Kayleth – Space Muffin


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

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

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

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

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

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

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

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


RingMaster 03/02/2015

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Monsterworks – Universe


Universe Band

   It feels like just a mere breath ago that New Zealand metallers Monsterworks released the outstanding Earth, an album which took the listener on an enthralling journey through time and a continually expanding sound, in flavour and textures. Now the London, UK based quartet push the adventure and theme found on the last release to further absorbing depths with Universe, a seven track epic which assaults, seduces, and envelops the imagination.   

  Whereas previous album Earth took on the concept of our planet and its flight from birth to death, Monsterworks takes the next epic step and explores the lifecycle of the Universe in their new incitement. Vocalist/guitarist Jon gave a richer explanation about the release recently, “This is our follow up to Monsterworks :: Earth from last year.  We wanted to top ourselves conceptually, so how to surpass an album about the life cycle of Earth from birth to death?  It could only be an album about the life cycle of the Universe from birth to death.  At least it started out that way with lyrics exploring big bang to heat death, but it gets a little philosophical along the way considering the path mankind might take in its evolution.  It is a bloody long time until the last black hole evaporates.”  Like its predecessor the album provides a thick and complex presence and with each trip unveils more levels and corners to immerse within. Equally like Earth, the new release reaps the essences of a wealth of metal and heavy rock styles to create a tapestry of unpredictability and intrigue around a similarly creative narrative. Whether Universe rivals Earth’s triumph can be debated but as a sister companion in an epic adventure it leaves the imagination alive and passions engaged.

    The Eat Lead and Die released album opens up the journey with its title track, its emergence from a distant realm gentle and Universe Starchildinviting as the guitars unwind sonic tendrils and beats provide a forming heart for the piece. The vocals also come in a mellow and harmonic breeze which washes over and wraps around the ears until an explosion of passionate energy and rhythmic penetration brings everything into intensive focus. The vocals subsequently veer with almost wild abandon from clean to a Rob Halford like wail and then into a bestial predation, twisting and evolving from there on in like the music around them. As mentioned each song reveals more of its depths as numerous encounters are embraced, the first track seemingly having patience in its declaration to offer a fresh aspect to every immersion into its impressive flight. With the wealth of styles employed in its maze of invention and sound, song and album fluctuates in success depending on personal tastes, but never relinquishes the strength and potency of its initial temptation across the vast landscape.

    The following Grandiose is a tempestuous storm from its first seconds, guitars and rhythms a bruising enticement driven by equally rapacious vocals. As the first, it also flares up and twists with demonic efficiency to leave expectations a wasted exercise and imagination enflamed. The progressive core of the track provides a magnetic canvas but it is the almost carnivorous fire and heat of the cosmic hues which thrill as they lure the emotions on a provocative and satisfying plunge into celestial turbulence, even if the fade-out at the end is less pleasing though it does help suggest the unlimited expanse of the scenery.

     The touch of man brings a more intimate aspect to Voyager, its gorgeous entrance with beauty clad guitar and vocal harmonies mesmeric in its tempting. The imaginative hooks and twists of guitar invention add to the mystery and exploratory intent of the song as it soars through peaceful and more intensive realms. It is a scintillating ride bringing the album to a towering pinnacle which is never surpassed though The Bridge gives it a formidable go with its raw and fiery venture into the unknown. With a blackened air to its voracious malevolence, the track threatens and entices as it treads into new spatial waters. At times it is an uncomfortable but always a thoroughly riveting investigation which is as thrilling as it is intimidating.

     The collision of thrash and heavy metal at the first bluster of Extropy makes an instantly contagious ride, a rhythmic recruitment irresistible as guitars and bass carve a sinew driven torrent of enterprise and intensive endeavour. It is a song which at first pleased without much more, but given the time and companionship it turns into another major highlight which simply exhausts and scintillates. Its successor Heat Death is similar in that it too was not as instant in its persuasion compared to the earlier tracks but equally worked away to convince and excite, though not to the same potency and depth as the previous song. At ten minutes it is a slightly demanding coaxing but with elegant keys and melodic flames which lick at the senses with tenderness and hope reaped caresses, the song seizes keen attention and emotional companionship which never wavers especially as it expels acidic sonic scythes across a caustic energy in its latter half.

   The excellent Outside Time brings the album to a mighty close, its multi-flavoured ever turning body of sound and adventure pure captivation. With a skilled manipulation of thoughts and emotions, it is a towering incitement concluding another outstanding exploit from Monsterworks. Though personally the album misses igniting the depth of passion as Earth achieved, Universe is undeniably a piece of sonic alchemy which leaves the listener involved and excited on numerous levels; another journey from Monsterworks impossible to enthuse loudly over.



RingMaster 11/03/2014

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Monsterworks – Earth


Certainly not an album you can fully absorb and investigate on one, two, even a third listen, Earth the new release from New Zealand metallers Monsterworks is a towering enthralling journey through time and invention. Fusing almost every metal style you can imagine into fluid and seamless soundscapes which suggest and paint more imaginative portraits in a few minutes of descriptive notes than can be found in a thousand words, the band has come up with one of this year’s major evocations. It is a masterful release which reveals and rewards much more with each eager encounter.

Now London, UK based, Monsterworks has repeatedly stretched their and the listener’s boundaries since 2000 debut album Dimensional Urgency right through 5 further albums, with the latter releases especially The God Album and last year the sensational Man :: Instincts EP, which was our introduction to the band, venturing deeper into an ever expanding creative ingenuity. The EP, now listening to leading to this seventh full length release, was definitely a portent of things to come with Earth the stunning evolution of its craft. Released via Eat Lead and Die Music, the album to simplify things is progressive metal at its most imaginative and potent, but a release which fuses almost every essential essence of the vast realm of metal into a soundtrack covering the journey of our planet from the first union of rock and minerals left over from a supernova explosion forming a globe orbiting an infant star through to the entrance of man and beyond. The album provides a masterful sonic narrative to a chronologically progressing theme with all the melodic colours and sonic explication needed to captivate and incite the fullest imagination.

The album opens with From Dust and Gravity, the track from a quiet unbothered ambience slowly emerging to bring solid slabs of MW_Earth_album_coverroving rhythms and heated guitar beckoning together before scorching the air around them with great sonically squalling vocals and a heightened rise in intensity and energy. At this point of contact there is a heavy/classic metal mix with an almost post hardcore intensity, an At The Drive In fire wrapping the song before it explores a stronger progressive and melodic metal temptation. To be honest like with all the tracks it is hard if not impossible to keep account of all the irresistible twists and flavours employed, and would certainly take all day to present here for the whole album, but every turn and sweeping venture is skilled and a natural fit to what came before and is to come which really is all you need to know..

The following Late Heavy Bombardment is a heavily weighted confrontation, vocals and rhythms coarse and thunderous with a thrash lilt to the riffs and a predacious tone to the guitars and their sonic descripts. A mix of light and blackened shadows the track feels like it is a dawning from within the dark, dangers and foreboding still rife but being seeded with adventure and new beginnings. Its intensive provocation makes way for the wonder and melodic warmth of Last Universal Ancestor, its opening tender touch an evolution of the hints in its predecessor before erupting into a rigorous sonic jeopardy with the guitars sculpting a web of sonic intrigue and fire bred fervour licking around the tale of the song and ear with a classic metal fuelled tongue. The vocals are exceptional, a delivery and scope as diverse as the sounds being brewed and perfectly in league with their intent.

Both the scintillating call of Oxygenation with its black and progressive not forgetting heavy metal simmering cocktail of invention, and the rapacious aggressively impacting Powered by Fate impressively take thoughts and emotions through the widest range of sounds and experiences with the first of the pair arguably the highest pinnacle of the album. It is hard not to be further impressed by how each track expertly represents or at least suggests the state and climate of the growing world at the point they explore so powerfully and one assumes accurately, as shown further by the brief but destructive Bookended by Extinction and the excellent Aeon of Man, two songs which thrust the senses and imagination into a cauldron of the seemingly annihilatory transitions between stages of Earth’s growth and the emergence of the beauty of man and life respectively. The second of the two songs is another major highlight, the track a raging festival and dance of energy and enterprise with a stoner swagger and hard rock groove marking the ‘birth’ and a blacker metal suggesting the rabid hunger and shadows which equally come in tow.

The album is completed by the nine minute expanse of the title track, the song like a summary of all that came before and brought the planet to the completion of the previous song as well as a prelude to the next brewing chapter in evolution. It brings an outstanding album to the perfect close emotionally and creatively, leaving the listener the only option to learn more by taking Earth’s rangy exploration again…and again. In regard to being one of the albums of the year, it and Monsterworks certainly make a compelling case.



RingMaster 30/08/2013

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Monsterworks: Man::Instincts

Though they have been producing their distinctive style of creativity for well over a decade, the EP Man::Instincts from Monsterworks is our first introduction to the band, and a surprising and initially disorientating release it is too. Consisting of three songs which evolve within the ear, the release is a hypnotic and wide array of sub genres and metal flavours. Unpredictable and intentionally challenging, the EP is a provocative brew of styles with rewards which are vibrant, compulsive, and wholly enjoyable.

From Wainuiomata in New Zealand and now UK based, Monsterworks has across their fourteen years as a band, released two demos and seven albums which going by research and the sounds on this their debut EP, have more than likely all treated the listener to startling and uncompromising invention. Previous releases has included a metal space adventure concept album which came in the two parts of Spacial Operations and Singularity in 2007 and 2009 respectively, and last year an album which explored philosophical territory, The God Album. The band creates music which surely is as a big an irritant to those which have to tag and label as salt is to slugs. Their sound is a striving perpetual and fluid weave of sounds; classic, stoner, black, power, a mere few of the mass of multi metallic essences woven together in a seamless soundscape of imagination. Arguably it should not work but it does and effectively as Man::Instincts easily proves.

The first track The Creation Dream opens with instantly engaging guitar caresses which capture the imagination within moments, the melodic heat rippling off their play mesmeric. The song soon brings a muscular breath to its flight as black metal vocals scowl with venomous intent and classic metal cries permeate the background. As the tempered but brewing storm of sound wraps the ear the song is a warm consumption which ignites with fiercer surges as it moves into a folkish progressive climax. The guitar play of Marcus and vocalist Jon is skilled and constantly enthralling whilst the rhythms built by bassist Hugo and James on drum, are forceful without overpowering or deflecting from the craft of the song itself.

All Suns Die erupts with an instant blackened scramble upon the senses, the disruptive and shifting rhythms explosive and agitated. As it progresses the track explores melodic rock, progressive metal, heavy metal and more. In a mere three minutes or so it encapsulates a maelstrom of aural spices like colours within a jigsaw and like that it all fits perfectly and flows as one. It is instinctive with no sign of elements being forced or added just to be different. There are moments personal tastes are not quite sure about but it is never an issue to derail the quality and enjoyment given.

The closing track Free Will has a feisty intent, its trash surges raising the heart rate amongst the blackened veins and classic shrills. The song is arguably less eclectic of the trio, preferring a less changeable core but is no less impressive and powerful. It is true to say there is something for everyone on Man::Instincts and no doubt their albums too, though possibly for some the vast expanse to the music in its diversity will be a challenge too far, but you do not know until you try, right?

Released via Mortal Music as the second in their series of digital releases which began with the excellent IV v1.0 from ION VEIN, Man::Instincts is an excellent introduction to newcomers and continuation for existing fans.  With whispers that the EP is a taste of what is to come within future album The Album Of Man, anticipation and the need to discover the back catalogue of Monsterworks is eager.


RingMaster 29/08/2012

Copyright RingMaster: MyFreeCopyright

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