Ophe – Litteras Ad Tristia Maestrum Solitude

Mar30

Ophe is the solo project of Bargnatt XIX, guitarist/vocalist with French outfit Område. His main band is a proposition which entangles an array of styles and experimentation into avant-garde soundscapes and has grabbed our imaginations since the release of their 2015 album Edari and even more so with its startling successor Nåde two years later. So you can imagine we were only too pleased to take a look at Litteras Ad Tristia Maestrum Solitude, the debut Ophe album when Bargnatt (Christophe Denhez of Nerv, Mur, and In The Guise Of Men) got in touch. Despite having embraced the ambience hued climates of post rock, industrial, electronica, and avant-garde metal merged by Område though, ears were not prepared for Litteras Ad Tristia Maestrum Solitude.

Certainly living up to its tag of experimental avant-garde black metal, Ophe’s sound is much more expansive than that. It is a ravenous maze of sound and adventure set in a tempest of emotion and atmospheric dissonance. Whether it is something you can say you physically enjoy is still up for debate but as one fiercely captivating and relentlessly tempting challenge it is inescapable.

From opener Somnum Sempiternum the senses are taken on a turbulent sonic flight; a buffeting of winds around perpetual rallies of rhythmic antipathy the initial engagement. Bargnatt’s vocal currents are just as harsh within the intensive but controlled cyclone, rasping breath on sonic causticity and melody flirting with discord and dissonance. As invasive and toxic as it is an infectious hue merges within the emotional and aural trespass adding to the imagination sparking incitement that has already brewed. The track continues to grate and tempt across it’s almost nine minutes, never giving enough to mercilessly seduce but never coming close to leaving ears searching for alternative calms. Though a one man project, the album features the sax borne craft of Val Dorr; it too an almost schizophrenic, to use the press release’s description, protagonist in the midst of the blackened ambient storm.

Decem Vicibus is a calmer but no less dark investigation. Its tenebrific air wraps around mellow bordering on whispered vocals whilst alongside a hellacious scene unfurls hue by hue, cry by cry until the listener feels like they are trapped experiencing the visceral drama of a Hieronymus Bosch painting. The solemn chimes of church bells only add to the track’s deceitful incantation before XVIIII provides its own individual portentous peace complete with sax squeaks but only leading to a rabid smog of emotional disharmony clad in a web of musical unpredictability.

Whereas its air is thick almost acrid, the following Missive Amphibologique D’Une Adynamie A La Solitude has a clearer atmosphere but one just as sinister as guitars, bass, and sax host a dance of emotive dissidence. The best track within the album, it is a weave of rhythmic temptation and melodic seduction but each a welcoming vice flush with the animus of torment the vocals openly share. The track is superb, the moment the imagination ignited feverishly and even with an arguably over long presence enthrals from start to finish.

The album closes with Cadent, an elegant melody woven piece with clean vocals and harmonic reflections. All the while though, darkness lurks providing a threatening undercurrent which does not have its day but adds dark intensity to the beauty.

It is a fine end to an album which might have to fight to be called actually enjoyable yet we did indeed enjoy every moment of its tempest filled bitter atmosphere if some moments more lustily than others. For something to turn your calm, emotions, and thoughts into captivated turmoil Litteras Ad Tristia Maestrum Solitude is a certain quest to explore.

Litteras Ad Tristia Maestrum Solitude is out now via My Kingdom Music; available @ https://ophe.bandcamp.com/

https://www.facebook.com/OPHEBM/

Pete RingMaster 28/03/2018

OMRÅDE – Nåde

May26

2015 saw the release of an album which deserved far more attention than it got and warranted every syllable of praise offered its “visual and aural telescope.” Edari was the invention of French duo OMRÅDE who now return with its equally startling successor Nåde. That first full-length made ears and imagination pay attention, the second simply demands it and repays with what will surely be classed as one of the major adventures of the year.

OMRÅDE consists of vocalist/guitarist Bargnatt Xix, known elsewhere as Christophe Denhez of Nerv and previously Mur and In The Guise Of Men, and drummer/keyboardist/programmer Arsenic, christened Jean-Philippe Ouamer and the skin hitter of Idensity and formerly of Nerv. Together they weave a collection of avant-garde soundscapes nurtured from everything around the ambience hued climates of post rock, industrial, electronica, and avant-garde metal, and that is simplifying their fascinating explorations of sound and emotion. It is a mix which created a compelling proposal in the cinematic adventure of Edari and now the even more aurally haunting and stirring Nåde.

Whereas the first album felt like looking across a broad canvas of universes there is much stronger intimacy fuelling Nåde, like ears and thoughts are peering in on the tempestuous fortunes and emotions of a single soul representing the surroundings and lives within a noir lit and suffocating climate. That is not to say it does not venture through worldly landscapes too, just they all feel cored by the same instinctive melancholy and depressive clad spirit. Influences upon the project include the likes of Ulver, Manes, and God Is An Astronaut, essences certainly seeping across the new album along with an equal infusion of Nine Inch Nails/Palms scented shadows and suggestiveness.

Nåde opens up with Malum and swiftly has electronic beats and guitar coaxing ears as Denhez’ vocals share the song’s heart and beleaguered emotions. Pretty much haunting thoughts and psyche from its first breath, its inner psychosis is just as swift in stirring the imagination as vocals hint at a soul trapped yet seemingly revelling in the inevitability of inescapable turmoil. Strings and brass soon after bring their seductive shadows and flames respectively to the blossoming atmosphere and body of the song, a cinematic wash in tow yet that personal dispute continues to voice things. It is a stunning piece of music and vocal insight, instantly surpassing anything on that impressive first album and just the start of a uniquely stirring journey.

The following XII has a gentler touch, its hazy atmosphere jazzy and sombre yet with a warm glow which only attracts like a night’s final brandy. Keys tease as Leo Sors’ guesting sax woozily blows with suggestive prowess, each flame embracing reflective vocals and in turn a hotly simmering funk shuffle. With Bernard-Yves Querel adding his guitar, the track at times is something akin to 6:33 certainly with the emerging depths and mercurial intensity of the track; ears and imagination enthralled and sucked into its unpredictable enterprise and dark instrumental theatre. Whereas the first was physically provocative, the second is emotionally inciting with just as rich results before the outstanding Enter beckons the listener into its melodically woven, progressively shaped, and increasingly virulent proposal. With a snarling brooding within the guitars and an unstoppable catchiness lining its brewing rapacity, the song is a lively cauldron of infectiousness and trespassing anxiety, each conflicting with and accentuating the other.

Hänelle is pure heart ruptured melancholy, another track which builds in intensity and intimate drama on every level from an initial smoulder nurtured as much by Jonathan Maronnier ‘s clarinet as emotional shadows while Styrking Leið is a haunted croon; a siren like lure of vocals and keys and if slower to tempt as its predecessors simply growing into another lingering highlight especially with its increasing visual potency and emotional desperation. The song sees Edgard Chevallier guesting on guitar while next up The Same For The Worst features additional vocals from L. Chuck D in its jazzy intoxication with Julien Gebenholtz’s bass a captivating pleasure all on its own. Becoming more fevered and intense with emotion as sounds share a volatile almost bedlamic restlessness, the track has ears and thoughts gripped. Certainly it is not the easiest listen within Nåde but boy is it one of the most rewarding and impacting.

The final pair of tracks ensure captivation and pleasure is as burning as ever. Baldar Jainko is as similarly intensive as the previous track, its heart and scenery a sharing and conflict of peace and faith with emotions and suggestiveness working on personal and worldly levels. Closing track, Falaich, is almost apocalyptic in tone and touch; an epilogue or portent of our emotional and physical destructions and apathy to it which is seriously gripping from start to finish and only increasing the vice as it provokes the darkest thoughts and richest enjoyment.

It is easy to suggest that if Edari impressed and impacted on you previously, Nåde will blow you away and for newcomers to OMRÅDE, the moment when music might just become much more than ear pleasing.

Nåde is released May 26^th via My Kingdom Music.

https://www.facebook.com/Omradetheband http://omradetheband.wix.com/omrade

Pete RingMaster 26/05/2017

Gloomy Hellium Bath – Sistema Solera

Dec21

ARTWORK GHB_RingMaster Review

Always partial to some creative bedlam or a seemingly deranged adventure which, no matter how much you think you understand it, never fails to surprise and leave a vacant expression of pleasure on the face, Sistema Solera was destined to spark an eager appetite here for its sonic psychosis. It is easy to predict that the riveting debut album from French trio Gloomy Hellium Bath is not going to be for everyone but if the likes of Pryapisme, Mr Bungle, or 6:33 light the fires, then this unique fusion of industrial, electronic, and metal bred incitement is well worth exploring.

Gloomy Hellium Bath is the union of former guitarist Würm Edgard Chevallier (guitar/machine/samples) and Christophe Denhez (guitar /vocals), the latter no stranger to exciting ears through his work and releases with Nerv, Mur, and Område. Emerging in 2014, the Val d’Oise hailing project, with a line-up completed by bassist Neil, also previously of Würm, takes no prisoners with its infestation of the senses and emotions. Their sound is compelling aural violence and off-kilter enticement spun with black humoured mischief and realism caked antagonism; the result a cacophony of raw and intricate ideas honed into a roaring storm of gripping chaos and as shown by Sistema Solera, deviously captivating.

Fight is first, instantly throwing a melee of voices and fizzing sound at ears before leaping into a psychotic stomp with carnivorous walls, ravenous vocals, and warped electronic flirtation. Imagine Mindless Self Indulgence and Rabbit Junk in a dirty fusion with Young Gods and you get a whiff of the lunacy soaked enterprise, though from its ‘mid-season’ break it returns as another fresh industrial shaped punk of a proposal with the vocal alone insanely bewitching.

It is a great start continuing with Alcoholique Djerk, the track organically evolving from certain aspects of its predecessor to explore an even more industrial metal hued canter quickly working its way into the psyche. Equally it is unafraid to expose raw nerves with caustic eruptions and abrasing animosity, or indeed to throw one or two exotic or incendiary sonic slithers of surprise in to the mix too.

Fuck It swings in next, warm yet fuzzy air and sound coating ears as melodic rock with grunge lined edges colours the song’s sinister intent before hardened and rapacious provocation blends with funk urged enterprise and vocal revelry. Across its body, the track reveals a host of flavours, country rock and jazzy scented essences amongst the metallic turbulence again walling in varied endeavours within the song.

The album’s title track merges haunted and dark natured ambience with atmospheric volatility straight after, its Nine Inch Nails toned electronic grumble drawing in lighter exploits throughout to evocatively spark ears and imagination whilst setting up the tenaciously energetic and dynamic Lady Boy with its steely schizophrenic rock ‘n’ roll carrying elements of Trepalium and We All Die (Laughing) to it.

Across the sonic dissonance of Ouarchhh and the industrial neurosis of Bloody Mary, band and album wrong-foot, ignite, and twist body and thoughts inside and out. The first of the pair has a slight whiff of US band Pere Ubu to it in many ways as essential grooves and hooks lurk and spear an unpredictable landscape of dark intrigue and disorientating aural dementia with emotions to match whilst its successor scythes through and permeates the senses via a debilitating cyber invasion.

A melodic calm of sorts mellows things a degree or two through Fucking Mashine, its emotive and enveloping croon expectantly laced with provocatively disturbed and manipulative additives bringing light and dark, reserved and twisted elements in potent collusion. The track brings another open and striking variation to the album as too the CD version’s closer Dead Rising Horse, a drama of piston driven rhythms and scuzzy temptation aligned to melodic seduction and tempestuous extremes in sound and creative provocation. It is a rousing conclusion to a release which might need time to get fully under the skin but is ultimately very likely to if the kind of warped imagination it holds is the kind of pleasure which gets the senses and passions inflamed.

As suggested for some it might be an adventure too far, but Sistema Solera for the rest of us is as easy to greedily devour treat.

Sistema Solera is out now via Dooweet Records @ https://itunes.apple.com/fm/artist/gloomy-hellium-bath/id1057587349

https://www.facebook.com/gloomyhelliumbath

Pete RingMaster 17/12/2015

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

Område – Edari

Jul10

Omrade_RingMaster Review

Edari, the debut album from French band Område has to be one of the most fascinating and compelling propositions this year, and in turn one of the most enjoyable. The release consists of eight tracks which are startlingly individual to each other in sound and texture yet link perfectly in the album’s cinematic landscape through the fluid imagination fuelling all. Listening to the broad and fiercely emotive offerings it is like sitting at the head of a visual and aural telescope, not only looking in on a myriad of universes but immersing in their emotional tempests.

Område is the union of vocalist/guitarist Christophe Denhez, who also plays in Nerv and formerly Mur/In The Guise Of Men, and drummer Jean-Philippe Ouamer who also brings the electronic mastery to the project. Musically the Område sound is an avant-garde tapestry of post metal/rock, electronica, trip hop, industrial, and drama fuelled ambiences which are as bewitching as the flavours courting them. To be honest that description only hints at the full enterprise emerging from within Edari tracks, which as suggested earlier, are wholly unique to each other. The band’s major influences are probably the best hint to what will be discovered within the album’s intensive theatre, bands which include Manes, Ulver, Gazpacho, God Is An Astronaut, and Dodheimsgard

The Edgar Chevalier mixed and mastered release opens with Mótsögn, its opening haunting breath of sound and atmosphere swiftly sparking ears and imagination. Minimal but thick beats add to the emerging scenery as the distinctive tones, certainly to those fans of his previous/other projects, of Denhez spill expression and emotional shadows into the increasingly intensive and slightly volatile ambience. Numerous guests also appear on the album and the emotive caresses of sax from Damien Legret and Leo Sors, alongside the similarly potent lures of Kriss Mandra’s trumpet, add a sultry and inflamed hue to the enthralling tempestuous embrace of the opener and its increasingly sprawling presence.

Omrade cover_RingMaster Review If ears and thoughts are captivated by the first track, they are spellbound by the following Mann Forelder. It opens with a rising of epic tones through provocative keys and sonic colouring, the muscular rhythms of Ouamer only adding to the increasingly expanding and portentous air of a track hinting at an emprise of myths and warfare. Within this though there is a riveting and intimate melody from the piano, a reflective tempting which is smothered by the eventual weight and tribal drama of the song but lays the seed to the exotic electro shuffle and melodic heart which subsequently emerges. Harmonies and mystique, thick shadows and heroic tones all entangle as the song inspires ears and imagination, numerous listens as with every proposal within Edari needed to truly explore every corner and texture.

Luxurious Agony lays a gentle croon on the senses next, though as you can assume throughout the album, it becomes a rich weave and at times a maelstrom of styles and evolving layers which enthrals maybe before it even excites, the latter the reward from the first. Featuring the tones of Mnemic’s Guillaume Bideau, the track is a twisting of light and dark in an impassioned and haunted serenade, its darker depths a lingering presence which seem to be twisted into an even more emotionally unbalanced but fiercely tempting enticement within Satellite And Narrow. Featuring vocally Asphodel of öOoOoOoOoOo, the song is a choral like weave of celestial light and agitated emotion over a kinetic dance of electro and rhythmic convulsion, their union walled by sweltering trumpet beauty and dramatic energies.

The track is enslaving though even its might has to submit to the brilliance of Åben Dør and straight after Friendly Herpes. The first is emotional and physical torment aligned with malevolent intent put to sonic and rhythmic infection. Mystical and pestilential, the song virtually smiles as it infests and corrupts the psyche, thrusting the listener into its debilitating and demonic tempest of deranged innocence and corrosive beauty. Its successor offers a tribal opening awash with more of those heaven bred harmonies but also a mesmeric dark drone, once more suggestive contrasts of light and dark revolving around each other. Denhez’s guitar casts a magnetic evocative narrative within this increasingly oppressive soundscape adding to the theatre of the menacing charm also gripping ears. A brief relaxation of the intensity allows rhythms to dance and the song to build its pressure again, which it does in swift and even more compelling style. There is no escaping a Nine Inch Nails whisper to the track, but an essence quickly twisted and devolved into a ravenously rabid and instinctively predatory backing to the vocal anguish.

The album is completed by the calmer but no less emotionally embroiled Skam Parfyme and lastly Ottaa Sen. The first of the two shimmers with a melodic elegance which continues to brightly radiate even as shadows close in, rhythms darken the scenery, and vocals reach into their deepest angst whilst the closing song rides over constantly evolving landscape and climate. Again a majestic and monumental air of gods and legends collude with personal angst and life, and once more Område leave ears ablaze and imagination as rich in creative endeavour as pleasure.

Edari is not hard work but certainly an intensive time which needs thick attention to reap all its glories, something some will maybe turn away from. All should make the full effort though and discover one impressive and increasingly enjoyable adventure.

Edari is available now on CD, vinyl, and digitally via My Kingdom Music http://mykingdommusic.bigcartel.com/product/omrade-edari-digicd

https://www.facebook.com/Omradetheband http://omradetheband.wix.com/omrade

RingMaster 09/07/2015