Kruger – Adam And Steve

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There is probably a masochistic side to us all that get off on being swallowed up by a vicious wall of blisteringly hostile and sonically destructive noise but also the ability to see and appreciate the beauty in such tsunamis of unbridled animosity. It can be a seductive corrosion at times and none more so than that found on Adam And Steve, the new merciless album from Swiss noise sculptors Kruger. The eight track inferno of sound and antagonistic invention is a glorious exploration of abrasion, causticity, and sonic savagery but equally a purveyor of some of the most toxic hooks and inescapable contagion bred by venomous imagination. Every note and syllable comes with malice and each twist with ingenious captivation, resulting in an encounter confirming the band as one of the most thrilling alchemists of noise.

Formed in 2001, the Lausanne quintet has been on a steady and impressing ascent since debut album Built For Speed unleashed its ruinous charm upon the senses a year later. 2004 saw second full-length Cattle Truck draw greater attention towards the band, including that of Listenable Records who signed the band and have released their assaults on the senses ever since, starting with the Kurt Ballou mixed Redemption Through Looseness of 2007.Its success and acclaim was matched by the band spreading across Europe with shows and tours, but it was last album For Death, Glory and The End of The World three years later which thrust Kruger into a global spotlight, something Adam And Steve will only intensify. Last year saw the two-track EP 333 tease and spark eager anticipation of things to come but in many ways it only hinted at the triumphs destined to devour the senses and psyche courtesy of the new release.

Complete with a new guitarist and the success of a tour with Gojira last year behind them, the band instantly goes for the jugular upon the Magnus Lindberg of Cult of Luna mixed storm. Rampaging heavy booted riffs and boulders of rhythmic violence descend on ears from the first breath of opener Bottoms Up, the track an immediate onslaught but almost as swiftly employing enticing vocal harmonies behind the caustic squalls of Renaud right away sparking an even keener appetite for the abuse. The raw throated tone of Blaise’s bass snarls and preys on ears with predatory intent whilst the guitars of Margo and Raul sear and swarm across song and senses with deliberate irritancy. It is a deliciously bracing and compelling assault, the vocals across the band continuing to seduce whilst acidic melodies and grooves worm under the skin for a lingering tempting.KRUGER-A&S_cover_sm

The stunning start is rivalled by the following Discotheque, its entrance on a building rhythmic wave instant anthemic bait enslaving thoughts and passions straight away before the band unleashes a barbarous cauldron of merciless beatings and synapse flailing sonic design. Creating a reined in yet uncompromising brawl of essences potent in the flavouring of a Converge and Unsane and aligned to the creative ferocity of a Coilguns, who the band are sharing dates with as the album is released, the song is a tempestuous fury. Unafraid to explore more progressive and post metal scenery within its cavernous depths, it soars and brutalises its soundscape before making way for the infectious tenacity of the album’s title track. Grooves and sonic lancing almost swagger with their vicious hues and ideation whilst vocally and rhythmically the track exchanges another unpredictable and addictive web of spite and craft for a black and blue bruising of the listener’s senses.

Both tracks, and especially the second, set a new hunger for the raucous seduction working within Adam and Steve, something the pair of Charger and Mountain Man toy with and ultimately reinforce. The first of the two prowls ears and thoughts with seeming relish, its roar a severe yet magnetic intrigue drenched predation soaked in infectious imagination and intensive examinations from drums and guitars especially. Within its fury though there is a charm and sonic elegance which escape their binding to cast a masterful calm and resourceful beauty midway in, like the eye of a storm settling fears until the track explodes once again into its hellacious but inviting tempest. Its successor as all tracks almost swings from the fearsome skills and invention of drummer Raph, his wild but perfectly and precisely conjured attacks the irresistible core for which here, grooves and riffs can shape enthralling designs whilst vocals croon and bawl with equal strength and appeal. It is a numbing and invigorating fury, its voracity as unbridled as its invention and raw passion.

For personal tastes the pinnacle of the album comes with the next two tracks, the album reaching new plateaus with firstly The Wild Brunch, a track as melodic and harmonious as it is acutely ravenous and brutal. Across the album hardcore, heavy rock, metal, and more all add rich hues to the hurricane of noise and on this majestic emprise, the weighty thunderous riffs and tonal bruising you would imagine of a Mastodon or Gojira stake their claim to the passions. It is a devastating and engrossing treat but soon surpassed by the brilliance of the heavily unpredictable Herbivores. Easily one of the best songs heard this year, it at times soothes and riles in the same breath as vocals and guitars fuel the passion and incendiary imagination of the riveting track. In others it simply bewitches through bestial rhythmic slaps and grizzled bass suasion, all the time exploring a simultaneously destructive rabidity and insatiably seducing invention.

The album is brought to an end by Farewell, an expansive exploration of sound, emotional landscapes, and the listener physically and mentally. The instrumental is a journey all in itself and the fitting masterful finale to a thrilling encounter. Adam & Steve uses noise as if it is on its own personal vendetta against the senses but also as a commanding colour in the maelstrom of textures and imaginative hues which permeates its raging exploration. Kruger has created an engrossing and irresistible conflict with an album which plays like an aural judge and executioner, and seductress.

Adam & Steve is available now digitally and on CD via Listenable Records @ http://www.shop.listenable.net/en/5725-kruger-adam-and-steve-ltd-digipack-with-slipcase-t-shirt-bundle-pre-order.html and on partially black, partially sin-red vinyl through Pelagic records @ http://pelagic-records.com/vinyl/

http://www.kruger.ch

RingMaster 14/10/2014

Copyright RingMaster: MyFreeCopyright

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Dioramic – Supra

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There is a clutch of bands with the imagination and mastery to combine mouth-watering beauty and voracious aggression in one heavily imposing proposition but few able to conjure the mesmeric seduction and creative ferocity as found on Supra, the new album from German metallers Dioramic. The bands third full-length release is an extraordinary exploration of light and dark textures, technical and feral ingenuity, and breath-taking invention. One of the most scintillating, awe inspiring encounters in recent years.

The quartet from Kaiserslautern is no strangers to making jaws drop in response to their craft and adventure, previous albums Phase Of Perplexity and Technicolor in 2004 and 2010 respectively, greedily received but Supra finds the band at a whole new plateau of sonic alchemy. The album was begun in 2011 but a line-up change due to drummer Anton Zaslavski’s success with his own Grammy award winning project Zedd, meaning he had little time to devote to Dioramic, halted the recording of the Supra. Paul Seidel (War From A Harlot’s Mouth, The Ocean) was recruited to take up the sticks in the band, with the album subsequently completed last year. Released via Pelagic Records, it now makes its stunning entrance into the world and is set to draw a new template for others to be inspired by through its multi genre embracing fury of progressive rock and metal.

Describing the sound of band and album is an on-going task as each track takes ears and emotions down a new richly flavoursome avenue in the general riveting landscape of the release. Imagine a mix of Muse, The Ocean, Between The Buried And Me, and Australian band Voyager and you get a glimpse of the invention of Dioramic. From its first moments Supra is gripping attention and imagination, the opening seconds of Xibalban a tempting lure which expands rapidly into a tempest of muscular intimidation from riffs and rhythms alongside a sumptuous beauty from vocals and expressive melodies. The track manages to cast a hazy warmth and radiance within a voracious wall of sound and intimidation, keeping both wrapped in a clarity which astounds and spellbinds. At times it is seeded in progressive metal, in others a metalcore rage, whilst throughout there is a melodic sun of enterprise and provocative intrigue, and we have not mentioned the thrash and groove metal twists which amongst many enter the bewitching narrative of the track.

The stunning start is straight away matched by the slightly more merciful but no less gripping Carpets On The Walls. It opens with a gentle melodic caress which in no time turns into Meshuggah like voracity and technical emprise clad Bildschirmfoto 2014-07-20 um 21.16.10in whispers of theatrical drama and sublime imagination. It is a riveting start which evolves into a glorious melodic soar of vocals from guitarist Arkadi Zaslavski and sonic endeavour from him and fellow string exploiter Alexander Mauch, the encounter taking ears on yet another unexpected and unpredictable flight.

Two tracks in and the release is a breath-taking encounter, one not prepared to take its foot off the pedal of creative tenacity as shown by the following The Calm Before and The Storm. The first as suspected from its title is a gentler glide than its predecessors, a restrained glaze of melody enriched vocals within a portentous atmosphere. In that provocative temptation though, the track explodes into climactic and turbulent roars which stirs up the hostility in rhythms and senses searing riffs, not forgetting the gloriously carnivorous tone of Max Nicklas’ bass, before relaxing back into the ambient poetry of the song’s breath. It is a bewitching encounter setting up its successor perfectly, though the following track does not quite go for the jugular musically as expected. Vocally though it is initially an uncompromising fury, antagonistic squalls prowling the psyche as stabbing riffs and fiercely imposing rhythms set a commanding cage. Opposites and extremes again toy with ears and thoughts, a sublime wash of vocal harmonies and melodic elegance finding their potent place in the tempest.

Even greater heights are breached by Worth and Big Pump, each a new torrent of technical vivacity and passion igniting invention. From its opening breath, the first of the two breeds a blistering contagion to soak ears and emotions, expressive clean vocals aligned to deeply gripping hooks and rhythms binding ears in their infectious suasion. Zaslavski finds a Matt Bellamy like presence to his voice which is supported just as magnetically by the tones of the rest of the band within the cradle of spikey riffs and radiant melodies. Muse meets Palms with Periphery looking on; it is a sublime piece of songwriting and its sultry realisation, matched by the more predatory second of the two. Riffs snarl and challenge from the first swipe of similarly aggressive rhythms, their bordering on hostile presence taken into rawer confrontation by the aggression driven vocals. The track proceeds to roar and seduce the senses, the intricate spirals of sonic endeavour and rhythmic agitation a fascinating and thrilling canvas for the corrosive vocals to bellow from. As expected the track evolves and twists before ears for yet one more absorbing and exhilarating provocation.

Melancholia offers exactly what is says on the tin, its evocative coaxing covered in emotive shadows and vocal elegance as keys spread their equally passion washed narrative. It is an engrossing basking for senses and thoughts before the inventive maelstrom of Logbook comes in, once more vocal harmonies and melodic flames encased in rugged rhythmic walls and scarring riffery for an astonishing drama fuelled emprise.

The album ends with Vortex Reflex, a further smouldering immersion into the vocal mellowness and irresistible melodic charm which seduces across the whole album, within the rhythmic ingenuity and sonic fire which equally makes Supra one of the pinnacles of the year. The album is quite simply an illustrious encounter with Dioramic setting new plateaus for others to aspire to.

Supra is available through Pelagic Records now digitally, on limited coloured vinyl edition, and CD which comes with an extra DVD with live material, studio reports and interviews @ http://pelagic-records.com/cds/

https://www.facebook.com/dioramic  

10/10

RingMaster 15/09/2014

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The Old Wind – Feast On Your Gone

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    Feast On Your Gone, the new album from Tomas Liljedahl, the former vocalist of the legendary Breach, is a release which torments and challenges the psyche, emotions, and at times sanity. The seeds of the project The Old Wind grew in the mind of Liljedahl during a dark period in his life and mind, the project an avenue, in his own words “…to get these demons out of my system.”  It is a raw, ravenous, and cold consumption of the senses, a release which others might find an escape in too or just as easily find it sparks their own fight with the shadows. It is an impacting and corrosive confrontation, a caustic soundscape devoid of light and hope but equally it is hypnotically tempting, a dangerous challenge impossible to refuse.

The Old Wind initially a solo studio project for Liljedahl, with the artist writing and recording every instrument on Feast On Your Gone alone, soon provoked the need and realisation that the tracks needed to have a live declaration as well. Liljedahl brought in former Breach band mates Niklas Quintana (guitar) and Kristian Andersson (bass) as well as drummer Karl Daniel Liden and finally Robin Staps of Pelagic Records and The Ocean as third guitarist. It is a formidable cast for which anticipation and hunger for their live debut is immense, all instigated by the towering brute of a vicious album.

Stepping from behind a child’s spoken intro, opener In Fields immediately marks that this is not going to be an easy ride or a IMG_4607_smcomfortable listen, the overwhelming intensity of the guitars and rhythms prowling by a snarling predator of a bass sound instantly oppressive and intimidating the senses. The doom loaded gait of the track holds the emotions down for the coarse riffs and sonic fires to smoulder upon thoughts, the vocals of Liljedahl scarring with a maelstrom of spite and despair. It is an encounter for which the word intensive barely gives justice, the primal essence and breath of the track filling and twisting every atom and feeling daring to show its face within the listener.

The following I’m Dead suggests a less vile proposition at first though the carnivorous throaty leer of the bass is never less than dramatically intimidating and the atmosphere from the first note fanged. It is mere moments though before flesh and senses burn under the rapacious malevolence borne, the near funereal thick crawl of the track as invasive as it is expansive with the sonic abrasiveness feeding greedily on any weakness and emotive doubt before its tempest.

Through Raveneye and The Old Wind the ugly coaxing continues, the songs demanding and receiving a less than willing embrace from awakened shadows but one needed to be made before the enthralling leviathan of darkness. As they and subsequent tracks gnaw and savagely take control of the ear and beyond, it is very easy to lose track of which song is which, at what point in the provocation you are, especially in periods where the vocals leave the tortuous sounds to exploit  the darkness alone but this is not because tracks sound alike but down to the fact that the album is really one singular arduous nightmare being unveiled and dispelled. Certainly the tracks work individually but the reality of the full impact and massiveness of the work comes only in a full and continuous emergence from start to punishing finish.

As probably to be expected every aspect of the album is unquestionable, the textures and cavernous corners sculpted from the songwriting imperious through to the musicianship is second to none, the quality in sound as expressive and descriptive as the turmoil soaked vocals and lyrical evocation. It is hard to say that everything about the album is a joy to behold such its malevolent heart but in a time of so many sterile uninspired releases it creates a unique and grasping experience. As the final tracks in the sludge thick corrosive Spear Of A Thousand and the closing toxic instrumental Reign show though, happiness and joy has no place in this potent and painful ridding of inner devils.

Released via Pelagic Records, Feast On Your Gone is not for the faint hearted or maybe even those with their own battles to be fought, but it is a release which leaves long lasting ‘pleasure’ and permanent marks, a barbarous merciless treat.

https://www.facebook.com/Theoldwind

8/10

RingMaster 30/04/2013

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Lo! – Monstrorum Historia

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In 2011, Australian violators Lo! seized and exposed raw nerves within the senses with their debut album Look And Behold, at the same time they lit a furnace of passion towards their sonic creativity for a great many such as us. Monstrorum Historia sees the return of the Sydney quartet but would it have the same power and enslavement as its predecessor. The simple answer is yes and then some. The band once again forge their own distinct form of invasive metal through a merger of the most insidious strains of hardcore, black metal, and crushing sludge metal, but this time the resulting corrosive tempest is even more impressive and ferocious, and wonderfully exhausting.

Released via Pelagic Records, the new album unleashes a brawl of violent imagination and creative intensity which makes its predecessor’s vicious beauty seem almost lightweight in comparison. Their breeding of sonic antagonism and contagious invention has found stronger potent depths and the imagination of the band a greater open malevolence which leaves only undiluted sore pleasure and invigorated intrusive satisfaction in its caustic wash.

The opening track As Above is a slowly dawning menace, the dramatic keys marking its arrival suggesting danger soon lo_MH_cover_squareaccompanied with the same intent by the sonic commentary of the guitar. As thumping rhythms from drummer Adrian Griffin bring their intimidation to bear upon the brewing event, the bass of Adrian Shapiro unleashes a predatory prowl which only increases the stature of the compelling intimidation. It is an instrumental which taunts and plays with the fears and punctuated by accumulated crescendo of all elements, it is a stirring and impossibly strong hook to start off the release.

Its departure is barely a whisper past before the following Bloody Vultures swoops with its hungry ravaging. Persistent virulent riffs abrase the surface of the ear whilst vocalist Jamie-Leigh Smith adds his caustic squalls with equal intensity and spite to proceedings, the delivery and attack of the frontman also having taken a leap on in intensity, his malicious searing squalls as well as the control he exerts honed to reap their strongest effect. Snarling like a beast in heat, the song shifts its poise continually without losing any power in its attack but ultimately it’s intent to chew up the listener with crushing rhythms and carnally inspired riffing wins out.

Tracks such as the equally carnivorous Ghost Promenade and the sonically intrusive Caruncula work on the senses further, softening up their defences with enthralling invidious invention whilst the villainous temptation Haven, Beneath Weeping Willows takes the listener on a walk through a landscape of doom coated atmospheres and tantalising yet sinister dark avenues. The instrumental is a canvas for thoughts and emotions yet an open aural painting in sound which conjures an inescapable distrustful landscape expertly sculpted from the uncomplicated but inspired strokes of the guitar of Carl Whitbread and the bass of Shapiro.

Across its length Monstrorum Historia continues to impress and spark emotive hysteria towards its contents. Certainly it is an album which will not find a home with all but if its rapacious noise and intent makes that union it is instant ardour. Further songs such as Fallen Leaves with its suspicious dark atmospheres toying with the psyche, the fiery and brutal Lichtenberg Figures, and the deliciously hypnotic Palisades of Fire lay out further greedy grasping temptation for nothing less than full eager digestion in return, their continuance of the addictive sonic deviancy at large helping to provide as the only option by the end of the album, an instant irresistible return to its ferocious grip.

Monstrorum Historia is a barbed and spiky triumph with a ferocity and invention which leaves not only wounds and scars within its recipients but unbridled acclaim and passion. Lo! is one of the noise giants and just gets better and better.

www.lookandbehold.net

9.5/10

Pete RingMaster

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Coilguns: Commuters

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    We have always thought and declared Coilguns as one of the most important bands in rock music today, a group of musicians who are evolving a template for future extreme noise bands  to aspire to. Through their varied releases the Swiss trio has grown and evolved from something already special into a force of creativity which is as inspiring as it is destructive.  For all the great things to date it they all pale against the stunning might of their debut album Commuters, a release which makes our current sense of their importance seem inadequate.

Consisting of The Ocean members Louis Jucker (vocals), Jona Nido (guitars, bass, mini-moog), and Luc Hess (drums, bass), Coilguns conjure extensive intrusions which explore a merger of d-beat, grind, black metal, and a technical prowess which strips the senses whilst rewarding them with sheer corrosive pleasure. Though discussed as a project for many years the band found its seeds in the songwriting of Nido whilst alone in the US. Returning he recruited the other members and within weeks they left a studio with three striking tracks which went to make up the excellent split release with Kunz on Pelagic Records in 2011. The EP Stadia Rods followed the next year, a raw and devastating 30 minutes release recorded as a live confrontation in a day. After the following impressive and acclaimed split release with NVRVD also in 2012, Coilguns was at their height of power and invention, or so many thought but Commuters is the band at another incredible aggressively inventive level and just another step in their unstoppable rise.

Released on Pelagic Records on February 22nd, Commuters was again recorded entirely live apart from the vocals, each song in 02_Front_Cover_Webone take and it is this intensive attack which also helps alongside the immense songwriting, to give it the organic power and energy which sets the release and band apart from the rest. It is abrasive and intimidating but layered with textures and primal structures which are violent manna for thought and passion. The album also features invited guests including Keijo Niinima (Rotten Sounds / Nasum) who added  vocals for a track.

The release opens with the two parts of the title track, the first bursting onto the ear with stirring riffs and a towering rumble of rhythms and energy. Into its hungry stance the track expands into a tempest of incendiary sonics, persistent drum jabs, and a breath which scars and gnaws on the senses whilst the clean squalls of vocals lay their declaration with passion and aggressive intent. The track is an exhausting encounter which ignites every primitive and emotional response within and leaves a blissfully sore and breathless listener in its wake though there is no time to sit back and soothe the wounds as such as part two looms into view on military beats and a stroking acidic guitar caress. The spoken vocals engage thoughts and ear with their evocative narrative and there is an unsettled peace soaking the air though also a slowly brewing intensity which grows as the track and vocals conspire to consume and thrill. It is well into the second half of its eleven minute presence that you realise just how much the song has thickened in intensity and a kind of desperation is coating the vocal encounter and as the realisation sinks in the track frees its full corrosive magnificence to devour and burn the senses.

The sensational likes of Hypnograms with its insidious groove and mesmeric persistent seduction and the equally compelling Machines of Sleep bring a diverse yet similarly destructive facet as of the first songs to the continually evolving album. Both tracks are linked in venom and malevolence with the second the brutal merciless doppelganger to the milder mannered but still aggressively intimidating first sonic flame. To be honest there are not enough varied and strong enough superlatives to be found to describe the album at this point alone such the abusive and creative masterclass of perfectly designed contagious noise let loose so take it as read that from here on in Commuters just pushes the boundaries of band and extreme music beyond their limits with skill and startling imagination.

First single from the album Plug-in Citizens is a brawling furnace of intensity which enriches the already spawn rapture further whilst songs like the infectious and ruinous Submarine Warfare Anthem and the ravenous Minkowski Manhattan Distance featuring Keijo Niinima, thrust body and soul into a manic maelstrom of fierce ingenuity. The diversity and blistering quality just continues right through to the end with 21 Almonds a Day and Flippists / Privateers further pinnacles in nothing but powerful highlights.

Commuters is quite brilliant, an album which will be called a classic for decades to come, and right now Coilguns stands even more impressively as one of the most important bands in music today.

https://www.facebook.com/coilguns

http://pelagic-records.com/artists/coilguns/

RingMaster 07/02/2013

Copyright RingMaster: MyFreeCopyright

Khoma: All Erodes

Consisting of previously unreleased songs written between 2002 and 2012, many tracks which did not make the final cuts of previous albums, All Erodes from Swedish band Khoma is surprisingly strong. It is probably fair to say that with many other bands bringing together songs which did not make it the first time around would mean a decent enough album but one which still feels like a collection of tracks not making the grade. All Erodes certainly does not, the tracks within impressive and well worthy of proper exposure. The strength of the release knowing the background to the songs was admittedly unexpected and validating easily a statement from Khoma guitarist Johannes Persson, “We’ve recorded a lot of material for every record that we have had to leave out or didn’t have time to finalize… but we really like all these songs and wanted to do something with them… the idea is that ‘All Erodes’ – spanning songs from all three stages – will sum up and close this part of Khoma’s history”.

Formed in Umeå in 2003, the band did not take long to instigate strong attention and acclaim their way with a sound which blended the local hardcore scene to an emotive atmospheric pop breath.  Consisting of several members of Cult of Luna, The Perishers and The Deportees, their debut album Tsunami in 2004 sparked great interest and sold out quickly. Signing with Roadrunner Records the following year, 2006 saw second album The Second Wave repeat and expand on that response with the band being acclaimed at home and across Europe. Their sound was and is intense and emotionally enveloping, its persuasion making their live performances either in intimate surroundings or from a festival stage powerful and a pull for further great responses from media and fans.

The band then disappeared from view in all aspects; the band just concentrated on writing from late 2007 until their re-emergence in 2009. Signing with Selective Notes, the Anders Fridéns (In Flames) label, they released the mighty A Final Storm album, a release which earned nominations and awards as well as garnering their strongest acclaim yet. Released through Pelagic Records, All Erodes is like an epilogue to what came before, a drawing of all threads into a final statement before turning to the next ‘book’ in their musical journey as a band.

All Erodes spreads through the senses, thoughts, and emotions like a charged whisper borne from a mix of Deftones, Radiohead, and Muse. That is a little simplistic to the diverse breath and invention of the music but gives an idea of the creative flavour at impressive work. The heavy overwhelming ambiences within the songs are deliberate and deeply expressive, their open yet intimate touch and textures equally hypnotic and disturbing. The opening track In Ruins sets the tone, its melancholic piano and vocal start a cold but enchanting lure into the release. Vocalist Jan Jämte with his plaintive tones pulls thoughts into an emotive depth as much as the music, the combination with the guitars of Persson and keys of Fredrik Kihlberg weaving their sonic tapestry as well, simply mesmeric.

It is a powerful start matched and built upon by the muscular slabs of oppressive emotion in Just Another Host and Dead Seas. The first is from a Deftones sphere, the brooding tension and solid intensity a crawling expanse to evoke passion whilst the second is a cold whisper but again just alluring. Floating through its sonic salt makes for a stark and invasive union but as fully rewarding as it is openly erosive upon the senses.

As it plays out its thoughts and emotive soundscapes, the album does not feel like tracks meant for different releases over a decade. It is a seamless flow through to the end, each track seemingly borne from and in connection with its predecessor. The pinnacles of the release come with Give It Meaning and Winter Came Upon Us, both offering another aspect to the sound and ‘story’. The first is a bristling sturdy confrontation, the wonderful grizzled bass stroll and sharp guitar strokes offering slight intimidation beside the ever soothing yet pained vocals. It is a monster of a song in depth, expanse, and intensity easily matched by the corrosive yet melodically beautiful touch of the other. Both songs are majestic and pulsating and must have only missed out on the albums they were originally written for by a hairs breath.

Disregarding the closing track All Like Serpents, All Erodes is an excellent release, well worth an hour and more of any ones time. The final song is an electronic remix of a track from A Final Storm and a song which really has no place on the album other than as a filler. Though decent enough it is to be honest soulless against the original and the other tracks on this album. It does not deplete the strong and impressive presence of the album though, and at the end thoughts are only of a release which is a mighty way to end a chapter for Khoma and the key to new and greater landscapes of sound and emotion.

https://www.facebook.com/pages/Khoma-official/273728269485

RingMaster 05/11/2012

Copyright RingMaster: MyFreeCopyright

Earthship: Iron Chest

Like a sonic juggernaut Iron Chest the new album from German sludge metallers Earthship crushes the senses into a submissive but gloriously satisfied husk. It is a release of crushing riffs, corrosive intensity, and ravenous rhythms toned with a fiery progressive grooved breath, an album to incite passion and provoke primal responses.

Iron Chest is the follow up to acclaimed 2011 debut Exit Eden and shows the band has not only evolved their sound but expanded every element in their musical arsenal to create a release which chews one up greedily and spits them out as an intrusively pleasured wreck. The band was formed in the spring of 2010 by ex- The Ocean drummer Jan Oberg alongside Dennis Boettcher on drums and Bastian Gutschke on bass guitar. The line-up was completed soon after by The Ocean guitarist Robin Staps. The line-up recorded Exit Eden with its release on Pelagic Records coming in early 2011. Leading up to the release the band played their debut gig in December of 2010 supporting Torche and followed it with the Friction tour across Europe alongside The Ocean, Red Fang and Intronaut. Just before the tour Gutschke left to be replaced by Sabine Oberg, the wife of Jan, and the beginning of this year saw the departure of Staps with the band shrinking to a compact trio.

Again released through Pelagic, Iron Chest raises a tempest upon the ear from the first note of opener Old Widow’s Gloom, its charged breath and erosive energy a greedy rub upon the senses. The guitars fire up a dust bowl of coarse riffs whilst the rhythms flattened the air to resonate deeply. The song is the essences of Mastodon, Crowbar, Kyuss distilled through the unique waspish grooves of Earthship. It is a mighty start easily maintained across the length of the album to leave one breathless and smarting from the intensity and fire brought with every track.

The following Athena and title track twist and stretch the synapses with incendiary melodic weaves and smouldering vocals behind the abrasive tones of Jan, the first a smouldering piece of stoner venom and the second a lashing of sharp riffs and scything sonic craft. The pair show the diversity across not only the first few songs but album as a whole, imagination and thought within the overall doom/sludge presence of the release insatiable and wholly contagious. This is an album and songs you really want to listen to in detail, to delve in fully such the rich rewards continually received.

Every song is an impactful and invigorating welcome bruise, all intent on branding the senses and each the giver of acidic mastery which overwhelms and fulfils equally. Further notable highlights come in the form of the blistering Boundless Void with its more reserved attack just has musically malevolent as the aggressive slabs of sound elsewhere, the quite magnificent Brimstone, and the closing giant of a track, Teal Trail. The first of this latter pair is a shifting corruption which unleashes eager passions for its magnetic weaves and molten waves of melodic lava and erosive energy whilst the final song just stomps with all metal guns blazing and rock n roll intent fuelling its passionate assault. It is a final rampage to relish whilst offering another distinct facet to what is one immensely pleasing release.

Iron Chest is a giant of an album, a titan which enflames the passions whilst wearing down the senses into an eager disciple before its malicious intent. The release sits as one of the best sludge/doom albums this year and Earthship a band equipped to flatten all rivals.

https://www.facebook.com/wearetheearthship

RingMaster 13/10/2012

Copyright RingMaster: MyFreeCopyright