Madre De Dios – Self Titled

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It is hard to get enough of out and out heavy booted rock ‘n’ roll, especially when it comes in the kind of shape of the self-titled debut album from Italian rockers Madre De Dios. Consisting of eleven tracks which blaze away with all the instinctive and prime essentials any thumping rock song needs, the quartet’s introduction is a stomp of impassioned energy. The band is not interested in break down walls of originality it is probably fair to say but in bringing a release which anyone can give their bodies and pleasure to, the band has an undoubted success on their hands.

Hailing from Bari, Madre De Dios was formed in 2010 by guitarist Stefano Pomponio aka S.P. Jesus (Natron). The band’s first line-up was completed by bassist Gigi D’Angella (Anuseye), vocalist/guitarist Gianpaolo di Stasi (Stainer), and drummer Marco Ninni (Swedish Death Candy), a foursome who’s live presence was soon luring in increasing masses of devoted fans. Over time a more stoner-esque character emerged in their heavy rock ‘n’ roll propositions, their sound continuing to evolve as a shuffle in personnel saw vocalist Frank Bizarre (The Missing, Cafè Bizarre) and drummer Vince Floro (Stainer) replace di Stasi and Ninni respectively; the latter joining the band after his predecessor had recorded the album in 2013, and a year’s break for the band soon after. As the album, swiftly shows, the band’s sound draws in numerous spices from varying decades to create something familiar yet fresh and compelling. With shows with bands like Bud Spencer Blues Explosion also on their CV, 2015 is looking like turning into a potent and break-through year for Madre De Dios, especially as their album grips many more appetites like ours week by week.

The albums gripping devilry opens with The Evil Guide, a song exploding from a crotchety riff into a full on assault of bracing grooves and pungent rhythms within a blaze of melodic enterprise and tenacity. There is an immediate snarl to the song but equally a captivating infectiousness, every element an anthemic lure in the rigorous persuasion of the excellent incitement of feet and appetite. Just as swiftly the craft and creative attitude of the band is an open temptation too, every swing of the sticks, casting of tangy grooves, and vocal expression drenched in a stirring energy driven by personal adventure.

The same applies to the following High Living in the Sunshine, well every song on the album to be truthful, the track making a more deliberately controlled entrance but loaded with thick MoftheRspicy grooves which make slavery of ears and imagination right away. Exploring a potent mix of hard and classic rock, the song is soon leading the listener in a sing-a-long chorus and head nodding participation for the slower but catchy stroll of its surrounding verses. Not as dramatically persuasive as its predecessor maybe, the song is still soon a masterful treat, and even more so once bluesy stoner bred temptation begins to colour the song’s increasingly appealing canvas.

That blues tang is just as ripe in Flamingos! which comes next, its rich spicery again merging with a more classic roar of rock as jabbing beats keep an antagonistic edge to the rhythmic side of the infectious encounter. This virulence is exploited further in the similarly sculpted Big Head. Coming straight out of the previous track there is an unmissable similarity to certainly the riffs and grooves of the song, though that is tempered by the excellent grizzly growl of D’Angella’s bass and the ever engaging dusty vocals of Bizarre, not forgetting a grunge meets stoner air which at times has a slight feel of Kyuss and Gruntruck to it.

I Crashed Your Car opens up our favourite part of the album, its rhythmic agitation and fiery melodies an exciting and inventive embrace for the magnetic vocals and creative majesty of Jesus’ solos. The throaty bassline also adds further irresistible bait for ears, its dark presence contrasting and complementing the increasingly imaginative weave of raw and spellbinding melodic ingenuity. As great as it is though, the song is just the appetiser for the delicious exciting meals of Shake it Baby and Mad City. The first as so many, just slips out of the song before with seamless and natural ease, and straight away unleashes an enthralling and invigorating rock ‘n’ roll dance. Like a sonic epidemic, the track is soon infesting ears and psyche, not to mention body and soul, as riffs and beats unite in a merciless temptation whilst grooves and vocals toy with the passions. Hooks are spilled left right and centre across the adventure whilst the bass has lips licking in excitement even just thinking about its lures. The brilliant proposition is matched by the just as insatiable tempting instrumental which follows, Mad City a foot to the metal juggernaut of toxic riffs and just as venomous grooves within a tempest of rhythmic and sonic charging. If you are aware of the equally addictive Buzzcocks track Late for the Train from Love Bites, you will understand the unrelenting potency of the track.

A mischievous nature adds to the raucous bellow of Ordinary Man next, the song another creatively stormy and exhaustingly fun rock ‘n’ roll romp matched by the excellent cover of The Beatles’ Helter Skelter, renamed Mater Skelter here. The Siouxsie and The Banshees version still holds the heart but Madre De Dios’ cover definitely gives it a run for its money at times, the band not twisting it around too much but still giving it their own spirited slant.

The album is completed by the stoner blues breathing Merry Go Round Song, a song which seems part Pearl Jam and part The Black Crowes, with a scent of Clutch but again finding something more to stand out, and lastly by the spatial adventure of Orbit. The final track seems to draw on all the flavours permeating album and sound so far, casting them all into its own individual escapade of eighties, nineties, and modern day rock ‘n’ roll. Like the album as a whole, it makes no demands and makes accessibility and enjoyment a done deal within the first handful of seconds, but as on all tracks it offers plenty of imagination and enterprise to be an intriguing and thrilling proposal at every turn.

If you want ground-breaking stuff, want to have your boundaries pushed into new realms, Madre De Dios will please to a certain extent but if you want rock music to leave you bloated on undiluted pleasure and fun then band and album is a must.

Madre De Dios is available on most digital music platforms and CD through Red Cat Promotion.

https://www.facebook.com/madrededios2010

RingMaster 27/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

Kayleth – Space Muffin

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Everything about Space Muffin, the new album from Italian rockers Kayleth is a spatial adventure; from the eye catching cover and lyrical exploration to the space rock coloured climate gathered over a stoner rock sculpted landscape, it is a flight through other worldly explorations. Equally that stoner and metal induced breeding gives songs and release a contrasting grounding which makes it as intensely imposing as it is celestially fascinating. Space Muffin, a fluffy name offering a slight deterrent before a note is heard, and Kayleth draw on recognisable influences it is fair to say, Kyuss and Orange Goblin for example. It is an open spice though which the Verona quintet entwine with again familiar space/psych rock seeded imagination to conjure something seriously compelling. The album might not be the one to really challenge your expectations but definitely it is a proposition to turn pleasure and a hunger for more up to the highest setting.

Formed in 2008, Kayleth has persistently lured an increasingly potent attention their way through their releases which started with Not Yet in 2006. Initially their sound was rigorously stoner-esque, with In the Womb of Time and Rusty Gold of 2008 and 2010 respectively, thick enticements of the broadening emergence of the band. Their sound has been on a constant evolution even from those early releases, but it was after The Survivor was released in 2012 and through the addition of keyboard player Michele Montanari that the band went on a new exploration into space/psych rock territories, investigation taken without leaving behind the stoner canvas which had already garnered the band increasing acclaim. The band and songs within Space Muffin seem to revel in this new horizon of imagination in their songwriting and sound, discovering like its premise, a new world to play in.

The heady heights and atmosphere of Mountains opens up the release, its muscular presentation an immediate wall of rugged riffs and pungent rhythms within a web of spicy grooves. Behind it the keys of Montanari seduce away, not making a major declaration yet but coaxing behind the scenes as the excellent grainy vocals of Enrico Gastaldo join the widening scenery of the song. Guitarist Massimo Dalla Valle matches the increasing lure of the keys with tangy grooves and acidic melodies, both aspects uniting in rich warmth as the bass of Alessandro Zanetti rumbles within their midst. Completed by the feisty and imaginative beats of Daniele Pedrollo, the song stomps and swerves with irresistible contagion; turning as the keys bring their interstellar KAYLETH_coversuggestiveness into an exotic temptress.

The excellent start is continued by Secret Place, a track loaded with an energetic stride driven by virulent grooves, rampant rhythms, and the potent vocals of Gastaldo. That Orange Goblin essence is a busty flavouring here but equally you can easily suggest a touch of Eagles of Death Metal to the vivacious appetite and energy of the song. It is ablaze from its first second and even with some clever twists and teasing from keys thereafter, never loses its lustful voracity. Imagination sparking invention is just as evident too and even more dramatic in the following Spacewalk. With samples and an on-going narrative offering a space flight with almost Robinson Crusoe like undertones, the track takes to the air with a magnetic shimmer and gentle melodic seducing. Thrusts of intensity led by caustic riffs and heavily swung drums pierce the beauty of the ambience drifting across the track, the burst bringing intermittent and eventually sustained tempestuousness to the bewitching encounter.

Both the intimidatingly sturdy Bare Knuckle with its mouth-watering rhythmic shuffle and sonic flaming against the charming ambience of the keys, and the soulful Born To Suffer have ears and imagination wrapped up in their designs and melodic colours. The first from a contagious ruggedness slips across sultry climes of sonic and provocative textures whilst the second with a blues toned melodic croon smoulders and entices with captivating charm before sparking with classic metal seeded enterprise. Neither quite matches their predecessors, though Bare Knuckle makes a thick challenge, but both leaves senses and thoughts riveted before Lies Of Mind flexes its striking musical and inventive muscles for a bruising and infectious slab of space rock toned rock ‘n’ roll. As most songs there are plenty of twists and unpredictable surprises employed, without going overboard, leaving ears and emotions greedy and equally a quite inescapable anthemic tendency.

   Try To Save The Appearances also has a broader rock ‘n’ roll character to its heavy persuasion, stoner and psych rock colluding in a tempestuous and wholly tempting charge which at times, as elsewhere on the album, has hints of Monsterworks to it as well as that of Karma To Burn. It is a glorious incitement leaving just the instrumental elegance and heated soundscape of NGC 2244 to bring the album’s flight to a tantalising close.

Space Muffin might have a weak title but within its walls it is one thoroughly enjoyable and invigorating adventure. Kayleth’s album does not truly surprise too often but leaves ears blissful and satisfaction over flowing, thus a release to heartily recommend.

Space Muffin is available via Argonauta Records now @ http://www.argonautarecords.com/shop/music-/47-kayleth-space-muffin-cd.html

http://www.kayleth.com/

RingMaster 03/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

Spider Kitten – Behold Mountain. Hail Sea. Venerate Sky. Bow Before

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Claimed as an album which was never supposed to exist, Behold Mountain. Hail Sea. Venerate Sky. Bow Before definitely belies the spontaneous and undetermined emergence that the statement suggests. The three track release from UK doomsters Spider Kitten, in their words “was always meant as a filler for themselves and the ‘fans’ before the next full album.” What they have created is a masterful captivation of sound and invention which pushes their horizons and suggests that ultimately its birth was not as laid back as assumed, though equally it holds a freedom and flow to it which is organically spontaneous. It is a gripping and unpredictable slab of stoner flamed doom exploration, something which the Welsh band excels in, which for newcomers and fans alike reinforces the stature of Spider Kitten and more.

Formed in 2001, the Newport band is centred round vocalist/guitarist Chi Lameo and bassist/vocalist Alex White. Emerging as a duo, the band as years and releases came and went, has been a full septet and as now, an imagination sparking quartet featuring drummer/vocalist Chris West and guitarist Rob Davies alongside the founding pair. The band has numerous impressive releases under their belt but strangely and almost inexplicably Spider Kitten is still a treat within the shadows when it comes to breaching the fullest spotlight within British rock. Maybe the new encounter will be the catalyst to broader attention and recognition, time will tell but it is certainly a striking and exciting incitement from the band which is sure to whip up a storm of acclaim somewhere.SKDigiPromoCover

Lyrically and musically inspired by Norse Sagas and Eddas, the release also features guests in the shape of guitarist Stuart ‘O.F.D.’ O’Hara (Acrimony, Iron Monkey, Blackeyeriot, Sigiriya) on opener Lindisfarena, and Charlotte Nichols (ex – Crippled Black Phoenix) who provides the heavy provocation of cello gracing final song Gore Swan. The first track launches on a gripping parade of predatory rhythms swiftly smothered in sonic causticity as guitars spray their endeavour. It is a tribal call to arms which instantly enslaves ears and imagination before suddenly relaxing into a just as tempestuous terrain of thick stoner enterprise and doom loaded predation. Vocals add their raw persuasion and colour next as the track spreads with almost toxic infectiousness across the senses, Lindisfarena insatiably swallowing thoughts and emotions with its riveting expanse of bass intimidation and sonic tenacity. Slow and lumbering but nimble on its feet in certain aggressive and inventive moments, the track is seven minutes plus of enthralling, bordering on visceral exploration.

The following Bearded Axe consumes ears with lowly slung grooves and stalking rhythms as vocal harmonies converge on the song’s corrosive ambience. It is a mesmeric assault, the track a ponderous beauty of bestial intensity and weight aligned to perversely radiant colour and temptation. For three minutes or so the track prowls and intimidates to fine effect but it is once sonic scythes split the body of the track, to be matched by carnivorous beats, that it grips an even greater plateau. Thick Kyuss like essences seduce in its maelstrom before a gentle caress of folkish charm leads the track towards the closing epic of Gore Swan. It is a transfixing bruising enticement which is surpassed by the journey, musically and lyrically, coming in the three parts of the last track. With ‘chapters’ Of the Land, Of the Sea, and Of the Sky uniting, the song is an evolving landscape of melodic scenery, ferocious confrontation, and imposing intensity. It never rests too long in one particular climate, each movement no matter its length a restless and fascinating tapestry of textures and sonically fuelled imagination. There is something of KingBathmat to the encounter, especially in its weave of evocative sounds and almost devilish ingenuity. The cello of Nichols is gorgeous as it crafts melancholic and bewitching shadowed tones as backdrop to hostile and calmer twists in the tale.

The track alone makes the album a must investigation, and locked in union with its companions helps provide another sensational proposition from Spider Kitten, a band which surely will eventually stand to the fore of doom bred, progressive caressed, sludge rich adventure.

Behold Mountain. Hail Sea. Venerate Sky. Bow Before is available now via Undergroove Records

http://www.spiderkitten.co.uk

RingMaster 28/10/2014

Copyright RingMaster: MyFreeCopyright

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Possessor – Electric Hell

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Hailing from London with a penchant for occult metal and with already the Wings of Fire EP under their belt this year, UK metallers Possessor have unleashed a rather tasty and impressive debut album in the stormy form of Electric Hell. There is not much more we can tell you about the band except that if you like a cocktail of sludge and stoner metal with thrash and varied metal rapacity, then this is an ear rioting album to whip up the juices. Consisting of nine tracks which simply flirt with the imagination whilst rigorously fondling the passions, Electric Hell is a treat for all fans of bands such as Black Sabbath, Slayer, and Fu Manchu through to Black Tusk, Gruntruck, and Kyuss with plenty more on offer. There is one band though which came to mind again and again as the release set to work on ears, and that is early Therapy?, the album vocally and in its predatory sounds holding a highly agreeable and uncanny essence of the Irish trio about them.

Unique in its own presence too, the album is a gloriously raw and irresistibly cantankerous encounter which makes an immediate and appetite igniting impression through the first rugged swipes of opener Chasms of Malice alone. From the first breath, sinew clad strikes of guitar courted by the bestial throaty charm of bass crowd ears to spark swift attention, the imagination following suit as an acidic groove and caustic riffing emerges to consume the senses. There is a punk vitality to the track too, especially once the effect surfaced vocals join the now rampaging stride of guitars and the punchy rhythms. It is a glorious enticement with the snarling bass stealing the limelight, but only just from the toxic groove and insatiable swagger of the song.

Its striking start is swiftly followed and matched by Invisible Face, again riffs setting down predatory bait which is coloured by stoner-esque hues and infectious grooves. With a haunted tone to the vocals and grumbling voracity to both bass and drums, the track bulges with rabid riffs and spiky hooks to inflame an already greed bitten appetite. It is a hunger soon fed a tasty morsel by Limb from Limb and spoilt by the outstanding Castle of Bastards. The first of the two is a more slowly intensive proposition, its acidic binding of sonic enterprise as restrained and flavoursome as the gentler expression of the vocals. It is deceptive though as at its core, the song is primed and driven by an incessant nagging of riffs and the ever incendiary bass sound. It is an underbelly which is fuelled with rabidity, a lure as potently predacious as the sounds around it are magnetically reserved. It is a fine encounter but soon left looking up at the might of its successor. Like most tracks on the album it is driven by thrash bred tenacity and muscular urgency which makes for a familiar and easily digestible spine, upon which the rest of the song expands and brings its creative devilry. Castle of Bastards is no exception but to this insatiable bait it unleashes a bestial breath and inventive sonic unpredictability which simply bewitches. The track is where that reference to Therapy? is first bred, though earlier tracks hint at it at times too. Far too short at less than two minutes long, the song is pure hostile drama and quite magnificent.

The sultry stoner grooving of Strange Summoning over a garage punk and heavy metal blended canvas makes its own sturdy claim for top track honours. Again brief in presence but rich on irrepressible adventure with riffs and grooves the prime addiction, it soon makes way for the Sabbath-esque Heavy Dreams. It is a song intensive in weight and primal structuring yet veined with a sonic intrigue and melodic causticity which would not be out of place in a Torche or Melvins treat. It is followed by the virulent contagion of the instrumental Skeletal Form, a corrosive dance of scathing riffs and inhospitable rhythms with an impossibly addictive groove, one again related to anything the previously mention Irish band uncaged on the Shortsharpshock EP or the Troublegum album. Equipped with sludge oppressiveness and acute stoner seeded sonic enticements, the piece is a deliciously enslaving encounter which reinforces the depth and devilish character of the band’s exhilarating sound.

The album is concluded by firstly the sonic grazing of Face the Possessor, a track which fails to find the same eagerness of reactions as its predecessors but still with intimidating jagged riffery and entrancing guitar endeavour leaves ears richly satisfied and the imagination enticed. The final song of the album is its title track, a hypnotic and unrelenting persuasion of doom spawned pressure and bordering on insidious temptation. It is a demonic slice of instrumental alchemy which shows that if ever their frontman lost his voice the band would not disappoint on stage thanks to their absorbing and spellbinding, not forgetting ingenious sonic adventure.

As Electric Hell seduces time and time again, it is hard to imagine that Possessor will go unnoticed for long by fans, media, or even label interest. Now is the time to submit to their diablerie we say, this raw and unpolished gem of an album a thrilling ticket to the start of their inevitable ascending ride.

Electric Hell is available now @ http://possessor.bandcamp.com/album/electric-hell

https://www.facebook.com/possessorband

9/10

RingMaster 10/08/2014

Copyright RingMaster: MyFreeCopyright

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Electric Taurus/Prehistoric Pigs – 12″ split

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Split releases are invariably a gateway into new striking adventures and intrigue drenched propositions, the awakening of attention to artists seemingly more often than not lying in shadows away from attention. They can be the beginnings of great sonic friendships and in the case of the Electric Taurus/Prehistoric Pigs split from Go Down Records, the announcement of important emerging forces. Consisting of three tenaciously imaginative and vivaciously inventive soakings of stoner/hard/psychedelic rock, the release is a mouthwatering encounter to invigorate the senses and stoke up the passions.

 

First up is Irish band Electric Taurus with their sixteen minute epic Behind The Sun, a glorious exploration through a space rock landscape with ever shifting and expanding scenery. Formed in 2010 as a recording project by guitarist/vocalist Matt Casciani, the Dublin trio went through numerous line-up changes before finding stability with the addition of bassist James Lynch, and drummer Mauro Frison. 2012 saw the band sign with Moonlight Records for the release of debut album Veneralia, a well-received encounter bristling with the inspirations of heavyweight like Black Sabbath, Hendrix, Led Zeppelin, and Deep Purple with those of underground bands from the same era such as Buffalo, Leaf Hound, Iron Claw, Primevil, and Captain Beyond. It is only one shade of their sound though as evidenced by Behind The Sun, the sultry sizzling flavouring from bands such as Monster Magnet, Kyuss, Electric Wizard, and Orange Goblin, adding to what is a refreshingly distinct conjuring from Electric Taurus.

Their contribution to the split embraces ears in a sonic web, a spatial entanglement which teases and stimulates the imagination and senses. It is also an intimidating enticement but one with charm and bait to inspire a hunger to dive in deeper, especially when a flirty stride of rhythms burst out of the thick mist with mystique wrapped, fuzz kissed melodies riding their lure. Now within an evocative premise still revealing its intent with unpredictable twists and diversions, the track steadies its pace and experiment to slip into a potent blaze of stoner fuelled sonic endeavour and melodic blues acidity. Binding the ears in rich grooves, provocative rhythms, and a great doom groan, the song paints an emotive journey, which finds its strongest trap for the passions with the entry of guest vocalist Barbara “Babz” Allen of Irish blues rock titans Crafty Fuzz. With a delicious growl to her riveting tones, air and thoughts are brought into a sirenesque harem of syllables and melodic incitement. Her presence also sparks a stronger flame to the sonic thrust and tenacity constantly weaving through the track, resulting in one searing blaze. Again though it is just one turn in the emprise, the song continuing to colour and bewitch ears for a voraciously creative and thrilling escapade sculpted by the skilled and magnetic exploits of each band member. It is a stunning track setting a formidable task for its release companion to match.

Italians Prehistoric Pigs more than put up an enjoyment equalling effort with their two tracks, even if personal tastes does just plump for the previous track as the pinnacle of the impressive release. Hailing from Mortegliano, the trio of guitarist Juri Tirelli, drummer Mattia Pi, and bassist Jacopo Tirelli employ inspirations from the likes of Kyuss, Jimi Hendrix, Sleep, Black Sabbath, and Led Zeppelin into their instrumental incitements. Their sound is a sludge rock rich mix of bracing doom soaked psychedelic alchemy, an earthy mix which paints the imagination and strokes the emotions for individual sonic paintings, as presented on Wormhole Generator, their excellent album of 2012. The Perfection Of Wisdom presents the perfect evidence of their potent weave of sound. Starting with a lone bass lure beneath whispered calls of the song title, the track shapes a compelling ambience with precise melodic hues of guitar, their presence gentle and unhurried as they colour the increasingly smouldering breath of the emerging track. It is a seductive unveiling of the full weight and terrain of the ever impressing piece, rhythms gaining intensity as the sonic enterprise ebbs and flows in insistence before unleashing a voracious flame of imagination and ingenious texture.

It is an enthralling provocative flight of sound and creativity swiftly backed by 79360 Sila-Nunam. Its entrance is subdued and slightly muffled in comparison it its companion but ready and eager from its reserved poise to escape into a climactic burst of intensive sonic wind and rhythmic demands. Grainy in its air and scorching in its touch, the track sizzles with the heat of a Karma To Burn upon Kyuss like desert rock, every note and riff igniting thoughts and emotions for a thoroughly captivating and somewhat corrosive treat.

Electric Taurus and Prehistoric Pigs come together for one of the best split releases in recent years and one of the most exciting psyche/stoner heavy rock releases in recent times. It is an essential doorway into the worlds of two extremely talented and imagination inspiring bands which deserve the fullest attention possible.

The Electric Taurus/Prehistoric Pigs Split is available now on 12″ vinyl format through Go Down Records @ http://www.godownrecords.com

https://www.facebook.com/electrictaurus

https://www.facebook.com/PrehistoricPigs

9/10

RingMaster 20/06/2014

Copyright RingMaster: MyFreeCopyright

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Mountains Among Us – Commission the Twelve

Mountains Among Us - Cover

Simultaneously a flight into celestial exploration and a drop through virtual pestilential darkness, Commission the Twelve the new album from US Avant/doom-gaze sculptors Mountains Among Us, is an exploration which is as terrifying as it is enrapturing. The five-track release is an intensive and formidable proposition, one to challenge and test but similarly one to provide the imagination and senses with a bracing and rigorously rewarding experience. It is a long-term investment for thoughts and emotions through a compelling discovery which imposes and lingers.

Formed in 2007 by Brandon Helms of From Oceans To Autumn, the North Carolina based band first made their impact and intentions known with debit album True North in 2008. It was a striking encounter and presence pushed further by its successor Believer two years later. The next year or so saw the band working on some experimental recordings/EP’s before setting down to work on creating Commission the Twelve. The new album sees the band creating their finest moment yet, pushing their limits and sounds into new dark and intrusive territories but similarly investigating greater boundaries and reflections of light and emotions within their powerfully expressive and enthralling dramatic soundscapes. The instrumental examination is not always an easy listen, or always offers a welcoming accessibility, but it does cast a seductively blackened canvas and incendiary landscape for thoughts and imagination to unleash their darkest and deepest emotions.

Mountains Among Us consumes ears and senses immediately with Centurion, guitars making the first gentle abrasing before rhythms descend feverishly as those same guitars expand their corrosive yet enticing enticement. It is an uncompromising start which enslaves attention and an awakening appetite before relaxing into a soaring causticity of melodic imagination and sonic intrigue, one still veined with a rhythmic intimidation and the captivating throaty bait of the bass. As with each track, numerous listens sparks varied interpretation from thoughts and emotions, here its heavy textures and dramatic structures the incitement to a myriad of reflections and mental designs.

The harsh but invigorating climate of the song is matched by the following Atonement, its opening touch just as potently acidic and mesmeric in its melodic toxicity, strengthening and expanding its sirenesque persuasion with clearer veining of sonic ingenuity and the ever bewitching bass tempting and call. The enveloping ambience and sludge spawned tenacity of the track leads the listener into a unique exploration aside of its predecessor but both equally feel linked and part of the same demanding and exhaustive journey. It is an epic quest which by the slip into a gentler raw caress mid-way has lungs and senses gasping for breath and by the completion of its twelve minutes, has emotions clawing out for a feeling of security, but with so much going on and twists and corners to be discovered continually the song makes for a riveting study and emotional emprise.

Walls bursts in next and immediately has a raw predatory tone to the riffs and voracious intent to the rhythms. There is a liveliness at large compared to the atmospheric doom drenched bodies of the first two tracks but still with a smothering intensity and exacting uncompromising to its heavy weight metal invention which traps and encases the senses in a portentous and rapacious oppression. The bass yet again stands out, the production giving it room to breathe in its diverse offerings amidst thick tides and colossal winds of sonic causticity alongside the melodically nurtured ambience. Again thoughts and emotions inspired are individual to all and shifting with every encounter but always unreservedly alive and basking in the mutually hostile and vitalising exploit.

The outstanding Mortal Life like the last song also brings a standalone terrain to immerse within, its opening stoner-esque scrub of guitar soaked in the desert bred invention of a Kyuss or QOTSA before the ever expansive post rock imagination of Mountains Among Us ventures into a blistered land of sonic grazing and melodic searing within a poetic atmosphere clad in emotional judgement and inciting observation. The song is a fascinating intrusion and mental inspiration, stirring up different facets of thoughts before the closing Farewell Discourse from a melodramatic opening of piano and distantly teasing chords spreads into an epic and cavernous absorption. Every aspect and twist of the track is a loud declaration of the new experimentation and craft in the composing and sound of Mountains Among Us.

As suggested earlier Commission the Twelve is not always a smooth investigation for ears and emotions, at times the tracks pushing their limits in length though not to any truly distractive issues to be fair, but for experimental rock and metal which takes every dimension of the listener into the most challenging yet rewarding depths, the album is a highly recommended probation.

Commission the Twelve is available physically and digitally from Argonauta Records now and @ http://mountainsamongus.bandcamp.com/album/commission-the-twelve

www.facebook.com/MountainsAmongUs

8.5/10

RingMaster 16/06/2014

Copyright RingMaster: MyFreeCopyright

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Cave of Swimmers – Self Titled

 

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Originally self-released last year, the self-titled debut EP from Cave of Swimmers now has its deserved wider release with The Path Less Traveled Records, and an insatiably magnetic treat it is. Consisting of four irresistibly flavoured tracks which are unpredictable and compelling, the release ignites ears and imagination with a contagiously adventurous and dramatically enthralling encounter. Fusing the rich essences of varied metal and rock ventures into mouthwatering landscapes, band and EP provide one surprising and wholly captivating encounter.

Cave of Swimmers consists of Guillermo Gonzalez (vocals, guitar, synth) and Arturo Garcia (drums/backing vocals), two musicians hailing originally from Venezuela who relocated to Miami a few years back. The pair met in school but it was only nine years after their first meeting when Garcia git his first drum kit that the pair started making music together. They played in a few projects including a Rage Against The Machine cover band before Garcia moved to Miami followed four years later by Gonzalez. More years passed before the pair linked up musically properly, forming The Tunnel before renaming it Cave of Swimmers.

Their debut release instantly tells you all you need to know about the pair, their influences, intentions, and undoubted musical skills. From  CoS coverthe opening track Hangman, the band unveils a superbly textured and provocatively spices weave of styles and flavours ranging from seventies heavy metal and psychedelic rock to stoner and doom as well as a stirring progressive encrusted spicery. As the first song proves it is a riveting and refreshing concoction which hits the sweet spot time and time again. Song one instantly has attention at its will with eagerly coaxing rhythms framing expressive and inventive guitar suggestiveness. It is a heavy and melodically infused invitation which losing a little of its grip when relaxing into a less surprising stride, though it soon regains its potency with the outstanding vocals of Gonzalez. His voice soars and roars simultaneously, complementing and driving the sounds around him whilst his guitar, as the rhythms of Garcia, tie up any lingering doubts with anthemic arms.  As confirmed by all songs, there is never a moment to assume you know the destination of a track, a thrilling jazz/funk like salsa of Latin rhythmic temptation and melodic seduction tripping up expectations towards the middle of the first song before excellent guitar craft entwines ears and thoughts.

The outstanding start is soon matched by the initially bewildering Materia. A sinister atmospheric embrace coats the senses first, the breath of the moog synthesizer lying provocatively upon the ears as a rhythmic hurrying pushes the listener into the thick doomy arms of the song. It is a slowly tempered prowl which courts the imagination before being torn apart by the vocal flames of Gonzalez, his delivery verging on operatic and a shock to assumptions, a very welcome and absorbing jolt to expectations. The track continues to stalk with a noir clouded ambience and heavy footed muscular persuasion. It is an irresistible bewitchment, a beautifully thought out and presented drama which explores a brighter but still doom bred scenery. Keys and guitars cast further twists in the haunting narrative as they drop into a frightening textures and sonic mystery before reaching skywards with emotive invention to close the song.

The song Cave of Swimmers steps up next instantly employing open homages to the likes of Sabbath and Pentagram in riffs and melodic grooving whilst vocally they are again sparked by a heavy metal seeding. It is only part of the song’s colour though; it’s contagious hooks and winding sonic bait offering thoughts of Kyuss and Metallic in varying degrees. Inventive and persistently shifting in its gait, intensity, and pure imagination, the song escorts the listener on a breath-taking ride across scorching melody draped scenery and sultry sonic climates, closing out in a blistering vocal crescendo.

The strikingly impressive and immense infection of the release never abates across its length, the closing Catch ensuring the EP ends on the same lofty heights as it started on. The track arguably is the least adventurous of the four but still treats with stoner visited psychedelic temptations and the ever impressing vocal suasion, whilst samples and progressive tinkering only enhance the recipe. It is a fine end to a masterful and rapturous debut by a band with all the potential to make major strides and deposits in the world of metal. Make a note of the name Cave of Swimmers you will be hearing a great deal more of these guys we suspect.

Cave of Swimmers is out on The Path Less Traveled Records now!

https://www.facebook.com/caveofswimmers

http://thepathlesstraveledrecords.bandcamp.com/album/cave-of-swimmers

10/10

RingMaster 16/04/2014

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