The Simpletone – Angels’ Share

the-simpletone-band-pic_RingMasterReview

There are some releases which just demand success. Whether they get it in the increasingly fickle attention of the modern music fan is never a given but Angels’ Share, the new album from British rockers The Simpletone, does all the right things to make that commanding statement.

There is little we can share about the 2010 formed band other than its line-up is made up of John Davison, Craig Seymour, Glenn Eastoe, and Tom Cahill, it hails from St Neots in Cambridgshire, and has previously released the albums, Rampenny in 2012 and Dark Matter two years later, both seemingly well-received propositions. A UK tour with New Model Army in 2014 has been one of many live highlights for the band built on their stirring fusion of heavy and melodic rock with grunge, stoner and numerous other essences. It is a mix of flavours making for a striking proposition and imaginative proposal in Angels’ Share and songs which just roar with anthemic majesty and fiery enterprise.

The first of the ten cuts gripping ears and an early appetite for the band’s invigorating rock ‘n’ roll is Outta Control. Instantly a spicy groove winds around ears, leaning in closer as tenacious rhythms and riffs join its opening bait. Effect coated vocals equally lures keen ears as the song swaggers along with steady but rapacious grooves and a suggestive melody. The restraint stopping the track from exploding as it hints it might throughout is an inspired move, the song teasing and almost taunting along its enterprise shaped body. The heavier throb of bass and flames of harmonies only add to the lure of the song with guitar craft similarly as magnetic.

The following Love Street (Modern Mystery) keeps the rich enticement going with its punk folk lined stroll, simple but potent riffs colluding with swinging beats as vocals paint a suggestive picture. Its catchiness is a swift persuasion rapidly backed by the boisterous antics of the guitars as the track carries on the great variety already showing in the band’s sound, diversity more than confirmed by their mighty new single Storm Chaser. At over eleven minutes it is an epic persuasion which serenades the senses with melodic and harmonic caresses initially before building a bolder energy amidst an addictive rhythmic prowess. Weaving strands of space and progressive rock among other textures into its ever evolving adventure, the song is a kaleidoscope of melody heavy rock drawing on an array of decades while creating its own fresh, individual, and ever changing landscape of imagination. Like a mix of Skyscraper (the nineties UK band), Life of Agony, and Voyager, the track barely feels like its length and relentlessly has the listener compelled.

angels-share-cover_RingMasterReviewThe fact that next up Black Box still manages to eclipse it slightly shows the quality of its own exceptional design. A spirit stoking beast from its first touch, the song canters with muscular tenacity and fiery invention bred to virulent proportions as its mix of hard and heavy rock consumes ears and imagination. The track is exceptional, as punk in many ways as it is feisty rock ‘n’ roll with a drama of character and craft that demands attention and involvement.

Fire in the Sky steps up next with a growl in its basslines and a contagious swing in its rhythms, guitars and vocals dancing within their addictive tempting as soulful blues lined grooves bring an incendiary heat to the proposal. Like a seventies inspired union of Therapy? and Reuben, to try and offer a comparison, the song forcibly hits the spot before making way for the slower stoner-esque prowl of Nehemiah, an incitement pulling sludgy textures into its increasingly exotic and suggestive theatre. It is seriously compelling stuff, another song blossoming through an array of twists and flavours as it grows in ears.

The melodic charm of Day by Day is a similarly riveting proposition, the graceful yet sinewy instrumental finding a place between XTC and Tool as it seduces the imagination, setting it up for electrified air and nature of As Above so Below. Courting ears with a rapaciously formidable core in its raw riffs and bold rhythmic, the track wraps it in a melodic spiciness and mellower harmonic seducing which echoes elements of bands like Bush, Alice In Chains, and Sick Puppies yet sounds little like any.

If we tell you that Easy Come lacks the same galvanic sparks of its predecessors do not mistake it for a weak link within Angels’ Share; the song a highly persuasive slice of rock ‘n’ roll with guitar craft which shines like a beacon as the bass uncages a funk inspired personality. The fact the track is outshone by others is down to their might, a strength revelled in again by album closer Hunters. Whether by coincidence or design, there is a Horslips feel to the song certainly early on, and of fellow Brits KingBathmat but as across the album, things are soon woven into an addiction of sound and creative hooks roaring The Simpletone.

It is a glorious end to one treat of a release which deserves all the praise and attention it should and surely will get. Angels’ Share is another rousing encounter to add to our lustful favourites of 2016 list and no keener a recommendation we can offer.

Angels’ Share is out now across most online stores and on iTunes @ https://itunes.apple.com/album/id1169473074?ls=1&app=itunes

http://www.thesimpletone.com/    https://www.facebook.com/thesimpletoneband/

Pete RingMaster 16/11/2016

Copyright RingMaster: MyFreeCopyright

Aliases – Derangeable

Aliases_RingMasterReview

Obviously, it is too early to suggest what will be the best of 2016 but amongst album contenders we suggest you can expect to see Derangeable flirting with the top spot. The new and second album from British progressive tech-metallers Aliases is simply majestic, inescapably irresistible, and a proposition more than living up, in sound and imagination, to its title.

The brain-child of former SikTh guitarist Pin and fellow six-string maestro Leah Woodward, Aliases quickly whipped up attention and eager appetites from the first steps of its emergence in 2010. The band’s first year saw ear exciting single We Never Should Have Met create a potent buzz; an introduction quickly backed by the band making their live debut at Euroblast Festival in Germany and subsequently signing with Basick Records. Highly acclaimed debut album, Safer Than Reality, was uncaged in 2011 to swiftly make the band a potent presence and protagonist within tech metal and suggest the potential to rise to the stature of Pin’s former band. With a new vocalist and drummer bringing their prowess to events, Aliases easily live up to that promise and indeed have more than matched, and arguably surpassed, anything previous exploits have offered with Derangeable.

The album is a non-stop, often exhausting kaleidoscope of sound and invention; a release as technically beguiling as it is infectiously compelling and creatively mouth-watering. It is also an openly individual and unique proposal which at times borders on the loco in its dance of craft and imagination. It all starts with Find Where You Hide, a track which leaps at ears with a wall of imposing rhythms and spiky guitar coaxing as new vocalist Joe Rosser springs with equal attention grabbing zeal. From his initial dirty tones, he swiftly gives a glimpse of his melodic and harmonic diversity which increasingly shines across song and especially album. If ever a voice was perfect for an unpredictable and fluidly eventful sound, Rosser’s is it; his delivery and invention seeming to flow and prowl the inventive discord and flirtation lining every twist and turn in sound with their own striking adventure. The song itself continues to seduce and incite; the sultry addition of sax, antagonistic beats, and finally classical keys, just a few strands in the enthralling tapestry of the song.

art_RingMasterReviewEverything Is Upon Us is soon dazzling ears and thoughts with its instant busy weave. Entangling varied metal bred lures with funk, avant-garde, and nu-metal devilment, the track enslaves in seconds. The guitars of Pin and Woodward simply dance with almost schizophrenic invention whilst Joe Heaton’s bass prowls through it all like a predator equipped with resonating groans and salacious grooving. As with all songs, it is impossible to reflect the emprise of senses twisting and psyche captivating exploration going on, every second seemingly a new cascade of adventure as shown again in the beefier and equally melodically alluring Back To The Start. Shaped by the crafty swings and beats of Jof Walsh and coloured by the impressive vocal exploits of Rosser, the song emerges like a mix of The Kennedy Soundtrack, KingBathmat, and maybe unsurprisingly SikTh on the way to being something distinct to Aliases.

The pair of Smile All You Like and Deep Sea Avenue keeps attention tight and the imagination stirred; the first with its intricately woven exotic bedlam of guitar and rhythmic ingenuity ridden by the great vocal resources of Rosser and band. It is a fascination of sound and imagination emulated in an even more strikingly unbalanced way by its successor, a track that growls and leers at the listener whilst taking them through its sonic psychosis. It is an outstanding and virulent treat of sound and temptation pretty much matched in success by the lighter yet just as frenzied tango of Uncontrollable Desires. There is a touch of Korn and System Of A Down to the song; spices which simply add to the irresistible web of creative alchemy infesting body and spirit.

The commandingly intensive and barbarously engrossing Callous comes next; it a merger of contrasting shades of aggression and intent bound together by the band’s ever riveting casting of unhinged innovation in sound and idea. It completes a quartet of unmissable favourites at the centre of Derangeable, though through the agitated maze of Face For Lust, where the bass is instinctively flirtatious, and the similarly dynamic and left-field bearing Seen It All, the album and pleasure are locked closer together than ever.

The album comes to a mighty close with the grooved beauty and psyche bending resourcefulness of the wonderful Untangled Mind and finally the warm harmonic charm and mischievous eccentricity of Above The Sky. The pair provides a quite glorious and lingering conclusion to not only one of the year’s major triumphs so far but one of the most enjoyable and impressive adventures in the history of tech and progressive metal. Derangeable is one of those releases which are destined to become an inspiration to others and the best friend to ears and imagination; the tag of genius is already on the lips in reference to their glorious triumph.

Derangeable is out now via Basick Records with buying options @ http://www.basickrecords.com/releases/derangeable

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Pete Ringmaster 18/04/2016

Copyright RingMaster: MyFreeCopyright

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King Goat – Conduit

KG_RingMasterReview

Two years ago, UK progressive doomsters King Goat more than impressed with a self-titled EP; a release awakening a new horde of eager ears and appetites to their dark and invasively invigorating metal exploits. Now two years on, give or take a week or two, the Brighton quintet unleash its successor in the compelling shape of Conduit. The five track album is an imposing pyre of atmospheric drama and psychedelic intrigue for ears and imagination, a dark mystery wrapped in a thickly immersive doom bred challenge and seduction which quickly leaves its impressive predecessor deep in the shade.

Formed in 2012, the band first made their mark beyond a swiftly eager local scene with the Atom EP in 2013. Its success was followed by a slight change in personnel and eclipsed by the band’s aforementioned eponymous EP. The time between old and new release has only seen King Goat build a stronger and broader reputation as they successfully went on to play festivals such as Bloodstock Open Air, Mammothfest, and Doom Over London over the past couple of years and shared stages with the likes of Enslaved, Grand Magus, Witchsorrow, Alunah and many others.

As suggested, Conduit is King Goat at a new plateau of songwriting, imagination, and raw captivation of ears with Flight of the Deviants opening up the swiftly impressing collection of tales breeding unseen spirits, enslaved worlds, and death and rebirth. A spoken sample lays the seeds to the quickly engaging and provocative embrace of the first song, its immediate captivating bait led by the impressive tones of vocalist Trim. Almost like a carnival barker he shares the track’s dark narrative and mysterious nature, his tones a great blend of clean and grizzled textures within an emerging sonic web of melodic suggestiveness cast by guitarists Petros Sklias and Joe Parson. Increasingly sultry and macabre bordering on occultist lit, the track rumbles and infests ears and imagination with increasing potency and success. It is not hard to offer Candlemass and Ghost as clues to the heavily shadowed and thrilling track, and indeed across the album, though the individuality of King Goat dominates as found here; originality only being replicated song by song.

Artwork_RingMasterReviewThe outstanding start leads to the just as gripping and enthralling Feral King where almost toxic grooves bind the passions as chimes deal a portentous air around them. If the bass of Reza G was predatory within the first, it is almost gloriously primal in the second song while the rapier swings of drummer Jon Wingrove leave a lingering mark and persuasion to match the again immense vocal presence of Trim. The track’s dark story winds around the listener as masterfully as the sounds colouring it; King Goat showing them as alluring lyrically as they are in conjuring adventurous doom spawned incitements.

The album’s title track comes next and quickly sets about eclipsing its predecessors with ultimate success if by small margins such the impressive and dramatic might of all. Again Trim is as impressing in his clean cut enticing as his squalls of raw throated ferocity whilst the bestial predation of bass and riffs provide a stalking of the senses which only adds greater intensity and resourcefulness to the perpetually evolving drama and progressive ingenuity of the track.

Through the epic and climactic landscape of Revenants and the beguiling intimidation of Sanguine Path, the release comes to an absorbing and memorable close to match all before with unique ventures of their own. There is a touch of KingBathmat to the first of the pair, a track sculpting a host of crescendos and intensity soaked pinnacles within another persistently changing canvas of suggestiveness and absorbing enterprise, whilst the closer is simply as salaciously ravenous in invention as it is apocalyptically bewitching in temptation.

As much as it mightily impresses initially, Conduit just gets bigger, more striking, and inspirational with every listen. The King Goat craft and songwriting has come of age with Conduit, and in turn so has their sound though it still suggests we have yet to get below the first few layers of the band’s creative depths. That potential can surely only mean even bolder creative times to come, though whatever comes next will have to go some to eclipse this gem of an encounter.

The self-released Conduit is out now @ https://kinggoat.bandcamp.com/album/conduit

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Pete Ringmaster 29/03/2016

Copyright RingMaster: MyFreeCopyright

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New Keepers of the Water Tower – Infernal Machine

Photo by Soile Siirtola

Photo by Soile Siirtola

Infernal Machine, the new encounter from Swedish “cosmic rock” band New Keepers of the Water Tower is a concept album based on the classic Joe Haldeman written sci-fi novel The Forever War, a story of an interstellar war between Man and the Taurans. Equally, it is a compelling incitement enabling the listener to invent their own dark and highly involved escapades within a musical soundscape which simply stirs the imagination and enslaves ears. It is enjoyably impossible to pin down the Stockholm band’s sound but very easy to suggest that Infernal Machine will become one of the year’s major triumphs.

Formed in 2006 as New Keepers, extending the name three years later, the band creates a proposition entwining a tapestry of varied and contrasting flavours with an epic canvas predominantly progressive and space rock bred. As shown by fourth album, Infernal Machine, even that description is a scratch on the surface. Consisting of vocalist/guitarist Rasmus Booberg, guitarist Victor Berg, bassist Björn Andersson, keyboardist Adam Forsgren, and drummer Tor Sjödén, New Keepers Of The Water Towers has the ability to transport the imagination into the focus and heart of its theme with its music alone; Infernal Machine their most devilish and sublime success yet.

The album opens with The Forever War, a track luring the listener into the centre of dark times and persistent dangers from its opening sonic pulse. Keys quickly unveil a portentous invitation, rhythms adding an intimidating drama soon after as guitars dangle evocative bait before ears. Then Booberg’s immediately impressing vocals swiftly begin unfurling the track’s rich narrative, his tones mellow and mesmeric whilst the sounds around him are predatory. It is a superbly designed blend of contrasting incitement which simply enthrals as it manipulates the psyche and imagination. At times the track is like a grungy XTC, in other moments a sonically bracing and fascinating merger of King Crimson and KingBathmat like essences, and all the time an absorbing and irresistible entrance into album.

art_RingMasterReviewIts dramatic presence and mighty temptation is matched and pushed further by the gripping adventure of Tracks Over Carcosa next. Initially, it is an echo of a cold and desolate place, a lonely place within whose shadows a pulse beats with increasing relish, emerging to pull the song into a contagious stroll lined with swinging surf rock grooves. Around it a sultry and tantalising atmosphere descends, stirring up even more infectious tenacity in rhythms and melodic enterprise. Hypnotic does not do the track justice; its instrumental air has a cinematic lure and intrigue which you can akin to sixties cold war/spy thrillers and only adding to an impossible to resist alchemy of persuasion.

Towards its departure, the track slips into a solemn noir tinged calm which continues in different form into the following and as thrilling Tachyon Deep. With the returning vocals casting a mist of seducing harmonies as rhythms reveal an almost shamanic nature to their shuffle, the song glides exotically over the senses. Thoughts run through its poetic glade of melodies and vocal caresses, immersing in the scenic expression and spellbinding landscape of the track. That deceptive calm and peace also has hidden dangers, progressively unveiling them with every twist and turn within eventfully its imposing jungle.

Misantropin Kallarv is a brief, relative to the tracks around it, respite to the intensive adventures before and after; like shelter in a soulless building or moment but one which holds secrets behind the turbulence and unrelenting pressure found in the likes of next up Escape Aleph Minor. Its successor also has a less incendiary and demanding nature to its sound and energy but certainly does not lack thick drama in sound and air or the collage of hooks and sonic seduction which incite body and thoughts. From the melodic seduction and discord of guitars and keys to the tribalistic potency of bass and drums, the song is a carousel of suggestiveness.

A slow piano sculpted gait with classical melancholy to its touch ends the track, wistfully floating away into the waiting melodic smoulder of Jorden and a lumbering, emotionally heavy engulfing of ears. More sludge than doom, the track is a rapacious and darkly poetic suffocation of the senses which may not match the impact of others within Infernal Machine but undoubtedly has the imagination conjuring away as eagerly as anywhere upon the album.

The Infernal Machine completes the release; the track with every passing minute growing and evolving whilst providing a kaleidoscope of cosmopolitan and tribalistic incitement. Its repetitious strands and drone like nagging is simply delicious, around them the craft of guitars and lure of sonic imagination mouth-watering as the album ends as majestically and thrillingly as it started. A bass led passage midway of post punk seeded virulence, the cream on the cake of the song.

Infernal Machine has so much for fans of every kind of rock and melodic/progressive metal. Those with the appetite for bands ranging from Pink Floyd and King Crimson to Goblin and The Ocean to Arcade Messiah, to hint at its diverse appeal, will find plenty to devour, though by the middle of its opener the only name on their mind will be New Keepers of the Water Tower.

Infernal Machine is released on 4th March via Listenable Records across most online stores.

https://www.facebook.com/NewKeepers

Pete RingMaster 04/03/2016

Copyright RingMaster: MyFreeCopyright

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Arcade Messiah – II

John Bassett _RingMaster Review

Though time wise it has been around a year between releases, it feels like a mere breath in sound and relationship between the self-titled debut Arcade Messiah album and its successor II. Continuing in adventure where its acclaimed progressive rock predecessor left off, the new encounter is an emprise of instrumental majesty and incitement reconfirming John Bassett as one of Europe’s finest songwriters, composers, and musicians.

An artist no stranger to garnering thick attention and praise through his band KingBathmat and acoustic offerings under own his name, Bassett’s solo instrumental project Arcade Messiah is another unique proposition from him. Weaving strands of highly varied styles from metal to math rock, stoner to post rock with further diverse and progressive flavours soaked in stirring ambience, the first Arcade Messiah album was a riveting exploration of sound and emotion through individual incitements. Each song worked on the listener’s senses and imagination and as mentioned, II carries on in the same vein but further experiments with textures whilst stretching the fusion of styles and essences to richer and deeper extent. Basset himself neatly sums up II, saying “after the surprise success of last year’s original Arcade Messiah album and after receiving feedback from fans of that album I decided to make a sequel, a continuation of that album, that is hopefully bigger, better, more refined and more dramatic, but which didn’t lose the vibe and atmosphere that was created on the original album“.

Arcade-Messiah-II-Cover_RingMaster Review   II opens with Moon Signal and straight away thoughts drift on the breeze of melodic and atmospheric coaxing. Keys whisper suggestively with their calm caress whilst a guitar emotively entices before sparking a broadening into a thicker and more volatile landscape. The celestial air which painted the start continues to ebb and flow within the spatial yet tightly woven invitation of the track, its journey hinting at vastness and intimacy simultaneously whilst twisting through varied realms as the song explores new avenues of calm, tempestuousness, and imagination.

As expected, Bassett bewitches and provokes ears and emotions with his writing and craft, each piece of music a tapestry of clues and persuasion for the imagination to run with greedily, Red Widow another swift example and success. The second track has a more sinister air to its tone and presence which starting from a sonic mist is soon opening up layers of equally intimidating and seductive expression. The arousal of ear and thought also evolves through many guises within the full umbrella of sonic temptation, a creative travelogue shaping all tracks with the compelling Black Dice Maze a prime example as it glides through sonic intrigue and emotive calm as well as tenacious rock ‘n’ roll and ravenous volatility within its gripping theatre of sound and invention.

The next up Gallows Way seduces from its first touch. Initially it is a surf rock infused ambient hug on the senses, soon spreading out with evocative melodies and reflective sonic shimmers as guitars and keys align with shadowy but restrained rhythms. The skills and invention of Bassett across the instrumentation is a perpetual doorway into the heart of the music, guitars especially descriptive and suggestive across the album but just as potent are the rhythmic contrasts and darker hues that can either ripple or erupt in more forceful intent to temper or enhance the adventure around them. In the fourth song beauty dominates though whereas Fourth Quarter involves rugged scenery of riffs and dynamics within a sonic radiance which immerses the listener with a climate of invitational sultriness and tempting danger. The track is a gripping fascination and rich aural temptation matched in might by the sultry mystique of Via Occulta. The short piece is a maze of shadows, a lure into secrets and hidden depths, and a spellbinding flight even with its brevity.

Across both Read The Sky and Start Missing Everybody, artist and album continue to be a kaleidoscope of aural ingenuity and temptation; each of them evocations which transfix and incite the senses and imagination into unique interpretation of the sonic palette on offer. The closing pair of the two is a melancholic kiss but just as potently fuelled by hope and energy to create something emotionally anthemic.

The CD version also includes the bonus track The Four Horsemen, a striking cover of the Aphrodite’s Child song which was also Arcade Messiah’s contribution to the recently vinyl released compilation album by Fruit De Mer Records called Side Effects. Alone it is worth the purchase of a CD, Bassett giving the track fresh life and suggestiveness, though the cream of II is undoubtedly his original and thrilling tracks.

John Bassett as mentioned is for us one of the UK’s most potent and stirring songwriters, let alone musicians, and II another thick slice of pleasure.

Arcade Messiah II is out now digitally as a name your price download @ https://arcademessiah.bandcamp.com via Stereohead Records and on CD from November 27th.

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

Pete RingMaster 23/11/2015

Copyright RingMaster: MyFreeCopyright

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Zedi Forder – Self Titled EP

cover_RingMaster Review

Having a lustful attraction to its member’s other projects, there was always a fair chance that the self-titled debut EP from UK rock band Zedi Forder was going to incite the same kind of appetite but of course you never know. Well actually maybe we do as it seems any project linked to bands such as Tricore, An Entire Legion, and Rind Skank, not forgetting Kerl, the solo project of one of its members, is primed to excite and ignite personal passions and those of a great many others. The four track Zedi Forder introduction is no exception, another bundle of songs which blow ears and emotions away whilst proving once more that some of the most compelling songwriting and sounds in heavy rock/metal are waiting to be discovered in the heart of the British music scene.

Zedi Forder is right now a duo, soon to be trio as they search for a bassist, and consists of Guildford based vocalist/drummer/songwriter Chris Kerley and guitarist Mark Carstairs, men behind the list of exceptional bands mentioned above. Inspirations woven into the band’s sound include the likes of System Of A Down, Led Zeppelin, Korn, Mastodon, Red Hot Chilli Peppers, Queen, Incubus, Paradise Lost, Nirvana and many more, but as is soon apparent within the EP, all mere colours in a unique tapestry of imagination, creative mischief, and pure aural majesty which if it reminds off anything it is a little of the duo’s previous adventures.

The EP starts off with Killakarta, a track instantly warming ears with punchy beats and lightly growling grooves. In no time the recognisable tones of Kerley are enticing, his presence as magnetic as ever to match the potency of the sounds around surely one of the best unsung vocalists in British rock as well as songwriters. The track continues to boldly stroll, its calm but open swagger as endearing as the brewing drama of sound fuelling its confidence and sparking the imagination. Warm breezes of melodic seduction blossom in the expectations avoiding craft and emotional theatre of the song though a more predatory and aggressive shade continually lurks in the shadows to resonate with the lyrics. It is a mouth-watering start to the release but just the teaser to greater alchemy.

I’m the one leaps in next with sinews showing and nostrils on the point of being flared but it is a ruse as almost as quickly the track twists on a meaty piece of bass bait into a hip swaying funk kissed swing of melodic and contagious dexterity. Like 12 Stone Toddler meets KingBathmat with a definite and understandably rich vein of An Entire Legion (AEL) to it, especially when it bursts into an energetically and almost dirtily tantalising blaze, the song is just irresistible. Quite simply it is a gorgeous hook laded slab of melodically flirtatious and feistily rousing rock ‘n’ roll, and one of the very best things to come from a Kerley composition/collaboration.

Humour has never been too far from the band’s member’s creativity and is just as potent in Zedi Forder and within the grin sparking Nachoman, a song which is just as provocative in its social commentary as sonic flame of sound. Again we have to offer some similarities to AEL and songs like Scurvy Johnson, but equally it is another song bred with a diversity of flavours and almost whimsical imagination for a smouldering creative charm offensive complete with a rousing snarl and anthemic seduction.

Final song is Time after time, two and a half minutes which really does growl whilst springing a web of riffs and jabbing beats which bleed infectiousness in every grungy enticement and wicked swipe. I guess you could offer the inventive roar and aggressiveness of Tricore as a scent to the closing song, spices which are unavoidable due to the familiar voice and creative flare Kerley and Carstairs, but once more there is plenty of fresh tenacity and ripe originality to sculpt its own identity and bring an outstanding encounter to a rich, thrilling close.

It is fair to say that other bands with Kerley and Carstairs at the heart have criminally gone undervalued bordering on unnoticed by major attention and success. Thankfully making music which leaves a lasting imprint on body and imagination through creative originality and adventure is a passion, a vocation for the pair at the heart of Zedi Forder, so we get to feast on their alchemy once again and so should you, it would be rude not to go off and discover its majesty, wouldn’t it?

The Zedi Forder EP is out now as a name your price download at the Tricore Bandcamp profile.

Pete RingMaster 02/09/2015

Copyright RingMaster: MyFreeCopyright

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Elderoth – Mystic

Collin McGee - Live

To call Mystic, the new album from Canadian melodic metallers Elderoth, easy going and very likeable does not do any justice to the technical craft and skilled invention at work within the proposition, but that is exactly what it is, a highly enjoyable encounter very easy to get on with. The bands second full-length is also a collection of thoroughly captivating songs bred with tenacious imagination and as mentioned, technically impressive invention, a release sure to awaken a new and broader wave of attention on the Montreal based band.

Elderoth is the creation of vocalist/lead guitarist Collin McGee, a project formed in 2007 and soon making a mark on the Canadian metal underground. 2012 saw the release of the band’s self-titled debut album, its presence well-received and awash with the potential of greater exploits ahead, now coming to fruition with Mystic. Infusing N. American and European flavours comparable to bands like Devin Townsend Project and Periphery, with the sound and instrumentation of East Asia, the new album is a fascinating and enchanting offering but also not without a raw snarl or two, or indeed an aggressive streak. It offers tracks which seduce and impose simultaneously, though it is predominantly the former which holds ears and ignites the imagination.

Though a full band live, the album seemingly was performed entirely by McGee showing the talent and multi-instrumental skills he possesses. Within opens things up, the brief instrumental instantly revealing its oriental influence and just as swiftly creating a wind of imposing rhythms and tempestuous riffs. With melodic designs also luring ears from within, the piece evolves into the following Black and Blue where keys create an immediate sunrise of melodic seducing, one bolstered by thickly laid rhythms and the resourceful prowess of the guitars. McGee’s vocals are just as warm and inviting, harmonies flowing and caressing ears in a superbly expressive delivery of the song’s hope bred narrative. It is fair to say that the track is a tempest on the senses, but the kindest, warmest one possible and seriously magnetic with the kiss of Japanese seeded beauty.

elderoth_cover4     Next up the initially darker This Shadow By My Side makes an entrance which is bound by spicy grooves and almost portentous in breath and air. It soon dispels that feeling though with inviting vocals and sparkling sonic enterprise. Into its riveting stride, the excellent encounter brings a whisper of bands like Heights and Voyager to its temptation whilst it’s more creatively turbulent moments suggests elements of The Contortionist and KingBathmat. As the album, time is needed to explore all the layers and adventures within the song but effort only ensures it and in turn the release impresses more.

The outstanding My Future has appetite and emotions inflamed again with its virulently contagious character and thrilling endeavour whilst Falling Star has ears and imagination in an eager submission right from its opening weave of Asian elegance. Of course any essence is part of a richer more involved web, and here rugged almost tempestuous scenery gets involved as spiralling key crafted melodies cross imagined continents with its stirring adventure. The song is pure seduction and the moments when “like a falling star” in the chorus is mistaken for saying like a porn star only adds to the fun.

The calmer charm of In A Dream with its Dream Theater like essence simply dances with body and thoughts, its increasingly energetic and strenuous exploits a beguiling proposal. It is straight away matched by the more heavy metal spiced The Ocean, though its classic tones are soon awash with oriental instrumentation and bewitchment too. Though not managing to carry the instinctive spark exciting the senses in previous songs, with its atmospheric drama around McGee’s impressive technical and composing skills, the song only enthrals before the heavy striding presence and almost shanty like infectiousness of Far In The Sea steals attention away from the real world. The album makes the listener feel like a traveller in many ways, this track one of the most theatrically visual adventures.

The album closes with the transfixing instrumental Always Remember, a track kind of summing up all the exploits and elements found within Mystic in one final individual flight. It is an intriguing hug on the senses and suggestive incitement for thoughts bringing a great release to a thrilling end. Mystic is like a giant melodic magnet, ever since its first touch it has gripped our attention on a daily schedule so far. It is not necessarily the very best album heard or likely to be explored this year but as a highly personable and persistently alluring proposition, it is a winning treat.

Mystic is out now @ http://elderothband.bandcamp.com/album/mystic

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RingMaster 29/04/2015

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