Malka – The Constant State

Malka 3_RingMaster Review

Listening to the debut EP from US band Malka is like looking into a reflection within solidly disturbed clear water, eyes exploring a myriad of openly different but connected realms and possibilities. The Constant State is the equivalent for ears, each song revealing its own unique fusion of shoegaze, psychedelic rock, and dream pop but coming together for one intimate yet expansion flight of sound and imagination.

Hailing from New York, Malka consists of Darko Saric (guitars, synths, vocals), EJ DeCoske (guitars, synths, vocals), David Ciauro (bass, vocals), and Michael Dawson (drums).Emerging in 2013, it seems the quartet quickly began enticing support and acclaim with their sound locally and soon further afield, no real surprise when embracing the rich persuasive sounds of this their first release. The album is a kaleidoscope of immersive atmospheres, fascinatingly varied vocals and harmonies, and evocative melodies, all infused with lyrical explorations as intensely provocative as the sounds around them.

Malka - The Constant State cover artwork_RingMaster Review     A Flock Of Crows is the album’s first embrace, warm melodies from guitars and synths caressing ears whilst brewing a slightly volatile ambience for the captivating touch of vocals from across the band. Equally the rhythms have a darker, hungrier but welcoming edge too, the beats from Dawson especially enticing as the song merges a wistful dreamscape with energetic catchiness. There is no escaping a seventies /eighties feel to the encounter either but it is one woven into a tempting which also hugs broader essences from surrounding decades amidst a modern breath.

It is an enthralling opening to The Constant State backed and surpassed by the ethereal beauty of For Now We Live. As melodically meditative as it is atmospherically and rhythmically invasive, the song is like the first, a tenacious incitement which in many ways is imposing with its mesmeric glaze of post and psych rock infused with emotionally tense vocals and sultrily sonic hues. The song is irresistible, much as its successor the surf seeded Mientras Se Respira. The Spanish narrative is offered by the mellowest croon of voice with matching bewitching harmonies, whilst around them the guitars court an alternative rock colouring which is as much Pixies like as it is suggestive of a My Bloody Valentine or a Cocteau Twins. A smouldering kiss on the senses and imagination, the song further unveils a stirring diversity to the band’s sound and songwriting.

   Wolves And Sheep steps forward next with a pulsating shimmer to its almost festering hug of sonic light and melodic reflection. The track, as all upon The Constant State, provides a full beacon of light yet there are shadowy textures and tempering essences which only add to the drama and mystique of songs. Certainly this and its companions generally need time and many plays to truly open up for ears and thoughts to explore, but with a great trespass of sonic endeavour and expression brewing for a fiery climax, the song emulates all others in providing an increasingly magnetic and enjoyable trip through compelling atmospheric trespasses of the senses.

Both Diamond Girl and Corazon Sin Sangre keep the listener fuelled with adventure and diverse terrains of sound and imagination in potent persuasions, the first with its enslaving and increasingly dramatic sixties spawned smoulder of psychedelic pop and the second through its spatial yet intimate dark pop meets post rock drenched soar. Though each misses the extra ‘something’ of their predecessors, each song is pure temptation for album and ears from fresh and alternative soundscapes.

The release comes to a close with Swoon, easily our favourite track springing from the album. There is a familiarity to it from the first melodic breeze but it is an indefinable air which only adds to the thickening emotional theatre and climatic texture of the song. It is gentle but also lively tapestry of sound and invention, the perfect irresistible end to one potent introduction.

It would be fair to say that The Constant State, though making a strong first impression, grew into the thrilling adventure it is over time, an enticing and definitely enjoyable first touch evolving into the breeding of richer explorations and pleasure. The final thought is that Malka has the potential to bring major propositions to the British rock/ indie pop scene ahead and to be honest they already have with The Constant State.

The Constant State is available now @ https://malkanyc.bandcamp.com/

https://www.facebook.com/malkanyc 

http://www.malkanyc.com/

RingMaster 23/07/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

 

 

Codas – Currents EP

codas_Reputation Radio/RingMaster Review

Grippingly immersive and intrusively compelling, it is hard to imagine that the full and rabid landscapes engulfing ears and fiercely seducing the imagination within the Currents EP stem from ideas which simply could not find a place elsewhere. That is assumedly how plenty of side projects and explorations do start, new adventures or ideation unable to fit existing directions spawning new irresistible challenges for their creators to pursue, and this is exactly how Codas emerged at the beginning of this year.

The band is the instrumental solo project of Mario Quintero, a musician known for the bands Sleep Lady and Spotlights. After the former outfit went on hiatus, Quintero and his wife Sarah, the bassist in Sleep Lady, moved to Brooklyn, NY and formed post-rock trio Spotlights. Across the songwriting for both bands certain ideas and creative elements emerged which were not right for either proposition but rather than discard them, they were stored, honed, and blossomed into the experimental presence of Codas and the progressive/post metal tempest of debut release Currents. Consisting of four tracks soaked in ambient trespasses and provocatively striking textures, the EP is a fascinating incitement of ears and thoughts. Not always an easy engagement but one which enthrals and excites from its first sonic proposal to the last.

cover_Reputation Radio/RingMaster ReviewThe Sun Martyr involves ears first, its industrial opening of beats and sonic coaxing quickly awakening the imagination. The hypnotic nature of the rhythms aligned to vibrantly droning guitars, is a swiftly effective and inescapable lure taking the listener into emerging embraces of warm and expressive keys. Around it all though an ever brewing conflict of textures grows, the melodic beauty of the music ultimately swallowed by predatory intensity and a tempestuous climate though still allowed clarity to seduce from within this magnetic storm. It is a spellbinding start to the EP, an intimidating flight through caustic winds over elegant scenery inciting thoughts to draw their own mythological and intimate adventures from the track’s tenacious suggestiveness.

Already the EP has ears and emotions locked in, reinforcing its potency and hold with Follow The Blind. The second track similarly opens with a bait of electronic rhythms entwined by enticing guitar, this time offering a broader tapestry of rock ‘n’ roll as its unveils and expands its spicy temptation. An electronic antagonism is soon courting the blossoming turmoil but so is a more controlled but no less vocal and imposing intensity. Gnawing riffs and a scintillating bass predation voraciously snarl at the inflammation of air and ears whilst synths, guitars, and samples in turn stir up a dystopian atmosphere with their incendiary narratives. Again the song is a roller coaster of intent and emotion, a description fitting all tracks in their united yet individual explorations.

     White Black emerges from the sonic blistering of its predecessor, this electronic scarring deceptively lessening over seconds before expelling a corrosive roar of sound and energy. It is like creative warfare at this point, a maelstrom of melodic invitation and rousing intimidation caught in a ravenous bluster of intensity and emotional rabidity. Every moment, as across all tracks, brings something new to stir thoughts and appetite, a constant flow of twists and often repetitious ingenuity that never allows ears and attention to wander or the imagination to stop dancing with its own rebellious invention within the thick hints of the sounds.

The EP’s title track provides an epic close to the encounter with its fourteen minute journey. The song is a transfixing finale to the episodes of adventure before it but equally casts its own individual travelogue of emotional turbulence and lucidity within another inventively tempestuous soundscape. Arguably the track is a touch over long but undeniably and as the EP, pure sonic artistry unveiling and evoking new dramas within itself and the listener with every listen.

Taken as one fluid flight or as individual exploits, the former the best way to really perceive its strength and depths, Currents is a thoroughly captivating offering. It is not always an easy ride yet every moment is an invigorating incitement on body and emotion that deserves the closest attention from progressive/post metal and rock fans.

The Currents EP is out now via Crowquill Records @ http://crowquillrecords.com/products/544651 and https://codas.bandcamp.com/releases 

https://www.facebook.com/codasmusic

RingMaster 03/06/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Abrahma – Reflections In The Bowels Of A Bird

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It is not a rare event to immerse in a release of expansive and spellbinding imagination, to be taken out of the real world into a creative adventure for an hour or so. It is less often though that you get simply lost within a proposition of such complex and unrelenting ideation that you feel trapped, caught in a claustrophobic tsunami of creative consumption where only the brief gaps between songs offers a hint of escape. Not that you will want to break free from the fascinating and suffocating glory of Reflections In The Bowels Of A Bird, the new album from French rockers Abrahma. It is an irresistible and exhausting emprise of perpetually evolving sound and dramatic atmospheres, an experience as sombre as it is bewitching and as creatively ravenous as it is emotionally disorientating.

There is no real surprise that the album is so intensively and imaginatively imposing, its predecessor Through the Dusty Paths of Our Lives when released in 2012, a similar maelstrom of sound and invention, as described elsewhere as a “heavy odyssey peppered with Hindu mysticism and voodoo convolutions”. The new album has taken that canvas to new and even more expansive and hypnotic realms; every track an individual journey uniting for one colossal and wonderfully unpredictable landscape of senses examining, thought provoking heavy rock.

Released as its predecessor via North American label Small Stone Records, Reflections In The Bowels Of A Bird makes a low-key entrance as Fountains Of Vengeance comes into view on a wave of sonic noise and intrigue, eventually stepping from its presence with thick beats and equally tense riffs and grooves. A grungy air also lines their invitation as the sombrely delivered tones of vocalist Sebastien Bismuth bring a colder subdued presence to the already mesmeric encounter. His and the guitar of Nicolas Heller increasingly entangle and merge to cast a raw and magnetic web of sound, hooks potent and melodies fiery as the song creates a tapestry of Stone Temple Pilots like tempting with invasive post rock ambiences and psyche bred exploration. The song roars and seductively sways across its ever twisting adventure, keys from again Bismuth inventively caressing the darker prowling hues of bass and the predatory beats cast by Benjamin Colin.

Abrahma_album_Artwork     The following An Offspring To The Wolves is immediately a darker imposing character, the bass of Guillaume Colin resonating with menace and toxic enticement as a doomy air colludes with stoner-esque sonic expression. There is an underlying swing to the lumbering infection surrounding the captivating and varied vocal delivery of Bismuth, part of a slow smothering of the senses sparking with flames of sound and emotion across the consuming prowl of the senses. As all tracks upon the album, it is impossible to fully explain all of the textures, emotions, and dark almost meditative radiance oozing from the cauldron of sound and invention at work, but easy to say it is thoroughly absorbing.

Omens Pt. 1 comes next, its sultry climate and sweltering melodic intrigue lying somewhere between psychedelic and occult rock, its exotic lure almost shamanic on ears and thoughts. That of course is only part of the picture, rhythms at times a rapacious confrontation whilst melodies and vocals spill an evocative croon within the explosive causticity embracing ears. It is bewildering and fascinating simultaneously, needing as all tracks plenty of partaking of its proposal to come close to exploring its world. The same of course applies to equally dramatic and engrossing Weary Statues, the track a tapestry of carnivorous intensity, volatile textures, and emotion fuelled drama. It is all, with much more, woven into another transfixing and physically stifling tempest sculpted with creative ingenuity, bold unpredictability, and mouth-watering craft.

Next is the spellbinding Omens Pt. 2, a peaceful reflection of surf rock seeded beauty shimmering with melodic elegance and a haunted breath which becomes more unsettled and agitated with every passing tangy caress and melancholic sigh, Another switching of calm and ruffled intensity eventually leads to a bedlamic finale set ablaze by the slightly psychotic flames of sax from album guest Vincent Dupuy. It is inescapable bait, enslaving attention and emotions before making way for the mystical, tempestuous flight of Kapal Kriya, the track another brooding mix of varied heavy rock sounds in one diversely layered, intimately spatial adventure.

The raging diversity and expectations ruining enterprise continues to thrill through firstly the ferocious rock ‘n’ roll stomp of Square The Circle, its charge on ears as probably assumed by now, never dawdling in one style, torrent of sound, or urgency of delivery for long. Its outstanding incitement is followed by the emotional and increasingly physical turbulence of the excellent Omens Pt. 3 which then moves aside for the equally enthralling A Shepherd’s Grief, which features guitar solos from Monster Magnet guitarist Ed Mundell. It is a squalling seduction, employing vast arrays of challenging spices and emotions in its expansive soundscape, and yes it is creatively sorcerous.

The album closes with the mournful beauty and blistering fire of Conium, a devouring sonic embrace bringing a thrilling release to a dramatic conclusion. The Abrahma /Thomas Bellier produced Reflections in the Bowels of a Bird is a virulent listen which can be as uncomfortable as it is pure seduction, but with constant attention grows from an impressive encounter into something very special.

Reflections In The Bowels Of A Bird is available on CD and digitally via Small Stone Records @ https://smallstone.bandcamp.com/album/reflections-in-the-bowels-of-a-bird

http://abrahmamusic.net/      https://www.facebook.com/ABRAHMAMUSIC

RingMaster 14/05/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Heights – Phantasia On The High Processions Of Sun, Moon And Countless Stars Above

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As in the size of its title, Phantasia On The High Processions Of Sun, Moon And Countless Stars Above is an epic proposition, an atmospherically expansive offering which is simultaneously an encounter of emotional intimacy. In similar fashion whilst being technically intricate and involved there is an organic and almost simple flow to the whole thing. The new creative emprise from UK band Heights, the album is the host of many contrasting things entangling in mesmeric majesty, combining and aligning for an irresistible adventure of aural beauty.

The trio take rich sonic threads from varied styles such as post and progressive rock, jazz and more classically seeded flavours, weaving them into instrumental explorations which invigorate ears and fascinate the imagination with a sublime creative seduction. Formed in 2006, this has been the way of the trio since day one. It is a flavour and imagination ensuring that previous releases like 2008 album Salvation and Trepidation and its 2010 successor From Sea to Sky, have been irresistible lures for the senses and magnets for acclaim. Now guitarist/composer Al Heslop, bassist John Hopkin, and drummer Jay Postones, also of TesseracT, return with their finest most transfixing creative emprise yet, a release which simply immerses the listener in unique and invigorating explorations of sound and sonic suggestiveness.

Phantasia, as we will call the album from hereon in to save space and time in your lives, opens with Universe Forming and swiftly entangles ears and thoughts in a gentle but evocative melodic embrace. A celestial atmosphere and warmth soaks the air of the emerging song, kissing the thickly enticing groove and sonic colouring which is soon filling the song’s spatial canvas. A melodic seducing lights up the now energetic stroll of the encounter but just as potently lays an emotive hue over more calmer, almost solemn moments. Each move within the song, and in those to come, are seamless twists in the landscape whilst rhythms provide a wonderful shading to the prowess of Heslop’s fingers and ideation. That shadow becomes a more vocal, almost predatory tempting further in the track, in turn sparking sultry and Latin spiced enterprise in the melodies. The track is a glorious start to the album instantly matched by its outstanding successor.

4PAN1T  The eagerly prowling incitement of guitar and bass ignites Solar Bringer of Chaos Lunar Bringer of Light into life, their intriguing and beguiling venture springing a new greed in an already fully awoken appetite for what is in offer. Their bait takes ears into another flight through a vast soundscape of universal expanse but also veined by intimate and provocative tendrils of guitar and rhythmic imagination. It is impossible to project everything which goes on in a single moment upon Phantasia, let alone within whole songs themselves, but it is easy to say that the sonic persuasion and ingenious tapestries cast simply take body and emotions into sensational realms away from reality.

Through the climactic smoulder of Aeolus with its jazzy rhythmic enticing and the more agitated lure of Time Dilation, band and album engage and further involve the listener in sonic scenery which is as visually potent on thoughts as it is aurally stimulating. The first is an elegant romance of melodies and those unpredictable rhythms but with more danger lined shadows whilst the second of the two aligns feisty, bordering on volatile mini crescendos with emotively stimulating caresses. It is the darker essences which in many ways spark the emotional side of things for album and listener, ears certainly seduced by the flair and imagination of the guitar but it is the darker drama surfacing around this, especially in bass and drums, which trigger the cinematic stimulus pervading the release.

New Star explodes in a fresh dawn of infectious melodic light next, again the bright air nicely tempered but more so complimented by the throatier tones of bass, before the outstanding Centrifuge turns into an unexpected avenue of discord lined jangles, wiry grooves, and unbridled unpredictability. There is a free flowing essence to the whole of the album, an improv like suggestiveness which at times hints but in this riveting encounter simply engulfs ears and pleasure. Of course it is a planned and again superbly sculpted incitement but worming into the psyche with an organically flowing instinct.

That almost riotous enterprise continues in Perseids, a similarly bewitching encounter with a great grizzle to the bass and expansive textures to its invention whilst Heliograph and the following Astronomer explore more personal and creatively intimate emotions in their individual ways. That is another potent key to the success of Phantasia, though over an hour of in many ways intensive imagination and technical majesty, every song reveals a wholly unique character and presence within the growing and glowing soundscape of the release.

Emotions and thoughts continue to be enthralled as the virulently compelling Ballad Of The Space Time Continuum and the more low key but inescapably enticing On The Wings Of Astral Projection bring their own absorbing aural theatre, whilst ears are especially spellbound by the closing excellence of Everlasting. Rhythmically addictive from its first breath and sonically enchanting throughout, the pure captivation posing as a song brings the album to an intoxicating conclusion.

Whether taking tracks alone or the album as a whole, Heights have created a place to escape to and bask in whilst evading the trials of life and the shadows of the day. There is nothing grand in the intent of the band and their creative thoughts but everything majestic and epic in the results. Phantasia On The High Processions Of Sun, Moon And Countless Stars Above is a must for all progressive/post rock fans, heck melodic rock fans in general.

Phantasia On The High Processions Of Sun, Moon And Countless Stars Above is out now via Basick Records @ http://music.basickrecords.com/album/phantasia-on-the-high-processions-of-sun-moon-and-countless-stars-above and all online stores.

https://www.facebook.com/heightsuk

RingMaster 28/04/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

The Kahless Clone – An Endless Loop

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Atmospherically and emotionally shadowed, An Endless Loop is an immersive and magnetically evocative slice of post rock/dark metal which lures ears and imagination into a soundscape of intimidating possibilities and melancholic beauty. The four-track EP from The Kahless Clone is a mesmeric exploration for thoughts, a sonically cathartic and emotionally imposing journey casting fascinating and lingering shadows on the senses.

The debut release from the Chicago hailing instrumental band, it is a transfixing proposition which simmers tenaciously rather than sparks a blaze in ears and psyche, yet infests and submerges the listener in a constant tide of mood driven ambiences igniting the keenest appetite. The Kahless Clone itself is the brainchild of Novembers Doom guitarist Vito Marchese, who created the band as a portal for his instrumental songs. He enlisted the help of bassist Andy Bunk, keyboardist Ben Johnson, drummer Garry Naples, and Zach Libbe on electronics, programming etc. for the recording of An Endless Loop. Recorded with and mixed/mastered by Chris Wisco at Belle City Sound in Racine, WI, the EP takes the listener to emotion drenched worlds of encroaching shadows and sombre beauty, providing impacting flights through seductively oppressive soundscapes starting with opener Leave This Place With Me.

The first track slowly emerges from the lapping caresses of a dark cloaked tide, the sea a calming yet portentous coaxing aided by similarly imposing breaths of keys and adjoining piano. Soon after, the piece cradles ears in melodic hands, guitars adding to the elegant beauty as electronic rhythms are courted by a ravenously and primordially snarling bassline and texture. Intensity ebbs and flows across the absorbing landscape of the track, taking the emotion and energy of the guitars and rhythms with it and as much as ears and emotions are fed, the imagination is equalled fuelled for its own dark passages of exploration by the sounds and atmospheric smog.

   I Can Feel Them, but I Can’t Remember Them relaxes air and thoughts again next, its morose yet warm entrance a bewitching collusion between a stark post punk bassline and the ever 10471599_846588275397987_8113942985732759572_nemerging and evolving melodic invention of guitar and keys. The bass of Bunk is persistently compelling bait and a reality check within the ethereal embrace elsewhere. It all eventually ignites in an incendiary and fiery eruption of caustic riffs and flaming sonic enterprise, though still sublimely submerged in the overwhelming celestial swamp of sound, before settling back down for an intimate and wistful close to match the song’s entrance.

The final pair of tracks continue the masterful persuasion and adventure expressed by the EP so far, Everything You See is Gone providing a more heavily rhythmic growl and menace to the forlorn atmosphere around them. It is as if guitars and keys have a pent up angst, ripening and festering inside, unable to break the gripping web of beats and bass predation which itself increases in enmity and temptation. There has to be an outlet though, and that dark emotion finally erupts in a tempestuous fire of mournful sonic endeavour and rampant rhythmic agitation. It is a glorious and epic confrontation, the best track on the release involving and enthralling the listener body and soul.

The closing A Somber Reflection, well its label describes it perfectly though not the creative drama and melodic, almost jazz like invention which seduces from within. It is a masterful end to a superb introduction to The Kahless Clone; a band that greed is already hankering for more from. An Endless Loop is also a release which unveils new depths and secrets with every listen, new essences emerging from within its invasive climates bringing fresh adventures with every partaking of its evocative terrains. For fans of progressive/post rock and instrumental dark beauty, this is a must.

An Endless Loop is available now on CD and as a name your price download @ https://thekahlessclone.bandcamp.com/

https://www.facebook.com/TheKahlessClone

RingMaster 18/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

Pryapisme – Futurologie EP

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Whether you imagine Futurologie as the soundtrack to a deranged fairy tale, the evolving musical carousel to a spatial set ballet, or the accompaniment to the light and dark caresses of life, and it changes with every listen, French avant-garde metallers Pryapisme have ears and imagination eagerly doing somersaults once again. The band itself describes their new EP as a single 23 minute track about space, cats and house rent. Divided into eleven sections which the band suggests is for clarity, the piece is quite simply aural theatre to be bewitched by and run away into one’s own adventures with.

With the added bonus of a complete classical re-orchestration of the track, the Futurologie EP presents more of the insatiably diverse yet never demanding or disjointed aural imagination which made previous album Hyperblast Super Collider one of the essential adventures of 2013. The new release is as fans of the band would suspect a whole new and distinctly individual proposition to the previous encounter, its track Petit traité de futurologie sur l’Homo cretinus trampolinis (et son annexe sur les nageoires caudales), a perpetual evolution and exploration to which a myriad of interpretations and visions, as well as the band’s own drama, can be experienced. As mentioned the piece is split into parts with 1 instantly gripping thoughts as its cascade of beauty yielding keys embraces ears with mesmeric charm. There is a brewing drama behind it though which through an anger fuelled conversation courted by a nintendocore mischief, erupts in a thumping stride of feisty rhythms and ravenous riffs. A mere twist in the tale of course, this in turn slips into a sonic dance of synth bred revelry with sinews stretching from beats, guitars, and energy alike.

It is a compelling start which only gives an appetiser of things to come through the remaining spellbinding flight; cartoonish devilment and oriental infused country melodic twangs just one whiff Artworkwithin the psyche invigorating journey. The whole track moves with riveting fluidity and temptation, imposing itself on the imagination with samurai like nobility occasionally whilst in other moments slipping through noir lit jazz and vaudevillian avenues of enterprise. All the time though it is stirring up ears and thoughts, tempting them into as suggested earlier, constantly shifting exploits and escapades which only breed the fullest passion and bloated enjoyment for the scintillating proposition.

The Clermont-Ferrand quartet of Ban Bardiaux (programming), Nils Cheville (guitar), Antony Miranda (moog, bass), and composer Aymeric Thomas (drums, percussion, keys, Bb and bass clarinet, electronics, programming) constantly cast and recast their web of sonic fascination and aural emprise, at times tantalising the listener with a metallic confrontation of electro and progressive rock experiments, in others flirting with a chiptune spiced classical drama, like a hyperactive Peter and the Wolf revelling in a LSD overload. Equally the piece of music can enchant with a gentle seductive touch or reach into the other extreme and unleash a voracious tempest of electronicore ferocity and blackened post rock predation; though all becomes just individual pieces in an engrossing and mentally inflammatory glitch infused rapacious soundscape.

It is impossible to describe and give a fair impression of the alchemy fuelling and raging within Futurologie, but fair to say that those already blessed by knowing and basking in the wonderful musical oddity that is Pryapisme, will wet themselves in ardour whilst those yet to be infected have been given the most virulent and thrilling doorway into one of the truly unique propositions in music. Oh they and their composition sounds rather sensational orchestrated too just so you know.

The Futurologie EP is available from February 9th via Apathia Records @ http://apathiarecords.bandcamp.com/album/futurologie

http://www.pryapisme.net

RingMaster 09/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

Arcade Messiah – Self Titled

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The creativity of UK musician John Bassett is a feverish kaleidoscope of colour, invention, and innovative exploration. He has proven it time and time again for over a decade, releasing eight increasingly impressive and attention grabbing albums either as KingBathmat or his own name. The last couple of years or so has seen a richer recognition of his craft and expansive musical imagination, the last two critically acclaimed KingBathmat albums Truth Button and Overcoming The Monster, the latter in 2013, pushing he and the band to the fore of progressive metal/rock whilst his debut acoustic album Unearth earlier this year, reinforced his reputation and ability to explore varied and deeply immersive structures and landscapes. Now the Hastings based multi-instrumentalist, singer songwriter, and producer returns with new solo project Arcade Messiah, a vehicle for his instrumental emprises which as shown by its self-titled debut album, are set to also inflame for ears and imagination.

Merging the boldest essences of styles such as metal, stoner, doom, prog, and math rock within constantly revealing canvases of post rock, Bassett and album provide gripping soundscapes for thoughts to cast their own explorations within and for emotions to colour with their own adventures. The musician talking about the project and album commented that “after writing and producing numerous KingBathmat albums and more recently the acoustic solo album Unearth, I decided I wanted to create my first instrumental album, and I wanted it to be set, audibly and visually in a dark, bleak apocalyptic aura of despair and anger. I wanted to focus on enormous riffs and sorrowful yet powerful musical refrains and place them within a terrain of unusual time signatures interspersed by moments of psychedelic calm.” It is an aim successfully achieved but even more an endeavour sculpting one of the essential moments of the year.

Instrumental albums do not always sink in easily with us, a demand for something maybe indefinable but persistent in igniting body and imagination a persistent requirement which the Arcade Messiah Album Covershowing off of supreme technical skill cannot satisfy. In Arcane Messiah there is nothing but that aural and inventive stimulation, from opening track Sun Exile the album a mouth-watering and rigorously compelling provocation for senses and unravelling gests in the imagination. From the first stirring and virulent call of guitar, album and opener becomes a potent weave of sound and aural suggestion, especially as a hypnotic canter of rhythms and fiery melodies join the emerging sonic picture soon after. Twists in time and invention are as fascinating as the heated creative climate of the track, its increasingly steamy breath and dark expression seductive and intimidating sparking a portentous Icarus like warning in thoughts.

The following Your Best Line Of Defence Is Obscurity slips in on a gentle breeze of sonic air and melodic caressing, though again it is a coaxing lined with dark bass shadows and prowling beats. The imagination is lured into the depths of the heavy smoulder of the piece with ease, thoughts of a lonely existence within the turmoil of predatory but deceptively welcoming emotive scenery emerging. Bassett’s guitar work is riveting, every groove and scorched melody inescapable incitement, but to be fair that applies to drums and bass through to simply the immersing imposing atmospheres conjured. Thoughts are instantly embraced and sparked by the primal and elegant nature of the music, a common factor across the album and in evidence with Traumascope straight after. Its initial post rock ambience is lined with a funk kissed bassline and lively beats from the drums, a union which hangs around before parting its mist for the voracious tide of riffs, which in turn lead to and compliment a stoner-esque flaming to the emerging tempest of emotional reflection and sonic rapacity. The track is a mesmeric blaze which never gets out of hand but leaves its dramatic imprint on senses and imagination with burning contagion.

Aftermath is a sobering haunting after the previous furnaces of sound and inventive intensity, a delicious feast of invasive melodies and bracing elegance which comes with sinister shadowing and anguished reflections. It also has an ethereal touch to its climate but in many ways is just the calm before or within the storm, its peace the bridge to the inventive alchemy of Everybody Eating Everyone Else. The track is scintillating; its initial also haunted passage the gateway into an antagonistic yet infectiously magnetic terrain of abrasing riffs and sonic temptation. There is a feeling of safety within turbulent and aggressive times or landscapes to the song, the guitars providing guidance through fiercely provocative exploits sculpted by rhythms and Bassett’s riff led raw sonic energy. Though musically it is different, there is a feel of early Killing Joke to the structure and tension of this and many tracks, an unrelenting persuasion which is wonderfully nagging at the heart of the ferociously inventive mergers of light and dark.

Steamy stoner spirals of sound open up The Most Popular Form Of Escape next, their acidic tones and spicing bringing rich hues to the climatic broadening of the song’s thick web of flavour and enterprise. Folkish elements are as prevalent in the piece as progressive endeavour and a sterner metallic tenacity, it all creating another unpredictable fascination for ears to bask in, the imagination to sculpt with, and appetite to devour greedily. Its enthralling waltz makes way for the closing Roman Resolution, itself an aural teleidoscope with wide reflective views and internal emotive majesty. An epic cruise through ever evolving sonic experimentation and poetic melodies, it brings a sensational release to a breath-taking close.

After the combined brilliance of Overcoming The Monster and Unearth, there was a small wonder where Bassett went from there. Where he ventured was into a creative maelstrom of sublime ingenuity with a technical and instinctive invention which has no need to indulge in over the top flourishes and pretension as it steals thoughts and passions. Arcade Messiah presents instrumental music which is organic and bracing whilst Bassett might just have put a stranglehold on best of year charts come the end of next month.

Arcade Messiah is available as a name your price digital version and on CD now via Stereohead Records @ https://arcademessiah.bandcamp.com

http://www.arcademessiah.com/

http://www.johnbassettmusic.com

RingMaster 25/11/2014

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