within its just as potent murderous traits to ingeniously nag and thrill ears before making way for the closing turbulence of Sticks and Stones. Like being rabidly assaulted by a seductive temptress bound with irritable intent and wrapped in orchestral grandeur, the track is one enthralling end to an inescapably magnetic release.

For some, the creative turmoil and bordering on insatiable imagination of Metalcore Superstars may not hit the spot for ears or desires, but it only left us exhaustively wanting more. So be brave and take on the adventure One Morning Left offers with their latest proposal we suggest; it just might ignite your day.

Metalcore Superstars is out now in Finland via Inverse Records with full release from February 22nd in central Europe through Bleeding Nose Records, and across America and Oceania on Imminence Records.

http://www.onemorningleft.com/   https://www.facebook.com/Onemorningleft   https://twitter.com/onemorningleft

Pete RingMaster 25/01/2016

Copyright RingMaster: MyFreeCopyright

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V For Violence – The Book of V

VFORVIOLENCE-band_RingMaster Review

Finnish metallers V For Violence first made an attention nudging statement with up their debut album The Cult Of V in 2009, now after a fair time in the making they unleash its successor The Book of V. Vocalist Jarkko Lähderanta said of the band’s new offering, ”The Book Of V took years to get its shape and sound. We wanted to take the next step in songwriting and paid more attention on details.” It is an intent finding success as the eleven tracks contagion frisks ears and sparks the imagination, and though it easily lures references to other protagonists in the industrial/alternative metal scene and styles around it, the album is simply one rousing and thoroughly enjoyable ferocious stomp.

Formed in 2007 by Lähderanta, drummer Miikki Kunttu, and guitarist Janne Salo, V For Violence was soon luring ears with their first demo in 2008. Its track/video Boy Called Fucker was a swift spark in the band being eagerly devoured by fans and media too, helping lead to their signing with Osasto-A Records soon after for the release of the 2-track single Constant Of Death in the summer of 2009. It was a strong teaser to their impending debut album The Cult Of V released in the November of that same year. The full-length was a well-received proposal pushing the band towards stronger spotlights backed by a live presence which by this point had already seen V For Violence support Hardcore Superstar and in turn going on to the sharing of stages with the likes of Die So Fluid, Cold Cold Ground, Amorphis, Hypocrisy, Underoath, and Architects at shows and festivals. Now with bassist Jani Rahkonen and guitarist Riku Vuorio alongside Lähderanta, Salo, and Kunttu, V For Violence have the long awaited The Book of V poised and ready to stir up the metal scene.

And that it pretty much does even if its originality is locked in the arms of open familiarity to a few heavyweights. Like a fusion of Fear Factory and Marilyn Manson in league with Dope and Powerman 5000, the album and opening track, The Halted Saint explode on the senses with anthemic ferocity. For some you suspect that recognisable air might not work as well as for others, but V For Violence bring their own raw and aggressive twist on things too ensuring that each track has something fresh and extra to say and certainly grip a demanding appetite and imagination by. The band’s new single clouds ears with thick industrial smog but swiftly sends sinewy tendrils of guitar and scything rhythms through it as the climate begins to clear on a corrosive and quickly addictive stalking. Those previously mentioned references straight away work on thoughts as too Society 1 in regard to the caustic and impassioned, bordering on sexual, intensity driving the encounter. Grooves and hooks just spark whilst the strong vocals of Lähderanta roar with expression and incitement for an outstanding start to the album’s fury.

V-For-Violence-TheBookOfV-cover__RingMaster Review     The potent beginning continues with the predatory prowl of The Downfall Pt. I: To Feel Alive. Initially it smoulders within imposing walls with mellow melodies and vocal coaxing but is soon building a volatile atmosphere and intimidating lining of textures, though still dipping into its elegant reflective heart throughout. Once more Manson is an obvious comparison to a song which at times has you drooling and in other moments simply fascinated by its adventurous nature and spicing.

Never Enough uncages the darkest bestial bass riffs and salacious grooves next, splintering them with vocal bellows and psyche gripping hooks to get very greedy over whilst Like It Like That and I Need You spew inescapable virulence in their individual characters. As most songs, choruses conjured are like infection dosed traps, impossible not to be fully involved in whilst around them creative snarls and in the latter of this trio, sinisterly dramatic nuances toy with the imagination. It is fair to say that a few songs share a closely seeded template but many, as here, create from that something strikingly inventive and captivating.

Band and album continues to hit the spot as tracks like the carnivorous A Place To Fill with its electronic festivity and guitar led twists, and the wonderful sonic groan and intimate melodies of God On Trial just ignite the senses. The second of these two is another major pinnacle in the album, every minute a cauldron of emotion and flirtatiously venomous enterprise equipped with unpredictability before it has to make way for Sodomedia which rivals it with its own hellacious and irritable industrial grooving. Once more limbs and thick involvement in the tempest is unavoidable, the breath taken too in the exhausting pleasure consuming the senses

The following Not A Word with its more hard rock seeded swagger lacks the spark and triggers of its predecessors yet again has a keenly persuasive impact on ears and satisfaction whilst What The Fuck! throws its attitude out with zeal, rhythmic and vocal relish fuelling the Five Finger Death Punch/ American Head Charge spiced confrontation.

The Book of V closes with the sweltering croon of The Downfall Pt. II: Amourageddon, its initial acoustic and emotive smoulder again as in Part 1, rising to dense intensity and melancholic ire whilst this time embracing classical and symphonic hues alongside an evocative industrial climate. A relative slow burner compared to other tracks within the album, it constantly evolves and reveals new treats to bring the release to a fine conclusion.

Fair to say we greedily devoured The Book of V and continue to, each track a tasty slice of invigorating fire and hostility. If any of those previously mentioned comparisons do not work for you than possibly V For Violence will struggle to persuade too but for the rest, this is one easy to recommend incitement.

The Book of V is available now via Inverse Records.

Pete RingMaster 08/09/2015

Copyright RingMaster: MyFreeCopyright

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Sumia – Until We Shine Again

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With a sound which in so many ways reflects the warm and cold climates which embraces their home city of Jyväskylä across the seasons, Finnish band Sumia make a striking announcement of presence and intent with debut album Until We Shine Again. Emotionally and sonically bracing, whether soaked in heated passion or imposing shadows, the release is an attention grabbing and immersive adventure which captures the imagination from start to finish.

Though described as alternative rock and metal, Sumia brew a sound and melodic tension which employs essences across numerous styles and flavours ensuring each song is an individual encounter, though at times some too closely share textures and structures so that any individual emotive bite they might aspire too is somewhat defused. Against that though, soaring melodies and vocal harmonies within evolving rugged and mesmeric terrains never relinquish their transfixing beauty and gripping enterprise so that thoughts and emotions are constantly fully and eagerly involved in the album’s emprise. Overall Until We Shine Again is a riveting full introduction to a quartet it is easy to feel is setting put on an eventful and successful journey.

The album opens with the elegant melodic touch and potent sinews of Dive, the track immediately aflame with sonic beauty and emotive intensity. The song swiftly envelops and seduces ears with the fluid invention of guitarists Samuli and Jonni, the latter’s vocals just as enticing and impressive. A Deftones essence soaks the encounter but similarly with the dark voice of Jussi’s bass and melodic flames which shoot up around the spine of the song and vocals, thoughts of Pigeon Lake come to mind. Framed and punctuated by the accomplished rhythms of drummer Olli, it is a stirring and compelling start to Until We Shine Again.

The following Sirena makes a much sturdier and aggressive entrance without losing the magnetic melodic coaxing which washed its predecessor. Vocally too, Jonni offers a mellow hug though he too is unafraid to flare up with attitude and raw tones. A rugged rhythmic enticement continues to set an imposing air to the track; guitars and keys vibrant and acidic as they sear across that provocation in a song pushing the album swiftly to another level, one subsequently surpassed by the outstanding The White One. It is fair to say there is a familiarity to the band’s sound at times, as shown by the third song, but it only adds to the appealing drama and lure of the incitements on offer. As the track winds with restrained feverishness around senses and imagination, a Johnny Wore Black meets Palms breeze seduces ears with a touch as enthralling as it is intimidating. It is a glorious encounter, guitars and rhythms crafting a tempestuous beauty over which vocals roar with heated harmonies and emotional passion.

Ghost (The Healer) brings a similar melancholic glaze to its reflective melodies and shadows, throaty bass hues a dark temper to the rawer blaze of sonic intrigue and drama raging above. The song does lack the spark of the previous tracks yet still binds ears and appetite in a resourceful and enterprising provocation easily igniting another strain of hunger towards the album, something One Single Look is missing. To be fair, the elegant piano led exploration is a captivating caress of haunting melodies and searching emotions which alone bewitches like a mix of Nine Inch Nails and Mr.Kitty, but in the landscape of the album makes for an ‘interlude’ in the roar of the album for personal tastes.

Through Sunbath and Arc Lights the album is back seriously infecting the psyche, the first of the two songs a spellbinding fire of the ever enchanting melodic invention within the band aligned to increasingly impressive vocals which come as ethereal and haunted as you could wish. Seamlessly flowing through gentle kisses on ears to raging sonic storms, the track is a scintillating proposition. Its successor lacks its punch but instead offers a rigorously simmering radiance and forceful emotional angst which just as tightly enthrals thoughts and senses, especially with the bass driven rhythmic predation which lurks throughout.

With Next To The Wheel stepping forward next to tantalise more than impose itself on the listener, the album gears itself up for a potent close. The track ebbs and flows in energy and pressure but ultimately is another lively sunspot of melodic calm and emotive heat prone to appetising sonic eruptions much as Otus which smoulders inventively with nagging riffs and flirtatious hooks within another sultry fire of sound and emotional outpouring. Its engrossing unpredictable and richly enjoyable tempest makes way for the closing Crystal Plane, a final melodic furnace which has an open if undefined familiarity and makes a thrilling and powerfully infectious finale to a seriously impressing release.

The additional strength of Until We Shine Again is that with every listen its songs unveil a little more about the heart of the album. There is plenty going on in the belly of songs which can get missed over fleeting glances, rewards that only need time to please further and make Sumia’s debut album a prize to seek out.

Until We Shine Again is available on October 3rd on Inverse Records @ http://www.inverse.fi/shop/catalog/product_info.php?products_id=448

http://www.sumiaband.com

RingMaster 03/10/2014

Copyright RingMaster: MyFreeCopyright

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Alexanred – Rest After Result

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Upon covering Non-Stop Non-Stop, the debut single from industrial metallers Alexanred near the end of last year, we admitted though the song strenuously impressed it was too early to make a judgement of the band as much as the potential seeded real anticipation for future endeavours. The release of new single Rest After Result brings two more songs into the equation and all the promise and thrilling attributes of that first song have now been reinforced and pushed on. The new release is a thumping and rousing anthemic roar of electro and metal invention, again not one diving into brand new undiscovered territories but a proposition to ignite imagination and passions with a predatory virulence.

Alexanred is the solo project of Finnish industrial metallers 2 Wolves’ guitarist/synth player Aleksi Susi. Formed in 2012 and taking influences from the likes of Rammstein, Lacuna Coil, Type O Negative, Cradle Of Filth, Paradise Lost, Septic Flesh, Rob Zombie, Prodigy, Autopsy, Nile and more, many of which loudly call out within both of Susi’s releases, the band makes a rigorously compelling persuasion with its raucous energies and ridiculously addictive qualities. As its predecessor, Rest After Result infiltrates the ears with a voracity and hunger which virtually stalks down thoughts and emotions, demanding attention and ultimately submission to its fiery charms. It is a predator of the senses but one which just as potently takes them on a stomp of electro adrenaline aligned to industrial rapaciousness within a web of metallic antagonism.

The title track launches its predacious crawl from a deep breath, electro teasing uniting with raw thrusts of guitar as beats place their heavy fingers into the mix. It is a menacing start which takes little time to remove the reins on a feisty energetic chorus spurned on by electronic urgency and melodic infectiousness. It is highly anthemic bait which is prepared to slip back into portentous shadows as the track slows back into its initial prowling intent, happy to lie there waiting for its moment to again fill and incite ears and passions. In many ways especially around the chorus there is a strong essence of early Ministry to the song, the time before Al got all macho on us, whilst the darker evocative and intimidating passages holds a Nine Inch Nails breath to their imagination.

It is a thoroughly enjoyable encounter which is straight away exceeded by the accompanying Effective. From its first second soaring melodies soak the flight of the synths whilst guitars and beats paint a sinewy aggressive canvas clad in shadows and challenging textures. Right away thoughts of Rammstein come to the fore through the vocal and muscular drama of the emerging song, but with evocative keys and unsettling twists in the gait of the song there is plenty to temper any over familiarity with the Germans. Feet, body, and neck muscles are soon given an intensive workout as the song pumps through their veins inciting full involvement though respite is given when the track unexpectedly and extremely pleasingly slips into a cavernous epically cast scenery. It has thoughts and imagination racing with pleasure before the previous inescapable toxicity merges with the new landscape for an exhausting climactic finale. It is a glorious track revealing more of the invention within Alexanred than arguably the other two songs from Susi together whilst continuing to seduce and infect a growing appetite for the man’s sound and imagination.

Rest After Result and Alexanred are not offering anything openly new in industrial metal but it sure is a frighteningly exciting proposition and that is good enough for us.

Rest After Result is available via Inverse Records now.

http://www.facebook.com/AlexanredFinland

9/10

RingMaster 22/05/2014

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Descend – Wither

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    Unleashing their second album Wither, Swedish progressive death metallers Descend show themselves to be one of the more captivating and skilfully imaginative emerging bands on the scene. Consisting of eight admittedly at times labour intensiveadventures the release is a compelling and richly appetising slab of creative and passions sparking metal. Every twist and turn of the album absorbs and challenges thoughts in just the right impacting way and with only arguably the length of a few tracks making a slight issue Wither is a fine and exciting provocation.

     Formed in 2003 with its current line-up in place since 2008, Descend has, from starting out with we have been informed a thrash metal attack, evolved and honed their sound in to the impressive confrontation facing the senses on the new album. A trio of self-released releases between 2006 and 2009 sparked some attention but it was debut album Through the Eyes of the Burdened which sparked greater awareness of the band. Released in 2011 via Supernova Records to strong responses, it was followed by numerous impressive shows and festival appearances in countries such as Germany and Canada as well as a performance at the Metaltown festival in Gothenburg the following year. The new Inverse Records unleashed Wither has the invention and craft to elevate the quintet to new levels and though not quite the perfect record you feel is waiting inside the band, the album is an invigorating and refreshing tempest of progressive and death metal ingenuity.

     A magnetic drum lure starts album and opener Confined By Evil off before instantly intensive riffs with an eager groove to Descend-Cover-smalltheir lilt search the ears. Their touch is acidic yet powerfully enticing as they scrub the senses insisting on attention as the rhythmic acrobatics of drummer Jonathan Persson, already wholly impressive, pounce dramatically behind the song’s addictive call. It is a rich and strong entrance to the song, instantly contagious and expressive in its melodic narrative and emotive crafting. A swift kick in of rapacious energy and malevolent intensiveness takes the enticement into new domains of intimidating and invention with the rasping caustic tones of vocalist Nima Farhadian L. offering a ripe and pungent menace which borders hostility whilst the sonic design sculpted by the guitars of Andreas Lindström and Alex Wijkman bring a simultaneous bewitching and intrusiveness. The track, much like the album, needs time and numerous plays to unveil its depths and incontestable persuasion, its presence demanding and greedy on the senses but with a vast expanse of imagination and bold adventure the song eventually proves itself to be an exhausting but immense start. At near on nine minutes the first track does push its limits like a few subsequent tracks with its length, the surface engagement an overwhelming merciless want on the listener but again given the time mentioned it convinces all is as it should be.

  The following more brutal The Rancorous Paradigm brings a gentle and appealing opening with a melodic infusion to its grazing riffs, though the bass of Justin Biggs has a carnivorous tone which stalks the song from start to finish to provide an immediate predation. Another track which takes time to grip the imagination it is a sinew swinging beast of addictive grooves, sonic temptation, and rhythmic tantalising all ridden by the again gutturally bred pestilential vocals. From a decent song the first time around it emerged as one of the favourites again giving evidence of the patience and focus you need at times with Wither.

    In Hours of Despair invades the senses next offering sonic squalling and tempting from the off with the ever impressive rhythmic juggling and invention of Persson stealing not for the first or last time a big chunk of attention and praise. At times lumbering with a brutish maliciousness and in other moments flirting with an energetic frenzy driven by the infernally enjoyable drum maelstrom and guitar driven enterprise, the song twists itself into a dramatic melodic weave with excellent clean vocals. At this moment the song is like Stone Sour meets Carcass before breaking back into the original harsh attack of the song. It is an absorbing encounter which like all tracks provides extra rewards with each listen as does the commanding Severance. Arguably less exploratory than other songs but certainly not neglecting a melodic and sonic merger of styles it is a ripe and impacting bruising on the senses.

    A lull is provided by the instrumental title track, a striking melodic piece which is attractively crafted and presented but feels out of place where it is, maybe placed at either end of the album would have left it feeling more at home in the design of the release. It is soon forgotten through the virulently corrosive and imaginative presences of Diabolic and From Grace To Grave. The first of the two blends a beauty and the beast contemplation in sound, its primal jaws firmly entrenched in the flesh of senses and thoughts from the start but tempering the fury with spikes of varied metal flavours and a sonic acidity which is melodic if scarring. It is a masterful caging of the imagination and emotions soon matched by its successor. Though the track is not quite as instant a persuasion as its predecessor the ravenous squall of rhythmic and sonic causticity is irrepressible and riveting.

   The album closes with the twelve minute Sundown where again length makes a bit of an issue, urges to return to the album’s start breaking out well before the song’s admittedly enthralling and pleasing body has made its departure. The exacting song still makes a powerful end to a very impressive album even if there is a certain indefinable spark missing which prevents the release from making the mightiest impact. It cannot however prevent Wither and Descend from placing themselves in a very rewarding and inciting spotlight which should take the band into a new plateau of attention within progressive death metal.

Wither is out now via Inverse Records.

http://descend.se/

8.5/10

RingMaster 25/01/2014

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