[Evertrapped] – Under The Deep

Photo - credit - Luc Delorme

Photo – credit – Luc Delorme

As much as the melodic enterprise and accomplished brutality of Under The Deep breeds major satisfaction it is the rabid gnawing of the senses from start to finish of each and every song which sealed the deal for ears and thorough enjoyment of the new album from Canadian melodic death metallers [Evertrapped]. It was the ebbing and flowing but persistent underbelly of the album which caught the imagination and appetite most securely, it in turn allowing the craft and invention of the band to create their absorbing narratives over and around it. The result is a release which might not turn the metal year on its head but definitely gives it another highly pleasurable and flavoursome kick.

The Montreal-based [Evertrapped] first emerged in 2007, its name intentionally written with enclosed brackets “to signify the trappings of modern life for all of us and how people, despite their best attempts to break out of the mould are still affixed to a simple controlled existence and futility.” Consisting of guitarists Frederick Dupuis (ex-Daggerfalls) and Vincent Benoit, drummer Eric Lemire (ex-Apocalypsys, ex-Ice Castle), bassist John Yates (ex-AraPacis), and vocalist James Brookes (ex-Ammonia, ex-One Final Moment, Continuum), [Evertrapped] has earned a formidable reputation for their live presence which over time has seen them share stages with bands such as Kittie, Deicide, Cryptopsy, The Catalyst, The Agonist, Slaves On Dope, Dark Century, BornBroken and numerous more.

Album Cover - Evertrapped - Under The Deep_RingMaster Review     2010 saw the release of debut album Tales From The Supermax, with its successor The Anomaly unleashed two years later. Now the band has uncaged the primal yet precisely sculpted ferocity of Under The Deep on the senses, its exploration that “of the deepest reaches of human madness. Not clinical madness, but simply the darkest regions of the soul and the blackest part of the human heart from a mind found to be socially functional, but is really way too far gone. And thus it seeks to explore what is underneath the deepest depth, hence no matter how deep you descend there’s always another layer that can be torn away.” As suggested earlier, physically and sonically it shows no mercy or restraint but lines and veins its hostility with a nest of writhing grooves and atmospherically wrapped melodies that not so much temper the tempest but give it fascinating substance and drama.

From the dark ambient intro of […], the album explodes with Arise From The Ashes, its violent roar set up by the climatic voice and bedlamic finale of its predecessor and quickly ravaging the senses with antagonistic nostrils flared and predatory recriminations spewing from the guttural ire of Brookes. With that great unrelenting nagging at the heart of its storm, the track explores a web of sonic endeavour cast by the guitars and marshalled by the barbarous incitement of bass and drums. It is an enjoyably formidable start matched by the even more vocally rapacious and musically carnivorous Underneath The Deep. Like the raw soundtrack to a vicious version of the movie Falling Down, provocation sparking a game changing reaction, the song twists and swirls like a malicious dervish as again trails of melodic vapours and sonic imagination add to the creative tapestry holding its own to captivate ears and imagination in the throes of the fury.

From one highlight of the album to another as Palace Of Injustice in similar vein but with its own character, bullies and entices in equal measure. The band has been compared to the likes of Arch Enemy, Unearth, Whitechapel, Soilwork, and The Black Dahlia Murder, and it is easy to hear why across this magnetic offering alone, suggestions again backed by the blistering lyrical and physical causticity of Hypnotized By Hatred. A song themed by the scenario of relentlessly being told one is worthless until it becomes belief; it is a torrent of intensity and rhythmic pressure which seems to return after each evocative melodic turn with even greater animosity and violent craft.

Fair to say each track, and the album, has much more in their depths than seemingly shown at face level, a wealth of textures and resourceful individual and united invention which needs time to find the light. The rewards in turn are plenty as proven by the excellent Blood Of The Fallen. One of the more immediate thick persuasions and thus another pinnacle of Under The Deep, it too still reveals over listens skilful nuances and contrasting hues to its corrosive bellow to become only more compelling over time.

Both Lethal District with its virulent swing within a dystopian savagery and the middle finger defiance of Burning Through Vengeance keep ears and appetite full and fiercely content whilst Reaper ignites an eventfully searing blaze of attitude, emotion, and sonic temptation boiled up into a torrential onslaught of whipping beats and carnal riffs. Entwining it all though is more of the tantalising craft of Dupuis and Benoit, their weave of suggestive melodic toxicity and erosive endeavour framed perfectly by the ruggedly rousing bass lure of Yates and the scything swings of Lemire.

The album concludes with Embrace The End, a final tsunami of spite with a no punches pulled reflection driven superbly by the continually impressive diversity and emotion of Brookes’ vocal delivery. The song is an enthralling and exhausting close to an album which just seems to blossom further with every dive into its heart. You, like we suspect many, may have yet to focus your attention on [Evertrapped], but it is a missing out easily remedied by a long look at Under The Deep.

Under The Deep is out now digitally via Hellstorm Recordz and @ https://evertrapped.bandcamp.com/album/under-the-deep

http://www.evertrapped.com     https://www.facebook.com/evertrapped

Pete RingMaster 20/10/2015

Copyright RingMaster: MyFreeCopyright

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Either Way – Behind The Light

either way_RingMaster Review

Hailing from Compiegne in France, Either Way is a melodic death metal proposition which makes a rather appetising introduction to itself with Behind The Light. The band is the solo adventure of Ludovic Ciszewski, a vocalist/multi-instrumentalist who after playing in an array of bands, including Scythians, Osm’oz, Dead N Crazy and currently Monolyth, decided to start his own project to undertake dark melodic explorations inspired by the likes of Before The Dawn and Dark Tranquillity. Behind The Light is the debut release from Ciszewski, with just solo guitar contributions from Mich alongside his own sole endeavours recorded in his home studio.

The album opens with Across the Light, and a beacon of crystalline keys and floating harmonies which just reflects on the imagination like the sun on water. Subsequently dark tones of bass and slow but strong beats join the brewing shadows spread by the guitar, the emerging atmosphere only growing until its brief body evolves into the following Redemption. Swiftly sonic and rhythmic drama is striding purposefully through ears, an early gothic climate initially smothered but reappearing in equal tempting as the raw vocal tones of Ciszewski come forward. Personal tastes took time to come to terms with his certainly accomplished but distinctive and generally samey delivery, a wish for more variation the main lingering request as when he does expand his vocal presence within the album, it brings a new light to songs. Nevertheless it is a raw texture which does work well with the aggressive nature of the song and against the melodic radiance lining the enjoyable start to Behind The Light.

cover_RingMaster Review     Phoenix comes next, it too opening with a classical caress of keys before being joined by more robust and rugged lures spawned by riffs and punchy beats. Though not intimidating, there is immediately a dark air to the song which breeds a rousing and commanding canter lit by the still bewitching keys and the aggressive nature of the guitars and voice. Progressive enterprise mingles with death bred malevolence perfectly, the track like a dangerous but alluring flame just getting more intensive and compelling with every passing minute before making way for the similarly enticing Always Look To The Star and in turn the darkly reflective Evil In Me. The first of the two is a rousing fusion of symphonic and melodic expression with a predatory turbulence guided by the caustic tones of Ciszewski. The track borders on spellbinding, the guitars a riveting persuasion merging numerous styles and ideation and the keys just emotive beauty on the senses. Its successor from a melodically hued and vigorous entrance slips into darker depths of emotion amidst a threatening atmosphere, Ciszewski ‘s voice early on pushes its diversity a little for the first time and to great effect, though it is the guitars which steal the plaudits within the provocative and intensive embrace of ears.

The opening bass welcome is the first irresistible temptation in the outstanding Red Eyes, a track which has a touch of Type O Negative to its emotive outpouring and roaming shadows. Once more keys and guitars entwine for a sonic narrative to spark the imagination and excite ears whilst the rhythms create a commanding skeleton as ripe with contagion as the fiery sounds around them. The best track upon Behind The Light it carries a catchy swagger but loses none of the inciting theatre and dark creative flesh which colours all songs on the album.

The jagged riff built scenery of Faces leads into an equally riveting and highly imaginative landscape of melodic intimacy and at times bruising ferociousness, though this time it is magnetically tempered by the warmer and colourful exploits of keys and for once clean vocals. Generally the impassioned energy and aggressive urgency of tracks overshadows the melancholic beauty to great effect but this time it is the other way round, and followed by a more equal union within the relatively lighter body and funkiness of Trouble In My Mind. There is a noir bred intrigue and sinister resonance to the melodic sky of the song, a haunting beauty which coats its hearty stroll whilst after it, Scarecrow takes its dark edge into stronger ravenous depths for an encounter which takes time to come alive in thoughts but impresses more with every listen.

The release is completed by Black Soul, its first touch a mesmeric piano bred hug full of emotion and elegance. It is accompanied a little further in by a physical narrative of footsteps on crunchy stone before blossoming into another theatre of craft and invention with returning clean vocals as appealing as the ever evocative keys and guitar imagination, not forgetting spirit arousing rhythms.

Creatively and musically, Behind The Light is thorough pleasure, a release continually revealing more with every play, and it is only to our ear’s loss that the vocals do not hit the same spot, something which will not apply to most enjoying our recommendation to treat yourself with the first Either Way album.

Behind The Light is available now from online stores.

Pete RingMaster 17/09/2015

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A.C.O.D – II The Maelstrom

ACOD_RingMaster Review

There is no doubting that the new album from French melodic death metallers A.C.O.D lives up to its name, II The Maelstrom a fierce and uncompromising tempest of sound and emotion which could be the soundtrack and reflection of the turmoil in the world right now. The thirteen track encounter sears ears, withers the senses, and grips the imagination with its fusion of creative twists and varied flavours, and though a punishing conflict from start to finish it makes for one compelling incitement.

Formed mid-2006, A.C.O.D has increasingly gripped attention with a sound seemingly bred on thrash and blackened seeds alongside its prime death metal heart. It has been an evolving proposition over time, and one luring increasing acclaim and spotlights the way of the band. Debut album Point Zero was released in 2009 with its successor First Earth Poison two years later. Both were well received though the five-track EP Another Path in 2013 has been their strongest bait on ears and appetites for their sonic fury; that is until now. Produced by Shawter of Dagoba and mastered by former Machine Head guitarist Logan Mader, II The Maelstrom is A.C.O.D’s most creatively hungry and impressive offering yet and from its first moments the Marseille quintet takes no prisoners.

acod cover_RingMaster Review   Straight away Another path swarms ears with ravenous riffs and imposing beats to instantly destabilise the senses. It is a hellacious yet controlled start which offers a carnivorous bestial bassline and sound to drool over which continues even as intensity and energy is kicked up a gear or two soon after. This marks the entrance of the raw throated vocals which in turn sparks a further thrash infused onslaught, but one which dips in and out of melodically honed lapses in ferocity. They are mere breaths in the again best described as swarm of riffs and rhythms, the guitars additionally creating an alluring web of sonic persuasion across it all.

It is a great start matched by the slightly less rabid Way of death, a track again bulging with highly tempting grooves around irritable riffs and rhythms. As it proceeds the track gets more volatile but equally inventive as spicy melodies escape guitar strings and vocals spill ire coated but more patient aggression. As in the first song there is a thickness in air and sound which means a kind of acclimatisation is needed but it comes quickly whilst laying lures to draw ears back again and again to explore more. This applies to the whole album as evidenced again by the following pair of Abuse me and Ghost memories. The first of the two is a predator, a beast gnawing on ears and spreading rancorous enmity but like those before, fuelled by a virulence which just grips with consummate ease thoughts and an already brewing hunger for the release. Guitars flirt with sonic enterprise whilst the bass chews on the senses in tandem with the scything swing of sticks on drum skin, the blend a merciless treat which continues in its successor. Featuring Soilwork’s Björn ‘Speed’ Strid, the track looms over the listener with a wall of barbarous rhythms and again a tide of nagging riffs which only evolve into something just as destructive and magnetic as a vocal blend entices whilst melodies wind through the sonic turmoil. It is a glorious assault and provocation of the imagination, especially as haunting winds and industrial tinged elements make full use of calmer moments.

From one major highlight to another as the vicious smog of Words of War descend on the senses, its composed savagery anthemically riveting and physically intimidating for a bracing and once more evolving assault. It is that fluid and unpredictable ability to twist around and explore contrasting if still lethal adventure in songs which turns II The Maelstrom from a good album into a thoroughly thrilling proposal. Both Black wings and the excellent Rise confirm that, their individual impassioned uproars further defined by the intricate craft and ideation veining each, though in the former of the two the rousing and corrosive breath of the track wins out whilst Rise is another which just steals the passions, its torrential grudge bound in impressive imagination whilst keeping its savage jaws in undeterred motion.

Cold is another peak, its melancholically stringed, melodic opening bewitching but subsequently swallowed in the belly of the sonic beast and another thumping anthem of bad–blooded barbarism. That animosity is on the first gasp of the following Death breath too alongside an enticing of acidic grooves and waspishly nagging riffs whilst Unleash the fools which sees Shawter also guesting, finds its strongest bait in the clean vocals and the hostile invention which seems to especially bloom around them. It is arguably the weakest song on the album yet leaves you wanting more and subsequently basking in a folkish/melodic metal sculpted oasis midway which just lights up ears.

II The Maelstrom is concluded by the trio of firstly Fallen, another strong song not quite having the same potency of those before, the classically hued and thrash fuelled Crimson, and finally the album’s title track which like an apocalyptic bear bellows and smothers ears in a swamp of raw passion shaped by toxic grooves, crushing rhythms, and scarring vocals. It also provides a melodic refuge within its storm which leads the listener out of the release with a warm and elegant peace.

It is hard to say that II The Maelstrom is something majorly new for the death metal scene yet it continually provides something fresh and inventive to the ear within its more recognisable turmoil. The result is one richly pleasing and satisfying encounter, and as suggested earlier, the finest aural ravishment from A.C.O.D yet.

II The Maelstrom is released September 15th

Pete RingMaster 15/09/2105

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Dienamic – Afterlife

Promo Picture Dienamic_RingMaster Review

Norwegian metallers Dienamic offered themselves up as a seriously promising proposition with their debut album Surfing the Apocalypse. Now confirmation has arrived in the rousing shape of Afterlife, an attention grabbing confrontation which still suggests there is more to come from Dienamic and still to be discovered by the band within their creative depths, yet provides one compelling and very often incendiary incitement to leave nothing less than full satisfaction in its wake. The band is still establishing itself in many ways, yet to really step from the crowd, but with Afterlife as evidence is destined to be part of the staple diet of a great horde of metal fans now and ahead.

Formed in 2009 or 10, depending where you look, the Tromsø hailing Dienamic quickly unleashed their thrash fuelled, death lined raw metal via a self-titled EP the same year. That in turn sparked the band’s renowned live assaults and hunger which over the years have seen them tour the likes of Japan, Central and Eastern Europe, and of course their homeland. 2012 saw the release of Surfing the Apocalypse, a swiftly devoured and acclaimed proposal marking the band out as one of the new promise flooded protagonists in the world metal scene. Backed by that live presence, which only helped increase the stature and reputation of the band across 2013 and since, Dienamic has given confirmation of their blossoming sound and impact through Afterlife. With guitarist Eivind Kjær Killie, bassist Kenneth Iversen Muotkajærvi, and drummer Sebastian Jacobsson joining band founders in vocalist Gustav Harry Lindquist and guitarist Stein-Odin Johannessen, a line-up coming together late 2014, and the signing with Italian label Worm Hole Death too, Dienamic is ready to stir up some spotlights and appetites with their new album; something it is already beginning to do with its release a few short weeks back.

cover_RingMaster Review     The Reaping starts Afterlife off, a squeal of riffs the perfect appetiser to the barrage of feisty rhythms and nagging riffs which follow. It is a quickly riveting start which continues to worry and entangle ears in acidic sonic temptation. The grouchy growl of Lindquist is quickly in place to add to the intimidation and lure of the song, his input the trigger for a broadening weave of winy grooves and an addictive torrent of addictive riffs and rhythms. Like a mix of Pantera and Bloodsimple, the song is a masterful and persistently enjoyable start to the album instantly awakening full involvement of ears and appetite which Innocent Gun makes full use of straight after. The second track has a similar basic landscape but in different hues and shades of attitude, musically and vocally. Soon striding with a belligerence to its infectious bait of swinging beats and spicy grooves, the song reveals a whole new character to that of its predecessor whilst being the extension of its creative devilry.

Essences of bands like Testament and Exodus creep into the opening parade of enterprise within the excellent Revolution for Nothing, strains which get repeated throughout in between masterful roars of voice and emotions wrapped in infection soaked, melodic rich exploits. Good unpredictability also enriches the track, not bringing major moments to wrong-foot ears but enough to ensure every twist, each turn in the aggressive flight, is fresh and distinctly inventive, a quality highlighted again within the more primal Where God Feeds. Riffs are carnivorous from its first breath whilst the bass prowls the song with a predatory air as drums sticks swing some shuddering beats. Once more thoughts of bands like Pantera are lured out in the course of the ravaging grooving, as also of others such as Stam1na and Gojira for varying reasons.

The pair of Dance with the Devil and You Still Walk leaves the body breathless and a little greedier for more, the first through its thrash fury bound in anthemic ferocity and rapacious enterprise and the second, if not with quite the same impact, with an evocative storm of more prowling endeavour and skilled craft from each of the band. This is a song which grows and enthrals even more over time whereas others make a more instant impression, like the hellacious and riveting tempest of Generation Reboot. An infestation of rhythmic animosity and grooved seducing that bellows and buffets the senses with raw energy and rabid enterprise, it is easily one of the major highlights of the album.

One of but not THE one, that title falls upon Overthrown and its ordered bedlam of wicked beats, grievous riffery, and emotional intimidation speared by tendrils of sonic imagination. Again it is not easy to say the track is wholly original but all familiarity embraced is twisted into a tapestry of physical discontent and bordering on barbarous seduction as it stirs the passions. Amongst many impressive tracks it is the standout antagonist and more evidence of the quality within and still brewing inside Dienamic.

The album’s title track is breeding similar pleasures next, its fierce opening outpouring evolving into an oasis of melodic metal warmth before erupting into an even more venomous and intoxicating stalking of ears and air. The track is danger and bewitchment rolled into one before the melodic shimmer of The End completes the album. It is a melo-death seeded offering which as elegant and melodically entrancing as it is has a raging fire in its emotional belly, a furnace of angst and intensity which oozes from every pore of the album’s potent finale.

Dienamic are not close to touching their pinnacle yet but in Afterlife show they has all the armoury to become a highly notable presence in world metal and, as here, offer some highly satisfying and very often imposingly thrilling adventures along the way.

Afterlife is available now via Worm Hole Death.

Pete Ringmaster 02/09/2015

Copyright RingMaster: MyFreeCopyright

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Nemaind – Eclipsi EP

cover_RingMaster Review

There is not a great deal we can tell you about Spanish melodic death metallers Nemaind though the most important bit of information you need anyway is that their debut EP, Eclipsi, is one heavily flavoursome and magnetically alluring incitement. Its three tracks do not break down boundaries or re-invent existing landscapes within the death metal scene, but it undoubtedly provides one potential fuelled, richly enjoyable sonic tempest to eagerly immerse within.

Formed early 2014, Nemaind hails from Barcelona inspired by bands such as Moonspell, Opeth, Death, Gojira, Insomnium, Caladan Brood, Sylosis, Emperor, and Amon Amarth. Created by vocalist/bassist Ferran C, previously of thrashers Rotten, the band’s line-up was soon enriched by guitarists David C and Gerard B, subsequently followed by drummer Martí F. Recorded in February this year, Eclipsi gives the first introduction to a broader expanse of ears of Nemaind, in turn offering a strong persuasion of their craft and potential.

Eclipsi opens with its title track and instantly has attention and appetite wide awake with a swarm of waspish riffery and fierce rhythmic intimidation. It is a masterfully magnetic start which continues to tempt and work on the psyche as the track breaks into and begins exploring a malevolent landscape of portentous grooves and sonic rapacity. The vocals are varied causticity, their diversity never merging major differences between tones and delivery but enough to ensure more fresh textures in the tempest of sound and the increasing adventure emerging within the outstanding and increasingly impressive encounter. The guitars especially spin an evolving web of intrigue and imagination within the volatile atmosphere and confrontation of the song, adding captivating hues and ideation in the face of barbarous intent.

The following Pareidoniria is similarly sculpted within its own individual character and ravenous air, addiction loaded riffs stalking with unrelenting persistence alongside rapier beats and a throaty bass groove. Musically the track conjures a soundscape Gojira like in rousing dexterity and technical imagination, Insomnium seeded in hostile and ravishing emotional trespassing whilst its melodic ferocity is Corbeaux like. It does not quite match up to its predecessor’s heights yet only leaves a want for more and helps build the intent to keep the band on the personal radar.

The EP is brought to an end with Les últimes llums de tardor, another predatory protagonist this time emerging from a primal sonic mist bristling with thickly flavoursome flavours and ear pleasing enterprise. Initially there is an almost eighties like gothic spicing colluding with broadening winds of sonic and extreme metal drama rippling with creative expression and highly provocative aural colour. It is the least physically corrosive of the three songs, though still showing no emotional mercy, weaving a fascinating design of warm and barren scenery which is always emotively lively and boldly adventurous as it scars the senses.

As the final song’s cold climate dissipates, Nemaind leaves only richly positive thoughts and full pleasure behind. As suggested, it is not the most original release yet every listen brings something fresh and individual against other encounters you may come across with a similar canvas of sound. We suggest taking note of the name and enjoying their debut with the promise of increasingly impressive explorations with the band another lingering aftermath.

The Eclipsi EP is available digitally now on Nemaind’s bandcamp profile.

Pete RingMaster 31/08/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent check out http://www.zykotika.com/

Countless Skies – Solace



Following their acclaimed self –titled debut EP of 2014, UK melodic death metallers Countless Skies unveil their new single and an even more potent adventure of sound and songwriting. The track invades ears and psyche with its bold enterprise whilst immersing the senses in a tempest of dark emotion and melodically hued but rapacious atmospheres. Every minute of its handful, makes a compelling proposal and even if personal tastes do not quite get seduced by every aspect of the song, Solace openly delivers on the potential of the band’s last offering whilst uncapping even more anticipation firing promise.

Solace_cover_RingMaster Review   Though Countless Skies exploded on the British music scene last year with their EP, the band goes back to its first guise as Hatespire which began in 2009. Formed by long-time friends Ross King and James Pratt, the pair created a three-track demo of intense and ravenously dark music infused by Scandinavian inspirations, the beginnings to what we have now. Skipping forward to last year, Countless Skies as mentioned poked real attention with their four-track EP, which in turn opened fresh opportunities on the live scene for the band across the UK. They won the Bedfordshire ‘Metal to the Masses’ competition and earned a slot on the New Blood stage at Bloodstock Open Air 2015 in its wake too whilst ahead of their first album scheduled for early 2016, the quartet of vocalist/bassist Phil Romeo and drummer Nathan Robshaw alongside vocalist/guitarist King and guitarist Pratt, uncage Solace and a teaser for their album which certainly gets the job done.

The song opens on an acoustic caress which swiftly has ears and thoughts involved, especially as the elegance of keys joins in with a subsequent heavier and darker wash of imposing tempting. Musically the song continues to seduce with melodic radiance within increasingly volatile air whilst raw, growling vocals add contrasting malevolence and causticity. For whatever reason, the coarse lure of vocals found a less successful reception with the appetite compared to the epically aired and feverishly inventive nature of the sounds but the clean roars midway into the encounter certainly hit the spot upon their emergence. As ever personal tastes get involved in all things whilst allowing sight of what will appeal to numerous others, and all aspects of voice and hostile throat expulsions will certainly find welcome reactions with a great many more for sure.

The fascinating sounds continue to flow and explode through ears, the song varying its scenery and design with constant frequency and ease as guitars and keys bewitch in a just as pungent dramatic union within an uncompromising rhythmic cage. Bands like Dark Tranquillity and Insomnium are suggestions as Solace provides escape for and trespass on body and emotions whilst laying sizeable bait to band and impending album for fans and newcomers alike. Their last EP raised a stir but expect bigger eruptions as Solace grips ears.

The self-released Solace is out now!

RingMaster 24/08/2015

Copyright RingMaster: MyFreeCopyright

Scarnival – The Art Of Suffering


Scarnival_RingMaster Review

2012 saw the unveiling of German metallers Scarnival’s acclaimed self-titled debut EP, now three years on the Hannover quintet unleash their first album to realise some of the rich potential already shown to be fuelling their sound and confirm a growing reputation as one compelling protagonists of explosive metal. The Art Of Suffering is a brutal and sonically incendiary encounter, a fierce incitement wearing influences of bands like At The Gates, In Flames, and Soilwork like proud badges. It does ebb and flow in major and less impacting successes, its grip fluctuating across its irritable body, but from start to finish, it is one groove infested slab of savaging to enjoyably get the teeth into.

Scarnival was formed in 2009 by guitarists Christian Kähler (ex-Schierling) and Henna Deutsch (also Tredstone), bassist Gerrit Mohrmann (Cripper and ex-Schierling), and drummer Max Dietzmann (Tredstone and ex-Schierling) alongside vocalist Niklas Reimann. With Daniel Siebert (Inquiring Blood, ex-Steak for Breakfast) subsequently taking over the vocal persuasion three years later, the band made their first broad mark with their self-titled EP. It and the modern melodic death metal flowing through its veins swiftly grabbed fan and media attention with high praise quickly following. Live the band has also earned a potent reputation for their ferocious presence, shows with the likes of Arch Enemy, Debauchery, Rage, Tankard and Vader amongst many, helping brew an increasing spotlight upon the band. Now it is the turn of The Art Of Suffering to awaken fresh ears and appetites, and though proof that its creators are still exploring and getting to grip with finding open uniqueness, it is a definite wake-up call to the hellacious roar of Scarnival.

Scarnival - The Art O_RingMaster Review     The Art Of Suffering opens up with its title track. Portentous whispers fill ears first, quickly followed by an evocative caress of guitar. Those first few seconds are a potent prelude to the fury of sound poised to abruptly explode upon the senses, riffs scowling as harsh rhythms drive the confrontation and vocals. Already the song shows great and impressive diversity across the unbridled ravaging, the guitars also revealing their own variety of flavour and enterprise as a maelstrom of hostile and seductive tendencies quickly brew into one wholly magnetic incitement of corrosive metal, heavy rock, and addiction luring grooving.

The superb start continues through God Given, a track starting on a discord soaked splash of sound and almost as instantly turning into a primal predator. With no one else credited as additional vocalist, presumably every guttural growl, venomous squall, and grouchily clean tempting impressively comes from Siebert’s own raw throat across the album, and fair to say, as on the second track, he is as relentlessly gripping as the melodic imagination around him is emotively expressive. The song continues to merge a blend of varied metal into its appealing landscape before making way for the more brutish but no less infectious bellow of The Easy Solution. The energy of the track is again insatiable, as too the outstanding mix of vocals and jagged endeavour spilling from every guitar chord and spiteful beat. It is the nagging groove which takes most attention though, its catchy essence a rich lure in the tempest.

Hindsight steps forward next to offer a mellower, though still intimidating, proposal. Quickly it shows itself unable to ignite the same hungry reactions as its predecessors, familiarity and simply that so often indefinable spark which sets tracks ablaze missing from its otherwise strong body. It leaves ears and thoughts contented though, with Losing Identity stirring them up a little more through its barbarously grooved nagging and rhythmic punch bound in sonic rapacity. Musically it is enticing but vocally is where it wins, a hardcore essence encroaching some of the excellent diversity spilling from throat(s), though it too is left a touch pale by Watch Me. Featuring Soilwork vocalist Björn Strid, the track is heartily primal and sonically inflamed, its initial roar easily carrying ears and emotions into the clutches of its hostile stride. That alone hits the spot, but it is when the song twists into harmonic and vocally clean scenery around dancing hooks and spicy chords that it magnificently blossoms in to its greatest inimitable persuasion.

Both The Hunt and Rewind keep a freshly stirred appetite lively. The first succeeds through a fusion of insidious vocal toxicity and predacious grooves caged by skittish beats and invasive intensity, whilst its successor being part bestial and part flirtatious, stalks the senses with its inventive animus of sonic zeal and ravenous riffery. As all tracks varied hues entwine, slithers of thrash and death, black and melodic metal colluding here in a tapestry as destructive as it is enlivening. The pair thoroughly satisfies, a success shared by the classic metal infused Pathetic, though it has a more expectations feeding presence to leave it enjoyably pleasing if without causing any particular stir.

Eternal Salvation has the album back in top gear as soon as an intoxicating groove winds around ears in its first seconds, the masterful bait seeming to dictate the growing swing and contagious tempting of the excellent track. Many of the album’s songs do share certain melodies or elements of design, without any ill-effect on its potency, but this one stands bold as one of the most original and thrillingly unpredictable storms on the release. It borders mayhem at times, its fluidity pushing limits but everything just unites perfectly for one rancor soaked violation where even the sudden slip into melodic beauty only accentuates its might.

The Art Of Suffering comes to a close through firstly the gripping and barbaric drama of One Morning Left, another peak which is as emotionally cancerous as it is viciously unrelenting, and lastly Lies with its ruinous heart and tempestuously resourceful soundscape of scarring sound and ideation. The pair leaves the album on a lofty high, the latter emerging as the most courageously inventive and thus thrilling song on the release.

The Art Of Suffering is another striking step in the emergence of Scarnival, a release which impresses though also one it is easy to predict will be blown away by the band itself at some point ahead as they grow and mature further It is though a perpetually enjoyable and captivating savaging which only leaves a taste for band and more, a result not to be sniffed at for sure.

The Art Of Suffering is released via Kernkraftritter Records on August 7th through most online stores.

https://www.facebook.com/scarnival        http://www.scarnival.de/

Ringmaster 04/08/2015

Copyright RingMaster: MyFreeCopyright