Prowling the dark side of being: exploring the corners of Invertia with Dave Coppola

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An invasive corrosion of senses and emotions, Another Scheme of the Wicked from US band Invertia stands to the fore of psyche invading threats and violating seductions unleashed in 2014. The album is a virulently compelling incitement of senses and thoughts from a duo in guitarist/vocalist Dave Coppola and drummer/programmer Tim Winson who seem to instinctively press all the right buttons with their provocative sonic and primal explorations. With an appetite to find out more about the band and its dark depths, we had the pleasure to talk with Dave who helped us explore the new album, the creative union between the two, the art of remixes and plenty more…

Hello Dave and welcome to the site and thanks for agreeing to talk with us.

Thank you for the interview, my pleasure!

First of all can you tell us about how you both met?

We actually met thru a mutual friend.

Was there a musical connection right away and how long before thoughts of creating a band took hold?

We started working on songs right away. We basically just started tracking guitars to a beat. Those songs would eventually become Blasphemy Be My Name and Perpetual Alert from the first album. We didn’t think of it as a “band” at first. It was just a recording project that became a band! We never thought we would play live when we met, that’s for sure. It’s crazy when we think about how we started to where we have come; for example opening for Blood of Heroes with Bill Laswell, getting a remix done by Justin Broadrick from Godflesh, to putting out an album with Ohm Resistance. It’s unreal.

Did you have any specific intentions when working on your first songs or was it more of let’s play and see what evolves initially?

It was more let’s see what happens. I never thought Tim and I would still be doing this years later…I’m glad we are though.

Invertia2Though your sound seems to be tagged most often as industrial black metal we found it to be so much more and pleasingly impossible to tie down. What are the most predominate inspirations upon yourselves which you feel have spiced your writing etc.?

Thanks for the kind words! We have all kinds of inspirations whether it be bands, film, books etc. There are too many to name, especially between the two of us. I listen to a lot of metal like Mayhem and Burzum, and industrial as well, Godflesh and Ministry. Tim likes the Residents and Adam Ant. We both like the same bands like the Pixies and the Butthole Surfers. William S. Burroughs and George Carlin are huge influences as well. Also the film They Live by John Carpenter is having a huge influence on the new album which is currently underway. So that’s why we sound the way we do.

You have recently released Another Scheme of the Wicked, a captivating and intrusive hybrid of sound and enterprise. Did it in creation fulfil or your hopes and thoughts or has it evolved beyond even your expectations with its potency and might?

We did the best we could, we always do. That way no matter what anybody says about it we are still satisfied in the end. Albums are like Presidents, it takes time to see the mess you made!

It feels a much darker and more predatory encounter than your previous release, more dangerous one; does it feel like that to you and if so was that a deliberate aim from the start or an organic emergence?

I agree, it is much darker…It has a little more of a dynamic feel to it than the first one. I’m not saying it’s a dynamic album just more than the debut haha! We are fast and in your face the whole time with this album other than the remixes. When we were writing we didn’t sit down and plan it that way it just happened. I think that’s the way it goes for most artists, you never know what you’re going to get at the very beginning. It’s always a surprise at some point during the process.

How do the songs come together and evolve primarily between the pair of you?

Typically myself or Tim will write a beat, I’ll put the guitars and bass down and go from there. Tim will take the beat and make it into drum sections and the song will evolve over time. Songs can be like a photo, you have to capture the evolution at the right time or you’ll miss it.

Tell us about the intent and premise behind Another Scheme of the Wicked.

The intent was to put out a decent industrial metal record. The premise was to make it original and not your every day run of mill metal record. I think we achieved that if I may say so. The album got mixed reviews from the metal community. I knew it would, and at the end of the day I’m glad it did.

The five tracks come with another five remixes, each an interpretation of the previous quintet, was this planned from the first seeds of the release?

Not at all… That was pure luck with a sprinkle of dedication. If you would have told me this album would have those artists on it remixing our music, I would have laughed at you.invertiacoverofficial

In many ways the remixes are doppelgangers of the originals for us, though it is debateable which are the darkest and most frightening versions. Did you give free rein for the likes of Justin K. Broadrick and End.user in their take on your songs?

Absolutely…There was no way I was going to tell those guys what to do. There is no way I could have. You can’t tell Justin Broadrick or Kurt Gluck how to do their job, they just do, that’s why we chose them. That’s the element of surprise I enjoy in this art form I spoke of earlier.

It has to be admitted we have never been fans of remixes, or maybe just do not understand their function though those on Another Scheme of the Wicked have impacted far deeper than most others we have come across on our thoughts. What is it about them which inspires you and lent the idea to include them on the new release?

We are big Skinny Puppy fans and we always liked the way they remixed everything. So I guess it just comes down to demonstrating a different point of view thru a common theme. I always thought that was interesting. I think it gives an extra depth to the album when played in its entirety. The next album we may, if at all, do them separately. To be honest my thinking was it’s just cheaper for the people purchasing the album to not have to buy remixes. But this time around we will give them the choice.

I have to ask as it must happen to someone somewhere, how would you deal with a remix which you did not like and felt did not warrant a place or fitted on one of your releases?

Well, we would be pissed; we hope it would not come to that. That’s why we asked the artists we did, and of course they were very professional in sending us either a couple of versions or following up with us to make sure everything was cool.

Back to your songs; at times they seem to be alive as they ignite the imagination and emotions, feeling like they have hidden depths unrevealed to the listener. How intensively did you take sculpting and shaping the songs of the release?

We are very picky in studio. We have a simple chemistry, and it goes like this. If Tim doesn’t come out of his seat during playback of the initial arrangement, it’s not good enough and I’m back to the drawing board. That’s how I know it will ignite the imagination and emotion, because we can see it in ourselves. If it works for us it might work for the listener as well.

InvertiaWas it an on-going honing process until recording time?

Pretty much, mostly the guitars and arranging…We can bring in ideas on the spot with samples and bass parts.

How about the lyrical side of your music? Was that an intensive development and what inspires their breath predominantly?

The lyrics are inspired by just peoples wrong doing really…People’s hatred for one another and trying to get the last laugh on your own species. It’s a place I don’t like to go for too long a time. We would probably have more material if I frequented the place that inspires the lyrics more often, but it’s a creepy spot.

Tell us about the other projects you are both involved in, and were involved in a couple of the remixes on Another Scheme of the Wicked I believe?

I have another industrial project called TranZi3nT and Tim has another project call R3TRD. We use them as a break from Invertia.

What is next on the horizon of Invertia?

We just released a new single for download at http://invertia.bandcamp.com/ called Existence Exit. It won’t be on Amazon or ITunes as they called the cover “pornographic”. You can judge for yourselves.   We also a have a 7” single coming out called Forever Incision that will have a live version of Facility of the Feeble on it, which is the opening track of the debut album. That will be put out through our label Ohm Resistance, which you will be able to get at http://ohmresistance.bandcamp.com/ soon.   As for the new album we are hoping for late spring time. We are looking to play some more live shows as well. Hopefully 2015 will be a good year for Invertia!

Thanks again for chatting with us; any final thought you would like to leave us with?

Thanks Pete! It was a pleasure doing this interview, good luck to you!!!

Dave (INVERTIA)

Read the review of Another Scheme of the Wicked @ https://ringmasterreviewintroduces.wordpress.com/2014/04/10/invertia-another-scheme-of-the-wicked/

http://www.inv3rtia.com/

Pete RingMaster

The RingMaster Review 08/12/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Melodic fire and raw passion: an interview with Kyle MacKenzie of 7stbaby

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The turn of 2014 saw the unleashing of the debut album from UK rock band 7stbaby. Control swiftly announced a band to keep close attention on with their gripping blend of varied styles into a riveting stoner and grunge veined blast of heavy melodic rock. Garnering strong support and acclaim, the band’s album was a potent statement for 7stbaby and their emerging presence in the UK rock scene. Ahead of the band’s new single Horses, we grabbed the chance to talk with one of the band’s founders and vocalist/guitarist Kyle MacKenzie. Looking at the origins of the band, Control and the new single as well as his and his band members other project, Kyle led us to the heart of 7stbaby.

Hey Kyle welcome to the site and thanks for taking time to talk with us.

Thanks for having us

For those yet to discover the delights of your sound, introduce 7stbBaby to the readers for us.

7stbaby is a project Ben and I (Kyle) had decided we wanted to do several years ago while writing for the first Static Plan EP. There were lots of riffs and song ideas which were not fitting with SP’s style, but that we still really liked and wanted to use. In August 2013 we finally got round to doing something about it, Ben basically moved into my place for a couple of weeks and we wrote and recorded Control. We then asked Greg to join us on drums for the album, and he was happy to be involved. Although we didn’t want to pigeon-hole ourselves genre-wise, we are a project that is definitely coming from a stoner rock viewpoint, just with anything we like thrown in!

Can you give further background to the band too, exploits before and alongside the band for its members.

Hilariously, line up wise 7stbaby is basically Static Plan, so 7stbaby’s background for the members is pretty much exactly the same. Ben and I met years ago while we were studying at university, when I answered an advert for a rock band looking for a vocalist. That then became Static Plan with Jonno on guitar duties, and after several drummer changes we finally ended up with Greg, who changed the dynamic of the band for the better. We gigged our balls off for a couple of years while writing and recording as many demos as possible.

7stbaby then came to the forefront as Static Plan began to wane a bit. Member changes, money issues and health and personal problems stopped us from carrying on the great momentum we had built, but we still wanted to make music and get it out there. So Control was about creating without the pressures we had experienced over the last couple of years.

Your music as evidenced by debut album Control earlier this year, is unafraid to employ a wealth of styles and flavours in its roaring recipe. How would you describe your musical canvas?

7stbaby is about doing whatever we want to do musically. If people love it that’s great, but if people hate it, then so be it. We created a concept album in a very short space of time with the tools that were available to us at the time, and because there was an ‘anything goes’ attitude, we approached it with no fear. 7stbaby’s musical canvas is anything that we want it to be.

It suggests you guys have a wide range of inspirations personally too, what are some of the more potent influences on your sound and ideas?c

Yeah we have quite a diverse range between us I think. I love artists and bands such as Martin Grech, Jeff Buckley, Radiohead, Porcupine Tree, Karnivool, QOTSA, Alice In Chains etc. Honestly there are just too many to list! I am inspired by great songwriting and great musicianship. Ben has a slightly more ‘alternative’ influence list than I have, loving bands like Gorgoroth, Mortiis, Mayhem, Mondo Generator, Sonic Youth etc. By no means are we limited to these bands or genres, I think we both have a healthy appreciation of music and its influence over us.

I read that Control was written in just three weeks, was that the reality or were some songs already around in some form or idea before that?

There were some riffs and parts floating about from writing the SP EP a while before, but the vast majority of the album was written in three weeks

Control deservedly garnered eager praise and acclaim upon release, did that surprise you in some way the vocal support and enthusiasm it received?7stbaby - Horses Single Cover

Ha-ha it did a bit! I think I was expecting it to either get distinctly average reviews or none at all, I didn’t think anyone would understand what we were trying to do! But the reviews were great to read and made me realise that people did understand what the album was about. Some of the reviews were just emphatic, and really brought some joy to me after a difficult couple of years making music.

Give us some insight to its creation and how you fitted it in with your other projects like Static Plan.

Static Plan at the time had ground to a complete halt after a couple of line-up changes. Ben and I had some free time during the school holidays and we just decided to get it done. It was incredibly fun and made us really want to start work on the Static Plan album.

September 26th sees the release of your new single, Horses. Taken from Control, it is one of the album’s biggest highlights for us. Was it an obvious choice for a single?

I think it’s a heavy song on the album, and probably the kind of song that most people can respond to without hating it ha-ha! We debated for a while which song was going to be released actually, and Horses at first didn’t seem like the obvious choice to me, I thought Leave Me To Bleed would be the better single after releasing Somebody’s Bitch. After a while of debating I realised that Ben was absolutely right, Horses is just the right single; it’s much more immediate!

Have you tinkered with it for the single release?

We have not; it’s as pure as it was

Horses, as the album, is out on Got Wrong Records; your own label?

Yes it will be a pay what you want digital only release on my label Got Wrong Records on September 26th. Available at https://gotwrongrecords.bandcamp.com

Can you give us some insight to the inspiration and theme of the song?

Horses is about conquering the power someone can have over you, and breaking out of the cage you confine yourself to when you let them control you. It’s the climax of the album for me

Horses sparked thoughts of Life of Agony for us, its provocative nature and intimate energy reminding of the great US band. Is that something you can feel?

Yeah I can see that. They’re aggressive and melodic, and that’s what Horses is in its simplest form. We really wanted to get the emotion across in the vocals, so hopefully we have done that if you’re comparing Horses to Life of Agony 🙂

The song is accompanied by a great video, who was that filmed by?

The video was filmed with a lovely chap called Sam Sheridan. Ben and I wrote some music for a short film he made several years ago, and we lost contact afterwards. As we were hunting for a director to make the video for Somebody’s Bitch we got chatting and got him involved. He has done an amazing job with incredibly little budget and filming was an absolute riot. Our lead man Alex Netting absolutely smashed it as well, bringing some intensity and humour to the whole thing.

It looked like a fun day out ha-ha; I am imagining that the central character (Alex) drew plenty of attention from the passing throng during filming?

It was a hilarious day for sure! Amazingly every person that interacted with us on the day was very positive; they loved the idea, loved the make-up and loved the character. We definitely got a lot of attention that day.

You guys are in two bands to my knowledge 😉 It is hard for any band to make an impression in the current state of music, so how have you found it juggling and driving forward with your projects?

Yep it’s hard, that’s just the way it is. I think it’s always been hard though. The key is to keep going and enjoy the small victories I think. It’s definitely possible to juggle everything and find the time if you are committed enough; you just have to want it bad enough.

How do you see the current state of music especially the catch 22 effect of the internet with its usefulness and detriment for bands.

I think that even though there are always things we can complain about, bands and artists are in a much better position nowadays for people to hear their music than say 20 years ago. It’s incredibly difficult to earn a living from it, but there’s no change there really. Hopefully in the years to come, with organisations like the Musicians Union working on behalf of musicians, fairer deals can be made on behalf of musicians on the likes of streaming royalties.

10505283_311135829045859_3576936077197922227_nIs it hard to hold your enthusiasm at times, or does the music always hold sway over the emotions?

Personally I go through high and lows on a daily basis. Sometime I can struggle to bring myself to pick up a guitar and other times I can’t tear myself away to go to bed.

What is ahead for 7stbaby?

Not a clue! We’ll have to have to have a chat about that at some point ha-ha

…And from your other projects?

I’m currently working on albums for Static Plan and Outpost Zeta, and Ben is working with Ventenner and Exquisite Ending.

Thanks again for sharing time with us. Any last words you wish to share?

Thanks very much Pete, we really appreciate the support! My last word shall be check out www.gotwrong.com for a free EP/Album from Static Plan, Outpost Zeta and 7stbaby, and spread the word 😉

https://www.facebook.com/7stbaby/

Read our review of Control @ https://ringmasterreviewintroduces.wordpress.com/2014/01/17/7stbaby-control/  and of Horses @ https://ringmasterreviewintroduces.wordpress.com/2014/09/23/7stbaby-horses/

Pete RingMaster

The Ringmaster Review 23/09/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

 

 

Lacerated And Carbonized – The Core of Disruption

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Claiming that The Core of Disruption, the latest album from Brazilian brutal death metallers Lacerated And Carbonized, is offering anything openly new and ground breaking might be a hard sell but for uncompromising, refreshing, and imaginatively passionate thrilling metal it is an easy persuasion, especially when the release rampages so contagiously and skilfully through the ear. Receiving its re-release through Mulligore Production in North America and worldwide on line, it is a masterful and exhilarating rampage of ravenous and captivating aural hostility, and one album all metalheads should make an  engagement with.

Hailing from Rio de Janeiro, the quartet of vocalist Jonathan Cruz, guitarist Caio Mendonça, bassist Paulo Doc, and drummer Victor Mendonça formed in 2006. Their debut album Homicidal Rapture received strong reception and critical acclaim at home upon release in 2011 whilst opening up attention much further afield. The band followed up its success with a successful South-American tour which took in Chile, Ecuador, Colombia, Bolivia and Peru, and many festival appearances in Brazil which led the band to share stages with the likes of Sepultura, Mayhem, Belphegor and Immolation. 2012 was an even more impressive and major year for Lacerated And Carbonized, an extensive European tour alongside Vile and numerous festivals again propelling the band name in the awareness of the world. With the added attraction of guest appearances of Felipe Chehuan and Max Moraes from Confronto, Eregion of Unearthly, and Guilherme Sevens out of Painside, helping to light up the release, The Core of Disruption is the key to greater things on both sides of the big pond and elsewhere such its might and metallic prowess.

The album explodes from the blocks with L.A.C., a track that bombards the ear with crippling rhythms and discourteous riffs ridden by 166788_497922280243830_2081622728_nthe guttural malevolence of Cruz. It is a ferocious introduction to the album, the guitar of Caio as abrasive and confrontational as it is melodically tempting whilst the storming assault of Doc and especially Victor irrepressible and brutal. A towering provocation to not only awaken the senses but badger them into submission it is eagerly followed by Third World Slavery; another avalanche of drum abuse and vicious riffing that bruises, wounds, and ignites the passions. As emerges in most songs there is an underlying groove and array of sinew clad hooks that simply dig deep into the appetite whilst Victor just commands and drives each song with one of the best drum displays to be heard this year. Assisted by the equally impressive guitar skill and invention of Caio it makes for a riveting experience and pleasure.

The predacious Awake The Thirst with its exhausting rabidity to energy and intent continues the excellent start whilst its successor O Ódio e o Caos raises the temperature with a more purposeful yet no less rapacious weave of sonic narrative and melodic enterprise accompanied by a wider range of great and welcome vocal delivery. Totally immersed in their intensive tempest of malevolence and accomplished craft, the band rises to a new stature with the outstanding Unnatural Aggression, a carnivorous fury of again destructive rhythmic sculpting and passion dripping vocal animosity speared by delicious guitar design, and the smouldering beauty of The Candelária Massacre, a song merging melodic elegance and native mystique with voracious intensity and as now expected electric drumming.

Through the barbarous BloodDawn, another major highlight of the album with its twisting and impatiently hungry imagination, and the bordering on schizophrenic Call For Blood things just get stronger and epidemically addictive, band and record exploring new discovered heights whilst Final Enclosure confirms the elevation with another brawl of uncivil but dexterous artistry.

The stunning and beautiful brief instrumental Corrupt Foundations leads into closing song System Torn Apart, a final tsunami of annihilatory rhythms, sonic blazes, and infernal riffing led to the psyche by the fine ruinous vocals of Cruz. It is a terrific end to an immense slab of esurient metal, and for many one suspects the start of an incorruptible friendship. A big step in their ascent you can only see Lacerated and Carbonized moving on to rise to major player contender in the future.

https://www.facebook.com/pages/Lacerated-And-Carbonized/169403519762376

9/10

RingMaster 13/08/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Expanding the Extreme: an interview with Giannis K of Dark Vision

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For over fifteen years Greek extreme metallers Dark Vision has earned themselves a strong reputation in the metal underground for their expansive death metal sounds. The recent release of their Ingrowth EP shows the band is stronger and more inventive than ever, their melodic death metal sound soaked in blackened overtones and stirring essences of classic metal and rock n roll a compelling encounter which stands out for band and extreme metal. Seizing the offer to find out more about band, its history, and the new release we set about drummer Giannis K with plenty of questions…

Hello Giannis and welcome to the site.

Firstly for those yet to discover your sounds please introduce the band and the entity that is Dark Vision.

Hello! First of all we would like to thank you for the opportunity to speak through your magazine. Dark Vision exists since 1996, we started playing atmospheric/heavy/black metal continuing these days into a straight forward death/black metal. Our influences lately covering many genres such as death/black metal, rock, classic heavy and all these under a rock’n’roll attitude…  If someone really needs to put a table about our genre, we can say that band’s like Satyricon, Behemoth, Black Sabbath, Voivod, etc. defined our nowadays style.

The band began in 1996, longevity many bands can only dream of. What has kept you inspired and passionate as a band?

The reason that this band started many years ago, was our love in this specific style and also for its subgenre. This made us to continue until now.  The magic moment when you creating a song or you are on stage, keeping you vigilance.  Another very important reason is that as a band we are not playing as professionals but at the same time we are trying to act as much a professional do.  In simple words, when a band is playing for the money there is a certain point that the musician will consider most of the time firstly the profit… In our case as we said because we are not playing for living we have the privilege to play whatever we want in our way.

How has your music and intent as a band evolved over the past 16 or so years?

We have definitely evolved all these years.  Apart of the several line-up changes we grow up as personalities, this made us think with more mature in every way from creating music to acting live. With the current line up the band continues the last years a specific way which evolving us.

Dark Vision is a band which has like so many survived numerous line-up changes, how has that impacted on the band generally and do you think and feel  certainly for Dark Vision, that this inevitable process actually benefits bands creatively for the main?

Following all these years we can say for sure that all these line-up changes firstly made us stronger and secondly helped the band to evolve as it is today. Of course this doesn’t mean that if a band having a standard line-up for years will not evolve, but in our case helped a lot. The only think that we can say was against us in every chance, is the time and the preparation until the band became ready to act again.

You have just released your excellent  Ingrowth EP through Bluntface Records though it had its first release as a vinyl exclusive last 113375year for your fifteen year anniversary. How has it been received so far and has this new unleashing from the independent US label brought a deserved energy and awareness to the EP?

Thanks for your good words! Bluntface Records definitely played a very important role in this release. From the very beginning we realized that with Otto from Bluntface Records we can work very smoothly and creatively together. We choose to release “Ingrowth” in vinyl. A part of the 15 years anniversary, it was a dream since the beginning of the band. We strongly believe that vinyl is more complete and at the same time nostalgic than the nowadays cd. The press worldwide hugged this release since the very beginning and we received very flattering words, we are thanking all of you for your support up to now.

How would you say the new release has evolved from and offers predominantly different to previous album Bestial Remedy?

We worked different this time. From creating the songs to the recording process everything was different. We worked at the recording sessions with more live feeling, which means that we didn’t use this time metronome, but we played all together in order to be closer to this live feeling.

Definitely! “Bestial Remedy” was the begging of a new era for the band and after all these years we can assure you that “Ingrowth” is a big step beyond for us, not only on the composing side but as an experience in the recording sessions.  This time with “Ingrowth” we focused more in the emotional, although our technical skills became better with results on this album.  The songs are approaching better death/black forms and all this under a “rock’n’roll” attitude.

There is a great melodic groove and breath to Ingrowth and its blackened death metal stance. Has this aspect naturally emerged or was something you wanted to intentionally explore?

Most of the things that we are doing are coming out naturally … after “Bestial Remedy” it was natural to continue and evolve this style under our way.

How are songs written within the band and what is more often than not the initial spark to an idea and song?

Composition process usually can be with 2 ways, sometimes our guitar player Mark is writing the song and presenting to the rest of the band in our rehearsals, and another way is to start in the studio working all together on an idea.

What are the strongest influences upon your writing musically and lyrically?

Many influences from daily matters up to religion (from a historical point of view), other times songs can describe personal situations or even our darkest thoughts…

Did you have set ideas and vision for songs before recording the EP in the studio or did they change and grow their own different character whilst bringing Ingrowth to life?

Most of the ideas in “Ingrowth” album were conceived in the preproduction. When the recording process started, we preferred to stay more close to technical matters (microphones set up, Amplifiers, etc), of course, in general if any last minute ideas arise and are worthwhile we are willing to try it.

IMG_4029Ingrowth investigates, as your previous releases, the deepest and richest of shadows, is there an underlying theme to the EP?

We were just felt free to do things without second thought. The result is what you are now hearing and we are proud for that.

Is there a particular moment on Ingrowth which leaves the proudest feeling inside and alternatively is there something on the release which you are now inspired to explore further in future songs?

Yes, definitely the rock n roll element affected us regarding our music and emotionally at the same time.

On a recent episode of The Bone Orchard podcast I featured your track Garden of Nuclear Mushrooms. Can you give some back ground to the track?

Thank you for this! Garden … is a song that refers to the Apocalypse from our point of view …

Across the years you have shared stages with the likes of Mayhem, Satyricon, Sodom, Rotting Christ, and Septic Flesh to name a small few, what have been the biggest moment live and any artists you would sell a kidney to play with? 😉

Hahahaha! … Nice question ….. ! Hmm… probably for a special worldwide tour with Satyricon, Rotting Christ, Dimmu Borgir, Behemoth…!

There have been quite a few very impressive metal and rock bands bursting out of Greece in the past couple of years. Is the scene there as vibrant and impressive as it seems from the outside?

Yes! Over the last years lot of bands are doing a good job holding high the Greek flag of our metal scene…

What is next on the agenda for Dark Vision?

Next thing will be a live concert in Athens at 6th of April with other local bands…. Also writing news song at the same time…IMG_4263

Thanks for taking time to talk with us any final thoughts you wish to share?

Thank you! Check our new album “Ingrowth”

Lastly which are the artists to have made the biggest impact on you as musicians?

Daily we hear a lot of things … we are always trying to expand our music  influences … of course musicians such as Frost from Satyricon, Inferno from Behemoth, Ihsahn from Emperor, Jon Nodtveidt, John Gallagher, we admire them and their influences guiding us , also lately Kvelertak from Norway is one of the bands that made something fresh in the scene …

The RingMaster Review 08/03/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Nervochaos: To the Death

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    Raw, ravenous, and potently aggressive with a maelstrom of insidious grooves which just tease and coax the passions into their version of an erection, To the Death is an album you just cannot avoid finding strong affection for. The new release from Brazilian metallers Nervochaos is not without flaws or maybe a sense of a lost opportunity but it also leaves one more than satisfied and willing to share precious time with the release on a regular basis.

Formed in 1996, Nervochaos has unleashed their underground acclaimed blend of death and thrash metal consistently through the years and over a series of well received releases. They do not offer the most angry or violent sound around and you will find other more intense and destructive encounters elsewhere for sure but as with this their fifth album, the band has a compelling presence and creativity which ticks enough of the right boxes to be a welcome and pleasing companion. The grooves unleashed within the death metal breath and thrash powered bruises posing as songs are of a devil spawn irresistibility and make the band one you cannot ignore. Released via Cogumelo Records, the new album follows their live album of 2011 and the previous full length release Battalions of Hate of the year before, both Tumba Records released. Gaining a cult status in the underground extreme metal scene the quartet of vocalist /guitarist Guiller, guitarist Quinho, bassist Felipe Freitas, and drummer Eduardo Lane, has equally impressed alongside the likes of Venom, Cannibal Corpse, Agnostic Front, Mayhem, The Exploited, Carcass, Divine Heresy, Ragnarok, and many more, the quartet continually adding to their strong reputation.

The album opens with the high energy Mark of the Beast, a fury of unforgiving rhythms and gnawing riffs shaped around a hungryNervochaos To The Death Cover persistent groove. It does not offer anything new or inventively breath-taking but like a sonic magnet has ears and attention locked into its unfettered energy. Ok it is relatively undemanding but still opens up the album with an accomplished and riveting presence which sets up the rest of the release perfectly.

Sheep Amongst Wolves with its gnarly bass and serpentine sonic flames stands tall next to continue the emerging compelling persuasion of the release. Again there is irresistibility to the flowing craft and intent of the song with another defined groove at mischievous play alongside further inviting melodic fire from the guitars. It does not quite live up to the opener but makes a more than decent bridge to the first of the highlights of the album in Your World’s Trend. This track opens almost identically to how its predecessor ended but soon opens up a variation to the sonic beckoning and pummelling rhythms it unleashes. It is the group vocal shouts alongside the persistently scarring scowls of Guiller which help raise the game further and lies impressively against the excellent erosive grind of the track.

Whilst the following likes of Gospel of Judas, The Exile, and Smoking Mortal Remains ensure one is gripped by a strong need to delve deeper into the album, the release saves its finest moments for a couple of tracks nestled within the trio. The title track opens with the snarling bass opening its deep cavernous throat with tight mesmeric grooves of the guitars soon joining the confrontation. Unrelenting rhythms soon entrap the senses within their merciless tempest whilst now into its stride, the track sets frees a deluge of eager synapse chewing riffs and a sonic whipping which leaves only bliss in its glorious wake. It is two and a half minutes of delicious enterprise and greedy contagion impossible to deny and heartily welcomed. To match the impressive attack of the first the following Hate piles on more infectious riffing and primal chuggery around instinctive rapture sparking twisting grooves.

Arguably the album never reaches the heights of this excellent pair elsewhere but still offers plenty to grab the imagination. To the Death does have a familiar uniformity across a lot of its creativity and sound which holds the release back reaching the depth of acclaim maybe it could have found but is still impressive and enjoyable enough to make the album one easy to recommend. As songs like Mind Under Siege, Destroyer of Worlds, and Warlords Unbound continue to make the encounter a pleasing one this is an album that is easy to continually return to and Nervochaos a band with some of the most agreeable grooves and riffing ability around.

www.facebook.com/NervoChaos.

RingMaster 29/01/2013

Copyright RingMaster: MyFreeCopyright

Dark Vision: Ingrowth

Dark Visions

Greek extreme metallers Dark Vision has built a strong reputation in their homeland without truly finding a wider recognition worldwide since forming in 1996. Their new EP Ingrowth will not immediately put that right but with its impressive sounds could be the spark to start that deserved reward for the band. Released through Bluntface Records, it is a strong and compelling release built on a base of melodic death metal with blackened overtones which draws essences of classic metal and rock n roll into its stirring mix. It is not going to take you into a new unexplored venture musically but does easily satisfy any and every need required from a slab of devastation.

Starting off with a heavy/black metal sound the band released a series of demos in their first three years to strong reception. As their sound evolved their debut album came in 2000, though Full Moon Shines received its official release in 2002 through NMC Records. With line-up changes Dark Vision returned to full might in 2006 with the quartet’s self-financed Bestial Remedy EP unleashed two years later. With their live shows also drawing strong acclaim with the sharing of stages with the likes of Mayhem, Satyricon, Sodom, Rotting Christ, Septic Flesh and more coming across the years, the band has set themselves as a respected presence in the Greek underground metal scene. Ingrowth shows they are ready for wider acclaim and since its vinyl release last year has drawn a good response something the digital release now should one feels accelerate.

The atmospheric instrumental Thy Flesh Thy Bones opens up the encounter, its brief but dramatic presence and startling breath 113375immediately leaving one on tenterhooks for what is to follow. King of Emptiness at first stops thoughts in their tracks as it is not of the same breath of its ‘introduction’, a different type of beast which is slightly unexpected with this release our first encounter with the band. The song soon has control of ear and senses with its stalking riffs, tight melodic weaves, and growling insidious vocals though.  It prowls and stalks with a venomous heart and intense energy throughout whilst sending spikes of sonic craft and acidic melodic spears through the ear with appealing ease. It is a strong and compelling track which satisfies without lighting up the passions fully, something its successor soon remedies.

Pain Redirected fuses classic metal grooves with punk coated aggression whilst again the vocals squall with abrasive intent and pleasing malevolence. The drums cage the senses impressively so the guitars can score them with skilled violence and intrusive rewards whilst the bass though arguably not as openly obvious as one would wish, stomps over the ear with the hunger of a ravenous beast. It is a great and contagious track which confirms already that Dark Vision is a band to be known about.

The EP gets better the further you go into its muscular depths with Garden of Nuclear Mushrooms a pinnacle. The technical prowess of the band is an ever present throughout the release but here squeals and captivates within the brawling intensity magnificently, the discordant scything a delicious piercing within the ravenous consumption of the song. It is intelligently varied in sound and pace along is sinewy length to bring a thoroughly pleasing and compelling engagement.

The EP closes with firstly the thunderous assault of Amongst Dead Butterflies and lastly the title track. The first of the pair has a snarling hunger which transforms its destructive rhythms and merciless riffing into an overwhelming intensity speared by sharp melodic enterprise whilst the closer is a scarring tempest of incessant sonic niggling and corrupting black hearted energies. Both tracks are wholly infectious and an immense end to a great release.

Dark Visions is not a band to bring you something openly new but one which creates invigorating extreme music better than plenty of other artists. Ingrowth is a recommendation you should not ignore.

http://www.darkvision.info

RingMaster 07/01/2013

Copyright RingMaster: MyFreeCopyright

Gorath: The Chronicles of Khiliasmos

Gorath

All good things have to come to an end, the course of even the greatest glories finding finality and so it is with Belgian post black metallers Gorath as they depart leaving in place their sixth and final album The Chronicles of Khiliasmos. The band over the years has made a major impressive and acclaimed mark on the genre with their progressive blackened experimental explorations and the new release is no different. It arguably is not the final massive adventure one might have expected for a farewell, an explosive and dramatic statement, but as a fully enveloping funereal outpouring the album impacts firmly on thought and imagination to be ultimately rewarding.

Formed as a one man project back in the nineties by Filip Dupont, the band found a real presence with their released demos in 2003 which led to the release of debut album Elite in 2005 with Black Owl Records. The following year saw The Fourth Era appear through Descent Productions, the cosmological themed release finding strong acclaim for its Mayan based concept. It was at that point that the band became a quartet and ventured out live to over the subsequent years, share stages with the likes of Foscor, Watain, Graven, Darkspace,  Mayhem, Dark Funeral, Shining, Dark Fortress, Nazxul, Gallhammer, Primordial to name a few. Misotheism came next in 2008 to again impressive responses which grew stronger still when MXCII was released two years later. The Chronicles Of Khiliasmos follows last year’s Apokálypsis – Unveiling The Age That is not to Come and finds Dupont alongside guitarist Bart Put, bassist Raf Meukens, and drummer Bart Vanderheyden, bringing band and overall concept to a conclusion timed with the prophesised end…

The ConSouling Sounds released album is made up of three chapters, a trio of doom soaked tracks which complete a legacy which wykrojnik  (3)will impact black metal for time to come. Khiliasmos I begins with a dawning stir of guitar and seemingly random sonic pulses, the track taking its time to extend to its full height. It is a teasing presence at first toying with expectations that are waiting for the track to unleash something, Soon the scowling growls of Dupont enter to rile up the air though still the track resists offering mere fluctuations of energy within its prowling doom lit engagement, the song remaining relatively subdued and content to provoke and evoke reactions through intelligently inciting craft and imagination. It is the little incursions which invite the imagination to play within the track, the distant vocal sirenesque harmonies and insidious tones of Dupont within the exhausting repetition of riffs and intensity, distracting whilst igniting further responses to fine effect. The track possibly out stays its welcome before its ten minutes finishes with the senses, though the last couple do evolve into an acidic melodic stance which fires up the intrigue.

Khiliasmos II is a hungrier and more aggressive encounter, vocals and sounds bringing a surer thicker intensity and malice to their gait. The emerging groove brings an infectious lure to the song which within its first moments already has a stronger grip than its predecessor. The barbs of the track in hooks, grooves, and vocal additions, ensures a welcome compliance to its demands with the drums of Vanderheyden and guitar invention of Dupont and Put a magnetic pleasure. The track is easily the best on the album making a thrilling bridge between the opening and closing blankets of doom driven atmosphere. It at times makes for an uncomfortable listen as one immerses within with relish, but at the same time contrasts the vast and in comparison underwhelming pieces surrounding it perfectly.

Closing the album, Khiliasmos III is a massive soundscape of sonic clouds and vocal storms again brought with a labouring but compelling presence. At twenty minutes long, the track like the first maybe pushes its limits but does make every second of its encounter an impacting yet magnetic weight on the ear. There are small offerings of melodic respite for some alleviation from the incessant and oppressive blackened heart of the release but like the opener has its own emotive and imaginative aspects which makes it never less than provocative and like the album as a whole ultimately rewarding.

The Chronicles of Khiliasmos is a strong and satisfying release though it falls short of certainly the previous two albums from the band. It is still a worthy farewell from a band which has pushed black metal to strong levels over the years and will ensure whatever the members do next there will be an eager audience waiting.

https://www.facebook.com/gorathblackmetal

RingMaster 30/11/2012

Copyright RingMaster: MyFreeCopyright