Eleanora – EP

Eleanora

Fresh from their impressive appearance on a 10” vinyl split with Amenra this past April, Belgium quintet Eleanora unleash their own provocation simply called EP. Comprising two of the fiercest, sonically disabling, passion drenched incitements possible, the release reinforces an already feisty buzz around the band whilst unleashing another healthily gripping onslaught of their emerging might. It is raw and uncompromising, a voracious intrusion from the Ghent band’s inspiring recipe crafted from intensive sludge and hostile hardcore, and though not the easiest of listens undoubtedly an experience which leaves an invigorating impression.

Consisting of Mathieu Joyeux, Jeroen De Coster, Christophe De Ridder, Stijn Witdouck, and Robin Broché, Eleanora boils up a rage which has plenty to satisfy the wants of fans to the likes of the aforementioned Amenra and Amera through to others such as Converge, Botch, and Isis. Fifteen maelstrom driven minutes across two tracks, their release is prime lyrical and sonic causticity starting with the outstanding Mammon. From within a sonic veil which intensifies with swift hunger, guitars and vocals roar to score ears and graze senses. It is a brutal entrance driven by fearsomely antagonistic rhythms and quickly established acidic grooves which inflame the imagination and emotions. It is a tempestuous enticement but one with virulence pouring from every aspect of its bait, riffs and vocals a scourge upon the senses and the evocative grooving an ungracious but compelling seducing. As expected venom and bile oozes from the provocation, indeed flowing profusely from the vitriolic vocal squalls as syllables and raw passion burn with every outpouring. It is the hooks and grooves though which set the track apart, their similarly malicious intent and potency a tempering and psyche colouring temptation to the sonic and rhythmic violence. It is a tremendous fury and almost alone makes Eleanor a protagonist destined to be under eager scrutiny.

The second song on the release is Amenable, an equally bruising and breath-quenching assault. Its abrasing start flickers with sonic flames and portentous rhythms smothered in the heavy dark tones of bass. It makes for a dramatic and thickly emotive introduction which permeates ears and pores with a doom bred, sludge fuelled oppressiveness. Though not as enslaving and addictively attractive as its predecessor, the track instantly captivates the imagination and provides a torturous canvas for its ideation and invention to colour. A nagging repetitious crawl emerges early on too, its immoveable persistence adding to the tenacious enmity soaking every note and scathing vocal sprawl smothering the listener. Funereal in gait and ravenous in intent, the track is a masterful hypnotic persuasion, a pestilential predator bringing the EP to an impressive conclusion.

The release is sure to bring a new impetus and hunger to the acclaim already gathering around Eleanora and take the band into a sharper focused spotlight. It is early days but easy to predict that this is a band set to bring a new fire and appetite to [post] hardcore inspired intensive sludge rock/metal.

The Eleanora EP is available via Consouling Sounds and @ http://eleanoramusic.bandcamp.com/album/ep

http://www.facebook.com/eleanoramusic

8.5/10

RingMaster 20/06/2014

Copyright RingMaster: MyFreeCopyright

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VALFADER Release The ‘Whispers of Chaos’ EP, out Monday 21st October‏

Valfader Online Promo shot

UK RIFF BEASTS VALFADER SET LOOSE THUNDEROUS DEBUT RECORD!

 
South West riff slingers ‘Valfader’ are set to release their debut EP ‘Whispers Of Chaos’ on Monday 21st October through all digital stores.
Valfader’s core sound is built around colossal riffs and heavy doom, merged with melodic passages that showcase the band’s array of countless influences. Never ones to conform to any generic, stereotyped, pre-set sound, every song that the band create fuses their love of stoner rock, doom, post metal and psychedelic. The band have a unique and bold output and count old guard luminaries Black Sabbath, as well as modern greats such as Opeth and Isis as inspiration. The trio have harnessed these influences, and through keen experimentation, they’ve sculptured their own pathway and clear manifesto.
Born in Bath, Valfader consist of the monolithic guitar work of Dean Gaylard, who’s heavy riffs and fretwork flurries help form the band’s signature sound; Dean’s vocals are a prominent feature of Valfader with his nimble ability to switch from heart-wrenching harmonies to guttural screams. Matt Jones handles the bass, and suitably compliments his peers’ performance with layered textures and moody fragments that assist in negotiating space for the apocalyptic percussion of Gareth Jones, whose unrelenting and punishing drumming has enough force to level a city block. Gareth also offers his gravel tongue to the mix, creating added depth and atmospherics.
Valfader now stride forward with the national release of their debut EP ‘Whispers of Chaos’, which fully displays the threesome’s spectrum of talent. It weighs in at nearly forty minutes, and with no track under eight minutes long, this record is a rewarding and grand expedition. From the off, the EP’s name sake ‘Whispers Of Chaos’ impressively sets the tone with its concoction of moody guitar interplay and driving beats, framed by thoughtful dynamics and a delectable flood of alluring riffs. Next up is the stoner groove and sweeping power of ‘Green Sleeps’, which tips its cap to Ozzy and Co, successfully rattling your eardrums for eons. ‘DMT’ continues in rich form as it pulls you on an epic voyage with engrossing atmospherics and colossal riffage, before ‘Sacred Spiral’, with its amalgamation of haunting beauty, blistering guitar work and gruff vocal lines, brings the EP to a stunning climax, completing a journey that is utterly absorbing and compelling.
VALFADER  Cover Artwork
-VALFADER RELEASE ‘WHISPERS OF CHAOS’ ON MONDAY 21st OCTOBER THROUGH ALL DIGITAL STORES-

Raving Season – Amnio

Raving Season pic 1

    Amnio, the debut album from Italian band Raving Season, is a release which challenges and provokes with a striking sound and imagination which however you feel about it lingers with its memorable presence. Hailing from Rome, the sextet has created an album which fuses the passionate melodic tones of gothic metal with the intense oppressive breath of doom, expansive almost carnivorous atmospheres soaking the listener in deep and forcibly expressive emotive atmospheres. Constantly intriguing and magnetic, if at times labouring within its own creative exploration and occasionally a battle on the senses, the release is a compelling and imaginative excursion through the melodrama and darkest shadows of emotions and life.

The seed of Raving Season came with the meeting of the band’s two vocalists Judith (clean) and Federica (coarse) with guitarist Sergio. Initially with the intent to blend death and doom metal with openness to other rich spices, the band evolved its distinct sound over the following years as firstly guitarist Marco S. joined the line-up and then after the release of the debut The Brightness Of My Disaster EP, came the addition of Paolo (bass), Laura (keyboards), and Stefano (drums).  Two years in the making and seeing a new bassist, also called Marco, and Luca now on drums, Amnio is the potent full introduction to the band and their impressively textured sound which persuades with a voice sure to please fans of the likes of Draconian, early Anathema, My Dying Bride, and Isis.

A warm yet almost ominous wash of ambience soaks the ear first as the first up Turandot opens its welcoming arms, intensity and Raving Season coverenergy rising the closer it comes into view expelling a scowl of shadows aligned to the great grizzled growls of Federica which court their temptation. The track conjures a dark embrace with guitars and bass scything a sinister narrative which is suddenly reined in as the melodic heart of the track opens up its sun with the full tones of Judith and her operatic strength scorching notes and air. On this track certainly, her voice takes a little while to take to, if ever wholly accepted when she is truly searing the ear, but it is a thing of personal taste only as like to the opposing style of her companion, there is an undeniable skill and depth to be admired. The song itself is a strong draw into the release if unspectacular but it does spark rewarding thoughts and emotions to its fluid course.

The following Dusk Dance and My Last Murderer continue the good start, the first an melancholic seduction with prowling shadows which goads and inspires the atmosphere to evolve with feistier dramatic colour and intensity whilst its successor offers a similar start before twisting back on the senses with a malicious technical taunting to the guitar and invention driven by the aggressive venom of Federica. It is a superbly mixed pairing of light and dark, a beauty and the beast like tempting to the sound which evokes gothic hues upon the imposing canvas of the song.  The second of the two is the start of an elevation in the impact and appeal of the already pleasing release, the next up Silent Lake taking thoughts on a darkly lit float through expressive and bracing emotion rife with menace and danger framed by powerfully evocative strings and keys whilst Restless Rain (The Noise of Rain) provides a stimulating and epic soundscape within the confines of dark corridors and troubled hearts. It has a doom laden gait, a slow and lumbering prowl ridden by an excellent mix of harsh vocals unleashing demonesque enticement within a patient beauty.

There are moments where the album arguably labours over aspects and its intentions, losing the spark and grip which enthrals in other moments and allowing thoughts to drift at times, though the best two tracks on the album My Darkest Season Pt. 2 and Suspanded in a Spiral have no problem in securing total focus. The first is a glorious emotive hug with Judith bringing her finest performance and balance on the album, the euphoric depth of the song tempered by fine growls providing the most inspiring and imagery crafting moment of the album, and the second a rapacious and hungry stretch of intensity and aggressive enticement, Federica leading the fiery and majestic assault. Easily the best track on the album it tests and seduces with skill and invention, showing the further promise of the band in which they will hopefully stretch out ahead.

With the fine instrumental title track bringing an end to the My Kingdom Music released album, Raving Season is a band to take note of, even if Amnio does not quite stoke up a blazing fire inside for its undeniably creative offering.

www.facebook.com/RavingSeasonOfficial

7.5/10

RingMaster 09/08/2013

Copyright RingMaster: MyFreeCopyright

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Steve Von Till – As The Crow Flies

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    As The Crow Flies is a release which pushes all complications and unnecessary wrappings aside to unveil and inspire a core of emotive poetry and introspective inducement. It is a haunting meditative soundtrack to reflection, self and worldly; a record of dark beauty and an impacting seductive evocation from Steve Von Till, the Neurosis vocalist/guitarist, which leaves thoughts and emotions bare.

The album has its re-release via Neurot Recordings, the independent label founded by members of Neurosis and Tribes of Neurot and run day to day by Von Till and staff, which has grown into a fully-fledged label bringing releases from the likes of Ufomammut, Isis, Shrinebuilder, Neurosis, Across Tundras, US Christmas, Ides of Gemini, Oxbow, A Storm of Light, Amenra and many more to the world. As The Crow Flies was released right at the start of the labels emergence but has been out of print for many years. Its re-release thirteen years after the original indelible mark was made feeds a smouldering hunger which has laid waiting in those of us who missed it first time around.

As song after mesmeric song plays its heart and tale upon the ear, acoustic guitar and the gravelly low key whispering of Von Till part crooning and part serenading the imagination, the album visually emerged in the mind as a long lone fence within a melancholic sultry landscape of emotions, each song a post to lean upon as the cage stretches into the horizon and each drawing, inciting a reflective union with the suggestive atmosphere and smouldering ambience placed around thoughts. The surrounding breath and scenery is a shadow crafted intrigue beneath flaming hypnotic skies and upon a canvas of vividly coloured weaves employing everything from sadness and sorrow to hope and resignation. It is a scintillating and enthralling walk through its soundscape with the sounds musically and vocally bred for the fullest engagement.

The album opens with its most potent and captivating presence. Stained Glass offers up a deep resonating caress of the ear soon joined by the throaty sirenesque haunt of the cello, the pairing alongside the slightly grizzled tones of Von Till, a thought crafting blend of chiselled and organic beauty, the dark and light textures within an overall darkened spell leaving no room for escape as the song opens up with its emotive wash of provocative temptation for the mind and passions. As across most of the album, the simplicity is as riveting as it is impossibly addictive, its employment of repetition and singular chords resonating with one persistent voice like an emotive narcotic for nothing less than deep willing slavery to its powerful almost sinister charm.

The following We All Fall walks through darker fields, its residue of sombre elegance drifting across the ear with childlike folk seeded simplicity, its closing vocal temperance almost nursery rhyme like with a dark breath and intent. It is a riveting experience as powerful and enriching as its predecessor and is soon matched by the likes of Remember, a song with a breeze soaked in chant and pulsating glistening from the sun but equally leaving a teasing of impending cacophonies which are never realised but add wonderful cloud to the emotion exploration, and the exceptional Twice Born, another harvest of sublime melancholia enhanced by the blue touch and beauty of the cello and sky bound harmonies between Von Till and the golden tones of Kris Force from Amber Asylum, her celestial siren wrapped tones an irresistible fascination beside the restrained yet compelling tones of her companion.

Midheaven is a drone seeded meditative cloud which ensnares the senses with its single chord repetition occasionally joined by another singularly crafted stroke of discord touched melodic taunt. It is a starkly haunting piece from an equally barren landscape emotionally and visually, the journey coming near its end with a brooding intensity lifting its resentful head as final track Shadows in Stone approaches. Like earlier song Warning Of A Storm, the closing track crafts a sinister embrace which permeates every sense and thought whilst bringing all the elements which flamed throughout the album, that morose delicious cello cry, seductive caresses from the voice of Force, and the consciousness provoking guitar invention and inciting vocals of Von Till, into play. Once a rhythmic resonance and enticement of drums and percussion opens up the song further the sunset of imposing majestic radiance leaves the passions simply enflamed.

     As The Crow Flies is a wonderful album which gets better and better as well as more evocative with each venture into its heated sweltering depths and well worth its return for us stupid enough to have missed it the first time around.

http://www.vontill.org/

8.5/10

RingMaster 13/05/2013

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Raedon Kong: Self Titled EP

RAEDON KONG

    Raedon Kong is a pair of musicians who on the evidence of their self-titled EP, strives to create apocalyptic sonic soundscapes which work on the listener on as many levels as there are rich dramatic layers within the incendiary expanses. Their latest release gnaws on the senses whilst challenging and eroding emotions but all the while unleashes sounds and an impacting imagination which is impossible not to be impressed by. The release is drenched in excellent corrosive discord but also creates melodic flames which though as acidic as the sonic storm around them is destructive, rewards with an enterprise which is deeply satisfying and inspiring.

The Lafayette, Louisiana duo of Stephen Sheppert (guitars/synth/vocals) and David Leonard (drums/vocals), former members of Collapsar, Hooves, and Icepick Revival, going by the EP experiment with styles, sounds, and influences to create their own tempests of noise, passion, and intensity. The likes of Zeni Geva, Neurosis, Mastodon, Isis, and King Crimson have been mentioned as suggested comparisons but Raedon Kong holds its own singular presence within such flavours. The EP creates a bruising and enveloping furnace of psychedelic and progressive sounds which are toweringly heavy, melodically burning, and driven by a doom metal gait. Lyrically and musically it is also stark and brooding, an apocalyptical landscape as jolting atmospherically as it is sonically turbulent.

The release opens with Heavy Lite, a track which emerges from a deeply resonating and intrusive pungent grasp of noise to ALBUM ARTWORKunleash a maelstrom of bedlamic invention and energy. The song at this early point is an avalanche of tumbling rhythms, incisive melodic flames, and an ever twisting surge of ideas which are defined yet manically unleashed. Soon the listener finds themselves within the eye of the storm as the track nestles within a shimmering heat and slow soft vocals wash gently upon the ambience. It is short lived though as thumping predatory drums stalk the now ignited air and riffs plunder the instilled warmth with malice and searing craft. It is an immense track and start, basically an instrumental and a piece which has thoughts and emotions, let alone senses riled up and unreservedly intrigued.

End Of Days walks into place next with inviting guitar caresses under sonic flames which glow above their beauty. It is an inviting start which explodes into a muscular hunger and intensity to further captivate if equally intimidate. The track has a definite Killing Joke feel to it in places with the vocals reminiscent of Jaz Coleman, and the longer it wraps its sinews around the ear the more compelling and potent it becomes. It ends as it began with a mild wind upon the ear to bookend the wonderful havoc between, and emerges by its end as a track which is hard to shake off emotionally and physically.

As potent in rich diversity as it is in intensive confrontation, the release offers a squall of progressive imagination next within Forgotten Son, a psychedelic flamed piece which enchants and brands the listener from start to finish. Across its protrusive journey the track scars and slices through the senses, its acerbic melodic invention and sabre sharp guitar slashes as damaging and invigorating as the rugged energy. Like each song and the release as a whole, the track reveals more with each burdensome engagement but the rewards leave the extended effort undeniably worthwhile, not that listening to Raedon Kong or their release is a trial in any sense of the word.

Closing with the masterful Ash Is The Omen, a song as delicate as morning dew and as fearsome as an avalanche, the EP from Raedon Kong is an impactful treat for all lovers of extreme, inventively embolden, and imaginatively creative music. The release is like a four headed hydra, each mazard an inciting antagonism for which only a full welcome is offered.

https://www.facebook.com/pages/RAEDON-KONG/130017550342150

8/10

RingMaster 16/02/2013

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