Moth’s Circle Flight – My Entropy


They may have a name which intrigues and lures a look, but it is their sound which ensures Moth’s Circle Flight really grabs attention, especially upon latest album My Entropy. Merging fiery groove metal with the hellacious predation of various extreme metal flavours, the Italian metallers show themselves a formidable and aggressively magnetic proposal. Their music is a rousing incitement which warrants attention and now with My Entropy to the fore, it demands it.

Hailing from Parma, Moth’s Circle Flight began in 2003 though it is probably fair to say that the band hit its stride and now firmly established potency when the line-up of vocalists Gabriele “Gabbo” Rosi and Simone “Pancio” Panciroli, rhythm guitarist Francesco “Baldo” Baldi, and lead guitarist Luca “Pellach” Alzapiedi linked up with bassist “Giupy” and drummer “Simo” around 2012. Since forming though, the band has certainly been a potent live proposition and have played with the likes of Sepultura, Extrema, Exilia, and Goddass over time while releasing an early EP before their well-received debut album Born to Burn in 2009. Recently with bassist Marco “Satir” Reggiani and drummer Fabio “Bersa” Bersani making up the rhythm section, Moth’s Circle Flight released My Entropy, a ravenous assault which sees the band hit a new plateau which could and should put the band on the global metal map.

It erupts into life with Man On The Peak, a distant sonic wind bringing the track towards ears as antagonistic vocals roar. Upon arrival it uncages a host of ear entwining grooves which alone ignite the appetite such their irresistible bait backed by thumping rhythms and the already impressing and enjoyable dual vocal assault. The song relaxes a little as it slips into its accomplished stride, jabbing and confronting the senses with an array of spiky twists and subsequently barbarous turns.   It is a fiercely rousing start to the album, like a seductive fury built on the animosity of Sepultura, the ire of DevilDriver, and the swing of Five Finger Death Punch.

Art_RingMasterReviewThings only get more compelling and furious with the following Ends Of A Shadow, its initial riffs a thickly alluring bait of invasive resonance. Swiftly southern hues seep from the track’s rabid pores too, a Pantera/Down like flavouring spicing up an already greedy appetite for the encounter. The great mix of vocal delivery from Gabbo and Pancio is a magnetic pull on its own; their tones embracing every shade of clean, guttural, and psychotic even occasionally encroaching on a Burton C. Bell toning. There is a touch of Fear Factory to the music at times too within, with both guitarists weaving a masterful challenge and seduction, a more melodic/nu metal-esque hue.

Raise Your Head rouses ears and emotions next; its body a bruising turbulence of craft and sonic dispute bound in melodic tempting. Again the pair of vocalists capture the imagination, backed as resourcefully in voice by the band and their musical web of unpredictability and multi-flavoured invention. The track is another simply whipping up more greed for the band’s proposal and quickly matched in success by the outstanding Late Promises and its tide of carnivorous riffs and rhythms. Bass groans and sonic whines accentuate the fiery character and intent of the song, though again, it all comes perfectly tempered by melodic and harmonic vocal imagination as well as some great off-kilter twists and turns.

The embrace of melody and clean vocal charm opening up An Old Chant takes mere seconds to seduce and impress before its brutality and creative trespass is unleashed to harry and prey upon the senses. As its predecessor, the track is glorious, a busily resourceful and adventurous invasion built on the keenest grooves and sonic scythes aligned to another great drama of voice and sound. It is a web of persuasion soon emulated in its individual way by Write My Name. The song is almost carnal in its inventive assault and irresistible, though it does lose its potency just a touch when it slips into more melodic passages throughout its otherwise gripping prowl. Managing to weave in some hardcore, blues, and glam metal too, the track still feeds a by now seriously hungry want for more, a need equally satisfied by both With Love, With Flames and Bursting Into Existence. The first of the pair is a relentless fusion of diverse flavours and styles, all honed into a bullish involvement and enslavement of ears and emotions whilst its successor is another instinctive predator. Its thrash and death metal scented infestation of ears is inescapable slavery whilst the net of melodic and sonic mystique which colours the songs’ scenery at times, is the inviting lead to some more richly satisfying vocal and guitar crafted enterprise.

My Entropy closes as powerfully and dynamically as it began; Madball making the first voracious assault to whip up spirit and energies, with plenty of that already established unpredictable imagination involved, before Ray Of Ira brings things to a volcanic fusion of nu, alternative, and death metal with the band’s instinctive groove sculpted emprise of sound.

Though there is plenty about My Entropy which is somewhat familiar, everything is either boldly fresh or twisted into an adventure distinct to Moth’s Circle Flight; a band as suggested earlier, worthy of the closest attention.

My Entropy is out now via Logic(il)Logic Records via most online stores.

Pete RingMaster 04/05/2016

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Cancrena: Hidden Depravity


    Recent months have seen numerous impressive thrash metal assaults unleashed to which Italian metallers Cancrena have added another formidable release with their thunderous predator Hidden Depravity. Whilst the album uses well mined sounds and ventures it turns them into one of the most powerful, destructive, and downright thrilling records to ravage the passions. The album is a brute of an encounter and thoroughly irresistible.

From Bari, Cancrena formed in 2000 reaping essences from influences such as Pantera, Testament, and Sepultura. Loaded with heavy merciless riffs and an even hungrier energy the band became a recognised force on the local live scene spreading outwards across southern Italy through further gigs and festivals. From a two track self-titled demo in 2003 and the self-produced seven track Fears demo of 2005, which included that first duo of songs, Cancrena grew their reputation further to inspire mounting acclaim through their shows and the new EP. Another demo Underneath emerged the following year leading to a signing with Vision Metal Records in 2008 who gave the demo distribution in the US and UK. Shows with the likes of Obituary, Extrema, Pino Scotto (ex-Vanadium), Finntroll, Vomitory, Malevolent Creations, Paw Power and many more followed over the next three years before the band ventured in the studio last year to record Hidden Depravity, a powerhouse of southern thrash metal.

Released through Logic(il)Logic Records, Hidden Depravity takes no prisoners as immediately evident by the beginning of Cover Hidden Depravity - lightopener Serpent Skin. Emerging from within senses gnawing carnal mists, the song steps forward through a bassline with the most compelling snarl and a torrent of tight destructive rhythms and ravenous riffs linked by a groove which scythes through the ear like a sonic sabre.  Soon the vocals of Francesco Morgese unleash passionate scowls with skill and enterprise to match the already riveting guitar play of Francis Farinola. Well into its stride the song is openly soaked in the aggressive malice of Pantera and driven by an insatiable rich creative craft comparable to a Sepultura or Metallica. It is an explosive start to the album which never lets up through to the end.

The following tempest of hungry energy and senses corroding intensity brought by The Pessimist is equally contagious and demanding. At times there is a Dez Fafara venom and growl to the vocals which lay a deeper abrasion upon the listener whilst musically the track fuses annihilatory intent and smouldering melodic flames together for a full on torrent of voracious invention. Nearing its end the song stops as if over then returns with a furnace of a climax which leaves one breathless and delirious.

The bass of Fab Chiarazzo is a perpetual hypnotic joy across the whole album, his deeply rapacious lines as devastating as they are dangerously seductive whilst the rhythms of drummer Ruggiero Ricco feel like a torrent of unpredictable donkey punches upon the senses. Through the tremendous assaults of songs like Pervert Priest, Dark Torment, and Backdraft, the pair unleash a heavy persuasion and brutality which alone leaves the passions aflame but once lock ‘n’ loaded into primal shotguns of songs alongside the burning craft and rich potency of the guitars and vocals, a willing submission is only a matter of crossing the ’i’s and dotting the ‘t’s.

The further in the release one is thrust the more the intensity and pleasure escalates, tracks such as Black Underground with its twisting vehement structure and crushing union of rhythmic ruination and rabidly greedy riffs, the Bloodsimple toned ravaging Ancient Strength, and the staggering title track, all finely honed storms of savagery and sonic mastery. The last of these three is a mighty metallic wrath which consumes and devours the senses with rich rage and violent authority but as across the album, the band tempering it slightly with a wonderful skilful and imaginative melodic warm.

From first note to last the release is a snarling ravager though it unexpectedly and beautifully gives respite nearing its end through the magnetic instrumental To Nerve Oneself, the piece showing the band as able to create colourful melodic pictures as skilfully and easily as they can grievously decimate. Of course it is only a moment of relief as the band end the album with another staggering riot of murderous rampage in the intensive Under The Law. With sonic fires flaming with melodic brilliance within the ferocity it is a mighty end to an outstanding album. Many will suggest there is nothing new going on upon Hidden Depravity and arguably they are right but when it sounds this sensational who cares. Cancrena makes thrash metal which matters and far better than most.



RingMaster 08/02/2013

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Superhorrorfuck: Gore-Geous Dead


    The story goes that on October 31st 2005, a band known as Morphina was supposed to play a Halloween party in a dirty pub but disappeared after a mysterious car accident. In their place stepped forward four fresh corpses under the name Superhorrorfuck, and a trail of death and mayhem began from that night forth.

With that dark tale you can feel the essences which inspire the Italian shock rockers and give a rich mayhem to their insatiable and infectious sound. The quintet creates a tomb spawn noise heavily loaded with the loud whispers of Frankenstein Drag Queens from Planet 13 and Wednesday Friday, with further glam and heavy metal spicery to their horror rock eruptions. This rich mixture makes the band and their new EP Gore-Geous Dead, a delicious riotous party with a daring mischief and tongue in cheek irreverence, though it might be your cheek more than theirs which is ventured within.

Consisting of vocalist/guitarist Dr. Freak, bassist Mr. 4, guitarist Paghalloween, and Littlebomb on drums, Superhorrorfuck opened their recorded mayhem account in 2008 with debut album Horrorchy to a notable response within their local graveyard. The following year saw the addition of guitarist/vocalist Sgt. Anubys which allowed Mr Freak to concentrate on vocal duties and in 2010 the quintet unleashed second album Livingdeadstars, a release which showed the band with a stronger more defined sound as they grew into their death soaked craft. Across the years the band has shared their notable live decaying presence with the likes of Wednesday 13, Torpedohead, Vain, Sister, Buggirl, and Hardcore Superstar, the band continually gaining increasing acclaim. The Gore-Geous Dead EP is  without arguably breaking new ground but using already mined flavouring, the thrilling result from a band who has evolved into its most skilled and imaginative stature to date with a fusion of punk, metal, and wantonness which is sheer horror sleaze rioting.

Released via logic(il)logic Records, the release opens with the bruising encounter Death Becomes Us, a track which hits all the 205614_10151259604859250_893431619_nright spots without quite igniting any strong fire for its wares. It does and goes where you expect the song to venture but with a fiery attitude and sound which is wholly contagious and a spark for limbs and head to join its encounter. Maybe not a track to linger in the memory it is still a good bruising start to proceedings.

Things soon fire up from beneath the earth with the following Voodoo Holiday, the first single from the EP. Opening with a roll of heavy roll of beats and a compelling bassline the song is an instant irresistible tease with the coarse inciting vocals of Dr. Freak bringing the perfect growl to the sweltering seduction elsewhere. Into its stride the song wraps familiar yet refreshing melodic and anthemic flames around the ear alongside a sultry brass caress which just adds to the infection which has now a firm hold. It is a glorious brawl of rock n roll with marked invention and devilish imagination which leads one into a definite rapture for its easy to consume and be invigorated by aural virus.

Down At The Graveyard steps from the Alice Cooper crypt of sound with its own sonic interpretation and passion, another impressive track which declares punk and metal as two willing and compatible bedfellows. Like all the songs it uses existing tools to sculpt its own character and presence, its sonic scything and provocative melodic enterprise leaving an agitated and full pleasure within its victims. The same can also be said of the final track Ante Mortem Pictures, a song bulging with sturdy riffs, uncompromising rhythms, and once more an unrestrained revelry which is just addictive.

Gore-Geous Dead is a wonderful slab of aural debauchery, a release you just cannot stop from finding a passion for. Yes it and Superhorrorfuck are not bringing you anything particularly new but they are offering a blatantly thrilling and irresistible confrontation.

RingMaster 31/01/2013


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In-Sight : From The Depths


    From The Depths is the thumping latest album from Italian metallers In-Sight, a release which just grabs the imagination and takes it on an inventive dance of melodic death metal with the emphasis on the former. It is a thrilling release which as our first introduction to the band is one of the biggest rewards of the year for the passions.

The band began with a Swedish death metal sound in 1996 on the impetus of drummer Gianluca ‘Mek’ Melchiori. In-Sight had decent success with their three self released EPs and good acclaim for their live performances which took them around Italy and Switzerland. It was in 2009 though after a lull for the band that Mek reorganised the line-up and brought in vocalists Andrea Pecora and Emanuela Antonelli, guitarist Mattia Stilo, and bassist Cesare  Montagner. This brought on a new spirit and energy which impacted on the more melody driven sounds being created. 2011 saw the band record From The Depths and this year the signing with logic(il)logic Records for its release and also the further addition of second guitarist Riccardo Picchi to the ranks. The album now unleashed on the world sees a band which with still some uniqueness to find to its voice stands apart from most similarly driven artists. This was as mentioned the first time the band has graced our ears and the most pleasurable surprise and experience it has been.

So many things stand out on the album from the superbly crafted and structured songs, the mouth-watering musicianship, and the ftdcolossal mix of beauty, intensity, and wilting power. The other tremendous asset the band and release has is the dual female and male attack of the vocalists, both riveting and the perfect union in their individual extremes. Antonelli has a glorious voice, full of grace and power whilst Pecore growls and bruises the senses with a vicious squall of a tone which ignites the primal instincts inside, though he can vary the assault to offer a good texture to his delivery. It is an excellent mix which with its successful formula sets the band apart in that aspect.

Starting with a brief piano led atmospheric instrumental intro the album opens up its full multi-faceted stance with Mind The Light. It takes no time in offloading hungry riffs and pummelling rhythms for the ear to willingly consume before the golden tones of Antonelli lights the skies. As the aural coarseness of Pecore joins the affair and the guitars conjure grooves to spark emotions into life, the song settles into a classic breath with sinewy provocations. It is nothing particularly ground breaking but wholly compulsive and inspiringly invigorating.

The following tracks just elevate things further; Winding Coil is a sensational rub of sonics and staggering harmonies with especially vocally, the almost duelling presence of the two singers a captivating ingenuity and maybe their finest moment on the album, though they push that thought throughout. The track is an intense and vibrant fire of sound and energy which leaves one drooling in musical lust which is soon satisfied further by Frost Hate and Insight. The first of the two brawls with the ear vocally and sonically whilst Antonelli veins it all with delicious elegance through her caressing tones. The second of the pair is a less forceful encounter though it does not shirk on bone snapping riffs and jolting rhythms to intimidate behind the white hot melodic weaves of imagination and sound. It is just another in a blistering confrontation of high quality senses enthralling songs within From The Depths.

As impressive as Parasite and Rary are they drift away from the levels of the previous songs a little, though it is down to the greatness already unleashed rather than their limitations and the band are soon forging another pinnacle with the insatiable hunger of For the Sake of the Show. The song claws at and gnaws on the ear from start to finish with even the ever fine wonder of the female harmonies and vocals unable to soothe the corrosive impact of the song. It is a triumph which leaves thoughts and senses wasted, a tempest of true pleasure.

Closing on Informulation (2011), a track which demands little but gives plenty, From The Depths is a real gem of the year. In-Sight is a band all fans of the likes of In Flames, Soilwork, Dark Tranquillity, and Scar Symmetry, need to track down. This band deserves wide recognition, no question.

RingMaster 19/12/2012

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Motorfingers: Black Mirror


Bringing a diverse and strong mix of styles to their rock sound, Italian band Motorfingers is one of those bands you know once heard you will be paying attention to all they do in the future. Black Mirror is their debut album and a release which lights up the passions with its eclectic breath and stirring presence. It is not actually a record which opens new doors for rock but one which comes up with imaginative and thoughtful uses of existing flavours to captivate from start to finish.

Formed in 2008 by guitarists Max Barbolini and Andrea Spezzani with the intent of creating original music inspired by their love of overseas rock music, the band went through a few line-up changes before finding stability with the addition of vocalist Claudio Corrado, bassist Mauree Novelli, and Alex Gualdi on drums. Their debut EP MSC was well received with two tracks being included on the soundtrack of the movie Spark Preludio. Following an intensive time gigging with further acclaim garnered, second EP Brand New Skin in 2010 made a positively welcome appearance before the band set to work on their first album the following year. Released via logic(il)logic Records earlier this year, Black Mirror is nine tracks of blood pumping energy and fluid creativity which pulls essences from the likes of Velvet Revolver, Nickelback, Metallica, Black Label Society, and Faith No More into its absorbing mix. It is an unpredictable record with inventive twists and well-structured songwriting throughout, a release which at the end of the day leaves a fully satisfied and contented listener.

The album saunters up to the ear with the initial beckoning guitar lures and strong rhythms of opener Bastards and Saints. 480931_10150948106541328_1333225824_nHaving brought attention to bear on its sinewy sound the track relaxes its energy to allow the bass of Novelli to lay a shadowed weave upon the senses whilst vocalist Corrado pushes forward the lyrical content in fine style. The song is undemanding but grips tightly with hot melodic play from the guitars, thumping beats, and the pleasing vocals. The track maybe not become the riot which one was expecting as it began but it is a welcoming invitation to rock hard with accomplished and magnetic sounds.

Dust Over Stone with its heated whispers and compulsive basslines is a strong continuation even if it fails to light the same fires as its predecessor, but with its stylish and skilfully brought sounds it begins to show the good mix of spices and imagination to the release.

The temperature soars with In My Dreams, arguably the best track on the album though a few rival it. Beginning with a hard to soft rock start with a gentle atmosphere admittedly one was not expecting too much from it but was soon put in their place by the evolving journey through sounds. At times it is Seether like then in others offers a slight Linkin Park twist with a progressive tinge. It is an excellent track with further alternative metal tendencies which not for the only time reminds one of UK band Tricore.

Black Mirror is a quality release from first note to last with further heightened pinnacles coming through the evocative gem Mad Crime, a mesmeric slice of thoughtful craft which leaves the senses smouldering , the equally impressive My Soul, and the irresistible Lost. The songs make for a consecutive quartet of treats which lift the album to even loftier acclaim. Each of the tracks keeps you guessing whilst making for a long term friend you feel you already knew with the band turning expectations on their head and seamlessly fusing varied ideas and sounds with majestic ease.

For personal tastes the album slips off of the pedestal it attained before a tad with Fallen Brother, Out Of Control, and Here I Am, and it is merely that the songs take a less adventurous trip through their hard rock influences to offer a presence of less appealing sources. It has to be declared too that each of the songs ignite the passions with infectious hooks, finely shaped invention, and enthused energy which will thrill most rock fans. The second of the trio has a grinding riffing to it which has excitement flaring throughout and makes this demanding freak  doubt his view of the song constantly and pleasingly.

Black Mirror is a fine album which will please melodic metal and hard rock fans alike. Motorfingers is a band on the march with sounds to match, you need to check them out.

RingMaster 19/12/2012

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Yerbadiablo: Jester In Brick Lane

Yerbadiablo is the one man project from Italian multi-instrumentalist Nik (the Öyster) and Jester In Brick Lane his debut album which leaves one a little confused, often bemused, but overall with a buzz and satisfaction from the widely eclectic sounds on offer.

Started in 2010, Yerbadiablo brings a fusion of sounds and ideas which shift from song to song but also entwined in unique and startling ways. To probably over simplify things the music is experimental rock n roll soaked in elements and essences ranging from punk, progressive and seventies rock through to reggae, funk, garage, and hard rock, and that is missing other spices out of the list. From Bologna, Nik provides all aspects of the release with a few guest appearances from musicians like saxophonist/flautist Gabriele Bolognesi of Patty Pravo, adding extra flavouring to his imaginative work.

Released through Logic(il)Logic Records, the album opens with the first single from it, Punk In-Fusion. It is a punk rock/garage stomp with blazing guitars, harmonic shouts, and a scuzzy breath to its energetic stroll. It also shifts through multiple gaits, the punk and rock start evolving through funk and reggae shifts before returning to the boisterous starting sound. First listen , as with the album, is a wrong footing experience, its unexpected and confusing intent leaving one bewildered but the song is easy to warm to and join in league with over a few more visits.

The general theme of the album centres on ‘modern Man’s arrogance towards natural and spiritual phenomena about and more material issues such as the society and economy that he claims to control.’ Throughout though there is the jester of the title, the source of the lyrical attack on man, his anger and spite a punishment to guide and drive man back to older ways and thoughts. It is a premise which leaves one as deep in thought as the sounds, and at times as unsure, but continually lures one in with a willing intrigue and interest as with the sounds.

Winston Smith & the Street Dogs continues the good, its blues/funk rock a keen swagger through the ear which raises a smile on face and emotions. Things are a little unsettled there after though it is more down to personal tastes towards the flavourings used but where a song like Brick Lane does not ignite any sparks a Back To The Monkey with its jazz funk heart is a tasty morsel to get in bed with.

Z’étoile is a real highlight of the album, its ethnic warmth and enthusiasm making for a thrilling instrumental which has no reservation in including rogue mischievous sounds. It is matched by the blues discorded Guilty Blues and the excellent Bad Days Good Waves, a track which reminds of the punk wickedness and sounds of Les Negresses Vertes. It is the best song on the album and despite its length of two minutes, has feet and passions dancing eagerly.

The air blistering and ambience twisting instrumental Towards Wiñay Marka is a inspiring prod to the imagination and leads into the closing duo of Niebla and Yerbadiablo. The first is a gentle sway of piano and guitar around a soft voice which emerges into another chilling and disturbing presence as with the previous track. The last is quite simply the final whisper/threat of the jester, not really a track more a departing rebuke.

Jester In Brick Lane is an engaging and testing album which all should get plenty from. It is vibrant and at times disorientating but always with a magnetic pull to inspire questions and prolonged company. Yerbadiablo should be checked out, it is an experience to make any ones day interesting.

RingMaster 16/10/2012

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