Aspherium – The Embers of Eternity

Pic -kim gøran høiberg

Aspherium is a band we knew by name and reputation but never quite found the moment to give the richness of attention that all bands deserve. That has forcibly been amended with the release of their third album The Embers of Eternity, which with thanks to our friend Andrew at Stencil PR who directed us its way, suggests we have definitely been missing out.

Hailing from Moss/Oslo in Norway, Aspherium began in 2007 and took little time in brewing up a progressive death metal sound which was unafraid to embrace plenty of additional flavours; a fusion now in full bloom and imagination within The Embers of Eternity. 2011 saw the release of debut album The Veil of Serenity to a host of positive reviews which its successor, The Fall of Therenia, eclipsed as it took the band’s sound to new heights. Slots at major festivals followed as too a couple of tours alongside Decapitated. A swift hindsight exploration in the wake of the release of The Embers of Eternity revealed why the band received strong acclaim and attention at the time but all before has been just the teaser for the might of Aspherium’s third full-length.

The Embers of Eternity is a concept album imagining the future of our own Earth; “The world has become a desolate wasteland, the album about what happened and why humanity did nothing to save our planet.” Lyrically and in story it quickly proved a compelling adventure which is majorly accentuated again by the exploration of sound and imagination around it as immediately proven by the album’s opening title track. Immediately drama and tension soaks the notes and presence of the emerging track; the guitars of Marius Skarsem Pedersen and Morten Nielsen weaving the intimation. Equally they are the instigators of the erupting surge of aggression and melodic enterprise which descends on the senses soon after, the rhythmic voracity of drummer Bjørn Tore Erlandsen and bassist Torgeir Lyby Pettersen fuelling the upsurge. Similarly too, the vocals of Pedersen make for an uncompromising and magnetic proposition amidst thrash bred riffs and the blackened textures which shape the death bred incitement. As each subsequent track reveals, it is part deceptive too, the viciousness of the assault veined and aligned with melodic intricacies and dexterity as their inherent creative emprise though bred on discontent of a world descending into chaos relishes its beauty too.

It is a striking and compelling start to the release but one still eclipsed by the following As We Walk Through the Ashes. It too launches on thrash nurtured hostility with grooves that wind around the senses with lustful toxicity and similarly revels in the more delicate but no less hungry imagination which subsequently makes every twist and passage until the next aggressive captivation as riveting. Unpredictability also shapes the track and in turn the whole album but with a craft and invention which soon becomes expected and keenly devoured. As its predecessor and the songs to come, it weaves a multi-flavoured incitement which took no time to fully immerse in.

The evocative and melancholy opening of The Fallen Monument bewitches before the track explodes in another cauldron of pugnacious trespass and imagination woven fertility; a tapestry of flavours and creative agility breeding a glorious and rousing proposal lustfully devoured by ears and passions alike. It is the album’s finest moment for us but constantly challenged as A Voice For the Silenced and its successor The Shadows of Creation quickly show. The opening atmospheric suggestion of the first had the imagination immediately submerged in its insinuation, its haunting caresses continuing to manipulate as the track erupts with the second casting matching persuasion in its physical venting and melodic storytelling. It is a volatile and gripping mix which savages as it seduces, preys on fears as it nurtures raw hopes.

Through the individual but unitedly insightful and adroit exploits of Echoes of A Lost World and The Beckoning Spire, Aspherium and their album only increased the magnetism. Neither track quite matched up to the heights of the triumph before them had but each gripped with bold ferocity and unpredictable landscapes before Beneath the Shattered Sky bore its own soulful voice and rich adventurous  enterprise on ears to equally inflame those self-same eager reactions.

Until the Embers Fade completes the album, it’s near on eleven minutes alone a journey and exploration worth investing in the sensational The Embers of Eternity for. It is an engrossing and fascinating end to an increasingly compelling release and a fine example as to why like us once you engage in the Aspherium ravening craft and sound there is no turning back.

The Embers of Eternity is available now @ https://aspherium.bandcamp.com/album/the-embers-of-eternity

http://www.aspherium.com/    https://www.facebook.com/Aspherium    https://twitter.com/aspherium

Pete RingMaster 25/01/2020

Copyright RingMasterReview: MyFreeCopyright

AdvenA – Realität

While the band set about writing their second album, a look at the debut full length from German metallers AdvenA does not go amiss, especially if like us you missed it upon its release a while back. Offering eleven slabs of progressive death metal with a craft and imagination unafraid to add other styles and flavours, Realität is a potent introduction to the Bad Griesbach in Bavaria hailing quintet. It is not overtly unique but has certain moments of real invention which made it stand out and an inescapable potential which made anticipation of its successor almost inevitable.

Formed in 2012 by Chris Kolias and Florian Havemann, the band’s initial instincts and sound was metalcore based but has evolved to embrace the progressive and more intensively weighted extreme metal textures as evidenced by Realität. With a line-up of vocalist Daniel Esterbauer, bassist Florian Gumpoldsberger, and drummer Dennis Stirner alongside guitarists Dominik Jagenteufel and Kolias, AdvenA nudged strong attention with the release of their first album, and is still doing so as we can attest to.

The album opens with its title track, wintery winds bringing in the scenic lures and stormy breath of Realität which soon entices the melodic coaxing of keys before fiercer more imposing textures descend with Esterbauer throat gravelled tones leading the way. In no time, the progressive imagination of the band is steering the roar, guitars weaving a tempting web as rhythms entice and pounce. It is a fascinating beginning which is as seductive as it is barbarous, unpredictability lending a weighty lure to the track’s  often familiar but boldly fresh textures,

The following Herztod immediately aligns melodic intrigue and suggestion with irritable intensity, guitars casting a magnetic drape around the bestial toned vocals as the song rises to its creative feet. Lyrically song and release has a conceptual theme but with each track sung in the band’s home language we cannot share their individual focus, yet it matters little as the sounds paint a potent enough tale as this and the following Lass es regnen! prove with their individual adventures. Whereas the first has a smouldering soundscape for the main, its successor has a far more volatile climate but one boiling with thrash nurtured intent around clean vocals, presumably provided by Jagenteufel, as well as Esterbauer’s enjoyably abrasive snarls.

Best track honours are seized by Splitter next, the rhythmic entrapment of Gumpoldsberger and Stirner inescapable from its opening strains and only intensified by the rolling attacks and belligerent grumble of drums and bass thereon in. Spice loaded grooves and a general rock ‘n’ roll swing only add to the track’s might with only the clean vocals for some reason and for once not quite connecting. Nevertheless it is a storming encounter which alone could have sparked an appetite for the band’s sound but is more than backed by the likes of Aurora and Phoenix. The first is an atmospheric tempting with alluringly portentous shadows around a rhythmic resonance, a union beguiling ears and imagination before its dark side rises up in invasive riffs and sonic trespass. That also brings a melodic and electronic enterprise which suggestive mystique setting up the adventurous rock ‘n’ roll of the second with the added attraction of female vocals and melody encased endeavours.

Am siebten Tag unleashes a blistering charge next, thrash and death instincts driving its cantankerous rock ‘n’ roll to mark another highlight within Realität before FFA matches its hellacious dexterity with its own senses withering, appetite stoking assault. Heavy metal tendrils vine the imposing roar, enticingly uniting with atmospheric winds and progressive intricacies; a stylish weave then emulated in its own individual way by Der Wille, electronic imagination lining and occasionally nurturing new twists in its design.

The album closes up with the two instrumentals in firstly the thought rousing, body firing rock ‘n’ roll of Alles was glänzt and lastly the melody rich and suggestive Wasser zu Wein. It too is a contender for best song, keys and guitars casting a beguiling tapestry of intimation and beauty with an underbelly of darker intent and volatility. Both tracks hit the spot whilst highlighting the music and creative prowess of AdvenA and though we might have questioned the success of having two instrumentals closing things up it works a treat.

Realität made a potent ear pleasing proposition from the first listen but it is an album which grows and impresses further by the listen. Ahead of its successor, it makes a timely gateway into the AdvenA sound for newcomers and a highly enjoyable reminder of their strengths and potential for all.

Realität is available now @ https://advena1.bandcamp.com/releases

https://www.advenaband.de/     https://www.facebook.com/officialadvena/   https://www.twitter.com/AdvenaBand

Pete RingMaster 21/03/2018

Copyright RingMaster: MyFreeCopyright

Xerosun – This Dark Rage

Photography by Olga Kuzmenko

Time for another catch up moment, this time with the This Dark Rage EP from Irish melodic death metallers Xerosun released a handful of months back. It is fair to say that since we covered and enjoyed the band’s debut album Absence of Light way back in 2011, they and their sound have quite simply evolved into completely new attention grabbing beasts, changes and evolution leading to their latest impressive  proposition more than deserving of a belated look.

With a just as hungry progressive bent to their ravenous sound, the Dublin quintet has persistently drawn greater praise and support in recent times. Building on previous successes like that first album and sharing stages with the likes of Avenged Sevenfold, Soulfly, Xerath, and In This Moment, the past two years have been exceptionally busy for Xerosun. Two headline UK tours have been accompanied by performances at festivals such as Mammothfest and Siege of Limerick, times capped off by the release of EP/mini album This Dark Rage and the Olga Kuzmenko created video for its title track, both themed around the Craigslist killer Miranda Barbour, a subject set to be further explored in the band’s new album set for later this year.

This Dark Rage opens with that title track, vocalist Martyna Halas-Yeates’ raw throated scowls courted by the predatory prowl of guitars and rhythms; it all soaked in venom and spite. As riffs continue to gnaw and beats stab, the primal instincts of the track suddenly flip into a groove driven canter, Halas-Yeates’ tones becoming a siren of beauty before the beast returns in voice and song again. The rapier like jabs of drummer Damian Dziennik hold even more spite while David Kuchar’s bass is savage in tone and flirtatious in swing matching the now established web of hostility and grooving. It is a compelling blend and result, the guitars of Fiachra Kelly and Gareth Jeffs rich in craft and enterprise while Halas-Yeates captivates in her dual persona. She is angel and demon and though her melodic prowess feels more natural, her vocal causticity only convinces within the adventurous tapestry around her, wicked grooves deviously colouring the unfolding lyrical drama.

Anatomy of a Lie follows the great start, even overshadowing it as it creates its own groove sculpted temptation, one again bred from ruinous fractions of intent and a blossoming of magnetic melodies and harmonic flames again led by Halas-Yeates’ kind side. It is a song which has grown and evolved since its first outing within a great video back in 2013 and another sign of the band’s hunger to grow and draw every ounce of their imagination to the fore. As all tracks, it is a fusion of flavours beyond the description we first gave you, a controlled but bold maelstrom of antipathy and warmth lighting the senses much as the tempest within next up I Spared Hundreds succeeds in. With electronic essences almost taunting ears from its shadows, the song is a carnal provocation with a relatively latent but openly glimpsed peace. Harmonies and keys temper the cancerous instincts surrounding them, while imagination is an increasingly riveting trait in the song as innocence and insanity mingle in the corners of its psychosis.

The release is brought to a close by firstly The Mother of Morality, a corrosive web of sound with Middle Eastern veining radiated in suggestive melodies and vocal elegance. At times it is like a mix of The Agonist and Motherjane, in other moments more Scar Symmetry and Arch Enemy nurtured, and quite beguiling. As the EP, the track just grows with every listen, the enjoyment of its first appraisal becoming more lustful and impressed with every venture into its passionately lit caverns.

Repent, Rewind, Reset brings it all to an end, its seven minutes plus a spiral into emotional and mental turbulence matched by a soundscape of volatile and schizophrenic sound. Though for whatever reason the track does not grab as powerfully as its predecessors, it makes for a fine and fascinating conclusion to a release which only impresses more and more. Xerosun is a band on the ascent with a potential driven, imagination powered sound to match.

This Dark Rage is available on CD and download @ https://xerosun.bandcamp.com/

http://www.xerosun.com/    https://www.facebook.com/xerosun   https://twitter.com/xerosun

Pete RingMaster 31/03/2017

Copyright RingMaster: MyFreeCopyright

Ethmebb – La Quête du Saint Grind

ethmebbok_RingMasterReview

The band’s Facebook profile tags their sound as epicleptic power death / progressive metal; a description which pretty much does sum up the anarchic fun of the Ethmebb if still leaving their imagination short changed. Their music is crazed, it is drunk on almost schizophrenic adventure, and at times it certainly leaves the imagination intoxicated but as shown by new album La Quête du Saint Grind, it is also a myriad of flavours, skilfully sculpted, and downright fun.

Apart from emerging in 2012, apparently from “the still-smouldering ashes of Grindcore band Ethmeb”, there is little more we can tell you about the Paris hailing quartet but then again their debut album does all the talking. Wrapped in the fine artwork of Nicolas Dubuisson, the release swiftly makes a potent impression, first track Tathor, l’Echalote de ses Morts soon feeding and adding to the intrigue already sparked by its cover.

Opening up a tale of a mighty warrior and his adventures as he tries to get back his Grind stolen from him “so he can get laid again”, the starter is an atmospherically suggestive, melody caressed instrumental. It is ‘similar’ to many imagination stroking starts that metal and progressive releases seem to hold but a vibrantly pleasing one, its more straight forward body a deception to the mania to follow.

ethmebb-album-artwork_RingMasterReviewrvbThat creative ‘insanity’ is uncaged through Lost my Grind. Riffs rifle the senses immediately, their enjoyable invasion soon joined by the dawning of melodies and floating harmonies as wiry grooves entangle the progressively nurtured blossoming of the track. A tenacious blend of power and death metal with that progressive nature envelops ears though it is only part of the picture as symphonic elements merge with grouchily aggressive and subsequently blackened essences, not forgetting various other unpredictable twists of fun. The vocals of guitarist Rémi Molette are a guttural trespass enjoyably tempering and complimenting the melodic quest of his and Victor Tunidjah’s guitars, their sonic web radiant and evocative within the epic nature of the song.

It is an excellent start soon eclipsed by next up Orlango Blum. From caressing harmonies it surges through ears with cantankerous riffs and majestically flourishing keys. The bass of François Santenoff throbs provocatively in the midst of the enticing tempest as the rapier like swings of drummer Damien Baissile pierce the folkish lined melodic death canvas. There is a touch of Trepalium to the song, 6:33 too, but quickly it stretches its already riveting tapestry of sound and imagination into something irresistibly unique and compelling. Melody soaked passages are oases in the storm yet every imposing second is a conjuring of raw aggression, creative ferocity, and seductively bedlamic enterprise.

The warrior’s quest continues through GPS: Gobelin Par Satellite and A la recherche de la découverte de la quête pour trouver le Saint Grind, the first a thrilling mix of the raw folk ‘n’ roll of Ensiferum and the creative psychosis of Carnival in Coal involved with plenty of other strains of imagination while getting involved with a great array of clean and dirtier vocals. Its successor is just as eclectic, from an acoustic stroll weaving a colourful intrusion of extreme and melodic endeavour all bound in an unhinged devilry.

It is fair to say that the Ethmebb sound is not going to connect with those only hankering for straightforward metal but for an appetite for creative boldness bordering on the meshuga; it is manna for the ears as proven yet again by next up Pirates of the Caribou. Concussive in its touch, promiscuous in its flavours, the folk/power metal fusion roars with drama and prowls with venomous intent, guitars spinning another inventive web as vocals anthemically unite and melodies swagger with boozy spicing. Its ebb and flows in intensity are just as masterful and alluring, as too its aggressive invention and multifarious nature.

Bruce Lee mena l’Amour brings the release to a close, the track probably the most loco of the lot though smouldering in persuasion initially before growing into its inventive skin with every passing minute to heartily convince. With a growing theatre of sound it is a fine end, though listen out for the Pryapisme like hidden track, to a thoroughly enjoyable and impressive debut album from Ethmebb and the beginning here to a greedy appetite for their insanity kissed world.

La Quête du Saint Grind is out now and available through https://ethmebb.bandcamp.com/album/la-qu-te-du-saint-grind

https://www.facebook.com/ethmebb

Pete RingMaster 01/02/2017

 

The Replicate – A Selfish Dream

artwork_RingMasterReview

A riveting mix of progressive and technical death metal, A Selfish Dream is one of those releases which may not have you falling back in love with the genres breeding it but certainly inspires a new appetite to go exploring them and the inspirations to the project such as Death, Cynic, Atheist, and Carcass. The new EP from LA based band The Replicate, it is a brief imagination stroking, ear striking proposal as unpredictable as it is highly enjoyable.

The Replicate is the brainchild of Sandesh Nagaraj whose CV includes being part of nineties Indian death metallers Myndsnare, Extinct Reflections, and Stranglehold. Uniting with a host of friends for his project, guitarist/bassist Nagaraj needs little time to grab the imagination and keen attention with A Selfish Dream, its opening track casting a web of sonic and technical temptation.

thereplicate-artwork_RingMasterReviewChainsaw Of God instantly wraps a spicy groove around ears, a persistent lure soon joined by a canter of robust rhythms and the raw throated rasps of guest vocalist/lyricist Morgan Wells. His irritable yet compelling tones stand astride the driving beats of Ray Rojo and Nagaraj’s nagging riffs. It is a tenaciously magnetic affair especially when grooves with clinging spice entwine the impassioned ire of the track and a solo from William Von Arx which brings an almost sinister cosmic shade to the outstanding track.

The following Eugenicide has its own suggestive drama in sound and presence, grooves again evocatively wrapping the senses with an almost picturesque quality as the predacious gravelly tones of vocalist Jordan Nalley trespass ears with his rich words. Also featuring the dark alluring basslines of Kaitie Sly, the track is an absorbing, haunting assault as different in nature and captivating enterprise to its predecessor as it is similar in compelling invention.

A rawer edge and climate descends through The Saline next, its initial sonic intrusion the spark to another virulent canter twisted into a passage of varying energies and unpredictable imagination. Arun Natrajan takes on vocals and lyrics for the EP’s third song; he also providing a rapacious growl within a controlled yet tempestuous surge of enmity and corrosive yet inviting sound.

Completed by the short instrumental of its title track, a shimmering piece of emotional starkness, A Selfish Dream is as gripping as it is imposingly intrusive. Its briefness of length is the only niggle, each song successfully never pushing its stay but combined providing a mere ten minutes of excellence; a moment in time admittedly very easy to replay and en joy time and time again.

A Selfish Dream is out now @ https://thereplicate.bandcamp.com/releases

https://www.facebook.com/thereplicateband

Pete RingMaster 18/01/2017

Copyright RingMaster: MyFreeCopyright

Markradonn – The Serpentine Deception

Markradonn Serpentine Deception EP cover_RingMaster Review

Whether calling the Markradonn sound experimental death metal, brass death metal, progressive death metal or any other variation of its invention you wish to describe it as, and all potently applicable terms, the broad brush is that it is one truly unique proposition igniting ears and the imagination. Real and bold originality is a relatively scarce commodity in the music world let alone metal scene right now it seems but the Florida hailing Markradonn is one of those creative protagonists wearing uniqueness as openly as craft and invention. The band’s acclaimed 2013 debut EP Final Dying Breath revealed the rich potential and fiercely imaginative songwriting/composing fuelling the conspicuous sound of the band and now its successor The Serpentine Deception takes it all to another striking and mouth-watering level.

Markradonn is a death/extreme metal band, that is their heart but with its live brass section and similarly bold timpani temptation to simplify the rich flavours and textures woven into their music, they create an emotively dramatic and creatively dynamic proposal unlike anything else out there. As suggested, The Serpentine Deception finds the band exploring their most imaginative work yet. The EP’s tracks reveal more intricacy in their design and sound, a fiercer roar in their bracing confrontation, and thicker intensity in their atmospheric lures, a new evolution in an already fluid sound making a thick impact straight away.

Initiation Through Torment opens up The Serpentine Deception; a cinematic/vocal sample coaxing ears and attention as a portentous whisper skirts the background. In a matter of a few more breaths, the stirring resonance of rhythms and warm swipes of brass unite as a similarly potent predation is uncaged by guitars and the dark rasping tones of vocalist/guitarist/songwriter Haniel Adhar. The blend instantly swamps ears in drama and intrigue, their contrasts colluding in an inviting yet ravenous consumption of the senses. It is a stirring and compelling incitement, the light and almost celebratory blaze of brass, as well as the timpani led rhythmic swing, merging with the dark predatory blackened death honed textures cast through guitar, bass, and voice. There is a feeling of coming of age in the tone of the track too, its protagonist journeying through the song’s title with celebration and tempestuousness around them.

Already hooked, body and imagination is swiftly and fully engaged again as the rhythmic entrance of NIN.GISH.ZI.DA God Of The Tree Of Life draws the listener into a jazzy web sculpted in the embrace of a primal and deviously tempestuous sound. The tapestry crafted is fascinating, a seamlessly and inspired fusion of conflicting elements which leave thoughts as bewildered as they are bewitched and ears eagerly trapped within the hellacious waltz.

The EP’s title track is equally spellbinding; the instrumental a shamanic visitation upon body and emotions as tribal rhythms and the raw tonal call of a didgeridoo magnetically involve the listener in atmospheric adventure. There is a great essence of shadow hued distortion to the track too which shows its ingenuity in brief but masterful glimpses. As meditative as it is evocatively invasive, the outstanding track makes way for The Veil Of Negative Existence Part 1- Ain, Nothingness; an instinctively infectious trespass with its own individual bedlam of resourcefulness and dramatic virulence. There is a touch of Trepalium to the track, a vague scent in the cosmopolitan yet melodically intimate weave conjured by Markradonn, which in turn is walled in by a blackened causticity soaked in rancorous imagination and veined by Adhar’s enticingly cancerous tones. The track is a labyrinth of simultaneous seductive and venom, an invigorating intrusion leaving bodies swinging and appetite inflamed.

Closing instrumental Stillness, Silence Of The Primal Mind is a gentler tantalising of the senses, a sonic travelogue of emotive scenery in an aural landscape painted by melodic guitar and melancholic brass. An immersive flight to which thoughts are given the freedom to cast their own poetic narrative, it brings the release to an enthralling end, well until pressing that play button again which is the instinctive next move.

Working towards the release of their debut album Ceremonial Abnegation Part 1: Excoriation Of The Flesh, Markradonn is one of the true fresh breaths in metal, from its underground to its broadest landscape. As for The Serpentine Deception, that is simply a must investigation for all with the heart for real and rewarding adventure.

The Serpentine Deception EP is available in association with Bluntface Records from December 15th through the band’s GoFundMe page where news of the album and details of a DVD, which will have a collection of performances, a full show with multiple camera angles, and clips from production videos and practices can also be found.

Recording Line-up for The Serpentine Deception:

Haniel Adhar: All Guitars; Vocals

Tim Carter: Drums and Percussion

Jonathan Gabriel Katz: Timani and Concert Percussion; Drums

Richard Blankenship: Principle Trombone and Brass

Dennis Bottaro: 6 string bass, Didgeridoo , Hand Percussion, Guitar

Drew Prichard: Cimbasso; Tuba

Robin Sisk: Tuba

Danny Rowland: Tuba; Euphonium

Austin Kinard: Trumpet and Brass

Gavin Pritchard: Hand Percussion

Nicholas Weaver: Fretless bass, French Horn, and Trumpet (Live)

Beka West: Euphonium, Trombone (Live)

Allen C Raia: Rhythm Guitar (Live)

Jesse Hudson: Vocals and Trombone (Live)

https://www.facebook.com/Markradonn  https://twitter.com/Markradonn

Pete RingMaster 15/12/2015

Copyright RingMaster: MyFreeCopyright

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

Barús – Self Titled EP

Barus_Cover__RingMaster Review

Let us introduce you to Barús, a death metal band from Grenoble in France. There is little more we can offer you about the band except from quoting their bio. “Barús evokes a weight, a burden. Through music, it reveals an introspective state of mind: A grain of sand lost in the vastness…A questioning of all things…Death.” What we can say is that their self-titled debut album is one potential swamped and seriously compelling proposition you should take a look at.

Sometimes you get an inner twinge of something special in the making when being introduced to a band or release and that certainly applies to Barús. Through four rigorously challenging and thickly satisfying tracks, band and release provide a journey through the darkest, hellish climates and depths. They are burdensome, uncompromising songs which are as fearsome as they are imaginative. Tracks which all the time lyrically and musically question thoughts, instincts, and the senses. The band has been labelled as progressive death metal and though you can sense why with the invention fuelling unique songs primarily Barús’ sound is a malevolent cauldron of death voracity with black malice and doom oppressiveness.

The release opens with Tarot and a chaotic tempest of intensity and energy driven ravenous sound. Everything is in rabid turmoil, only settling down a touch with the addition of the grievous tones of the vocals. In time as searing grooves entwine fierce riffs and rhythms, an order as such comes over the track whilst still flirting with a bedlamic soundscape of ideas and textures. Contrastingly the vocals grow more psychotic, emotionally tarred roars bellowing and stalking the senses as the guitars spin a jagged djent seeded violation and seduction through ears. The track is breath-taking, an energy sapping, body staggering onslaught and quite irresistible.

The following Disillusions is equally as tempestuous at heart and in presence but with a more restrained character initially, though that line is blurred with every predatory torrent of riffs and scything swing of rhythms. The listener soon finds itself in an aural coven, one lorded over by savage guitar enterprise and vocal malevolence, but also a landscape which perpetually wrong-foots and fascinates. A mellow embrace midway comes with great clean vocals but it is merely a demonic deceit, the track soon casting a spell of sonic voracity and emotional malefaction. Emulating the first track, it is an exhilarating trespass on the senses and psyche; the two alone making Barús a seriously potent proposition for extreme metallers to check out.

Chalice is simply a stalking of the listener and a continuation of the raw sorcery brewing in its predecessor. Spoken commands and chants swiftly evolve into a ruinous transgression, the music from an initial almost anthemic enticing exploding into a cancerous animus of noise and intent. Again though the band fluidly and impressively disorientates and spellbinds through the merger of extremes and contrasts, the collusion of vitriolic and melodic beauty. This is where those progressive tags are suggested, though Barús offer it in the most barbarous form possible.

The EP closes with Cherub; a doom laded crawl of an incitement which as you may suspect grows and blossoms into a viscerally sonic profanation of sound and air. Though not quite matching the previous three tracks in impact, the track just absorbs attention as it devours the soul to provide a final raw treat to fear and greedily embrace.

Barús have made a mouth-watering entrance upon the extreme metal landscape with their first EP, and if this is the sign of things to come, even without the natural evolution and maturity that assumedly will follow becoming involved, the French band is going to be a major favourite with a great many.

The Barús EP is available now as a name your price download at the band’s Bandcamp profile.

Pete RingMaster 09/09/2015

Copyright RingMaster: MyFreeCopyright

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

Scaling reasoning: talking Abiotic and Casuistry with John Matos

 

abiotic2_RingMaster Review

   Gripping eras and attention with its first touch, it is fair to say that Casuistry, the new album from progressive death metallers Abiotic, has grown into one fiercely fascinating and increasingly compelling proposition. The Miami quintet’s debut album Symbiosis three years back marked the band out as ones to seriously watch but it only hinted at the evolution and corruptive majesty now enthralling from within its successor. Casuistry had us hooked at go, only tightening its grip over every listen, so with big thanks to guitarist John Matos we had to delve deeper into the album; the less than settled times leading to its birth and the whole creative adventure involved.

Hello John and many thanks for taking time out to talk with us.

It has been a short while since your new album Casuistry was unleashed, a release which has come after an ‘eventful ‘time for the band in personnel changes alone. Has its release come with a flush of relief as well as excitement in some ways?

An album release is always full of excitement and nerves. On this one, we had to overcome some particularly difficult hurdles, but it’s made us stronger than ever before. Stoked to finally be able to show Casuistry to the world!

As a listener it is clear the impact both Brent (Phillips) and Travis (Bartosek) have made on not only the album but your sound too. Where did their contribution to Casuistry begin? Were songs already written before their arrival or were they heavily involved in that area too?

The music for Casuistry was just about done being written and in skeleton form when both Brent and Travis joined. Brent had some great ideas and really brought some power and creativity behind the kit. Travis had complete freedom on both lyrics and phrasing. Really blew us away with how catchy his phrasing was and how comfortable he looked. First time together in the studio and it felt like he’d been with us since the beginning.

How did you meet the pair and what inspired the (right) choice to bring them into the line-up?

We met Brent and at a show in south Florida where his band opened up for us. When that transition period began, he was my first choice in finding someone who’d be up to par with playing these tunes, but also with a lot of potential and drive. Brent was an easy decision for us and finding a good drummer is always hard, so we were very lucky! Travis came highly recommended from a friend in the Bay Area death metal scene in California. He auditioned, along with some others, and we decided his sound, tonality, and phrasing was what the new sound needed.

abiotic cover_RingMaster ReviewI am assuming the album took a fair amount of time to get from writing to release, from the disruptions alone. What is the time period to its creation?

We started working on new songs right before our run with The Faceless in 2013, so it had been a little over two years in the works. The disruptions actually worked out in our favor, because we had more time to make the songs the best they could be. We were able to give each song the time it deserved and I’m really glad it ended up that way.

Where would you say the changes in members have affected the album most, in the positive and the negative where you had to reassess ideas and intentions maybe?

Musically, we’ve always been on the same page as far as what our intentions were. We’d been talking about what we were wanting to do with the next record even during the Symbiosis album cycle. I feel like the member changes brought out even more so what we were trying to accomplish. We were able to explain our goals and find those key parts to the puzzle that wanted to accomplish the same things. The negative aspects were merely in the momentum. Because we were in a transitional period, we took a couple of steps back to make some necessary steps forward.

Our first taste of your sound was with debut album Symbiosis, which blew us away. In hindsight though, as we mentioned in our review it is now for us overshadowed by the maturity and sheer creative strength of Casuistry. Where do you see the differences and the strongest leaps between the two?

Thanks so much for the kind words! Glad you enjoyed Symbiosis. Strongest differences were definitely in the song writing. We really tried to focus on putting what gets fans enjoying Abiotic into catchy songs that aren’t overly technical or sounding forced. We also took the approach of this album being pummelling from beginning to end…No filler tracks or anything half assed. Every song has a focus and a goal on its own and in its place on the record as a whole.

Did you approach the new album, apart from the enforced issues, any differently to its predecessor in writing and in the studio?

We did it very differently than the first one, actually. On this one we were able to record pre-production for all the songs and really get a listeners point of view before going into the studio and finalizing. Our first album was written completely in a warehouse and we just practiced for hours. The new approach gave us a different perspective and allowed us to hone in our sound.

The album was recorded with producer Jamie King, a name which needs no introduction. What inspired the link-up and was there anything specifically you discovered in your sound and ideas through his input which brought something unexpected to the album?

We always had Jamie’s name in the mix when it came to recording. He’s recorded some of our favorite records and has a great relationship with Metal Blade. The opportunity presented itself and I could not be more satisfied with the product. Jamie really killed it! Jamie let us be us in the studio and creatively, kind of dick around. We were extremely prepared going in, so we had time to explore and Jamie created the exact kind of vibe and environment we needed to do that.

Any ideas inspired which you are looking to explore further in the next release?abiotic photo Vince Edwards_RingMaster Review

We definitely want to explore some more progressive elements on the next one. We’re already working on some new stuff and it’s going in a cool direction already!

Two tracks on the album also feature guests in vocalist John Gallagher of Dying Fetus (Cast Into the Depths) and guitarist Paul Waggoner from Between the Buried and Me (Absence of Purity). What sparked their potent contributions to Casuistry?

We toured with Dying Fetus in 2013 and kept in touch. Those dudes are amazing and absolutely legendary. I still jam Fetus every day and having John on was an absolute honor. Jamie actually reached out to Paul for us in regards to the guest solo and I could not be more honored to get to play such an awesome solo live. Paul absolutely rips it on Absence of Purity and we’re very grateful for his contribution as well!

We obviously have our favourite moments on the album, is there any particular song or moment in a track which gives you that extra tingle of satisfaction?

I feel like the ending of Absence of Purity is the embodiment of everything we’ve had to go through as a band. Every obstacle we’ve overcome and all the uphill battles to come. I get that purely from the music and it gets me every time. Even on stage. I hope that other people get that same vibe.

You have blasted the album out live since May; did you expose the whole album to the stage in one go or choose particular tracks?

We’ll choose particular tracks for this one, but we’ll be playing about 5 or so new ones, so nearly half the album. It’s going to be a fun one, for sure!

When writing and creating tracks some bands have the live setting in mind to, how songs will translate to studio and gigs, and others of course worry about that after. How about with you guys?

Though we would not sacrifice creativity for it, we definitely keep the live setting in mind. We’re all fans first and really want to make sure everything translates well in the setting where we have everything to prove. We always want to keep our live show on par with what you hear on record.

What comes next for Abiotic after the tour?

Our goal is to stay as busy as we can during this cycle and see as many faces in as many cities as we can!

Once more thank you for chatting with us, any last thoughts you would like to add?

We can’t thank you all enough for the support and hope to see you at a show soon! Thank you for keeping metal alive!

Read our review of Casuistry @ https://ringmasterreviewintroduces.wordpress.com/2015/04/23/abiotic-casuistry/

Pete RingMaster

The RingMaster Review 19/08/2015

Copyright RingMaster: MyFreeCopyright

Kera – Self Titled EP

KERA_BAND_PICTURE_HD_RingMaster Review

With a debut which just seems to get bigger, bolder, and more antagonistically ravenous with every listen, French progressive death metallers Kera have announced themselves on the European metal scene in fine and imposing style. Their three-track self-titled EP is an uncompromising rage of intensity and malevolent energy sculpted through sonic imagination. Whether it is an instant game changer for the band time will tell but the impressive EP definitely makes the statement, we are here, pay attention!

The seeds of Kera began with the demise of metallers Thanatic Eyes, the trio of vocalist Flo’ Lemonnier, bassist Kevin Gastaldi, and drummer Klem’ Baler rising from its ashes and subsequently uniting with guitarists Thibal François and Arthur Heim as a new sound and band emerged through them. Taking their time in this endeavour ensured Kera’s music, as evidenced by the EP, grew and was honed into something full and commandingly flavoursome before hitting ears, not to mention, as again shown by their first encounter, dramatically intimidating. They infuse and twist a progressive death metal canvas with a diversity of spices from heavy to black metal, simultaneously creating unpredictable and striking proposals.

KERA_EP_COVER_HD_RingMaster Review   It is a harsh adventure which begins on the EP with Masters Enslaved. Opening with a haunting atmosphere smothering a seemingly portentous echo of things passed and to come, the track escalates into a tempest of crushing beats, bestial riffs, and sonic toxicity. Grooves are just as swift in their early persuasion as also the raw and hoarse tones of Lemonnier. Already song and band show how potent a mix of spices and sounds drive their sound, the opening assault on the senses ultimately a death bred predation and hostility entwined with captivating slithers and strands of various fierce styles in one hellacious tapestry and increasingly potent incitement.

The gripping start to the release continues with Architect of Silence, the second storm from the band even more venomous and corrosive but an intensity matched in strength by a web of irresistible hooks, inflamed grooves, and a sonic enterprise which sizzles on the ear. It is a beast of a song, just about outshining its predecessor by sheer creative brutality and rhythmic force alone. The sudden moment of inspired calm and melodic tempting within do it no harm either, the track revealing just a little more of the depth of thought and variety in the Kera sound, and more of its creative barbarism.

Both songs also revel in the ability of the Paris band to merge tempestuous and ruinous extremes with skilfully forged and similarly contagious enticements of melodic and experimental designs. It is an intriguing and predominantly successful mix in evidence once again in the closing explosion of ferocious rock ‘n’ roll that is Silence. The track instantly grips ears and appetite with its predatory stalking of the senses, riffs and rhythms a rabid tempting by themselves but only enhanced by the initial scourge of sonic and grouchy vocal spite. In time though the song does lack the adventure so ripe in the first two songs. The range of vocals sharing time in the track are much more appealing when spilling animus through a throat scarring roar than in a cleaner grizzle of a delivery, and there are moments musically where invention is more expectations feeding, these times coincidently aligning with the less effective side of the vocals. Put in to context though, with addictive torrents of grooved wrapped riffs and a mesmeric slip into a progressive calm which in turn breeds a wind of superb individual prowess from the guitars, the track is never less than strong bait.

For an opening proposal, the Kera EP is a highly enjoyable and imaginative confrontation which also seems to be only hinting at depths yet to be untapped by the band in songwriting and sound. Expectations after their first release is that Kera have the potential to sculpt a very strong place in the progressive metal scene; it is just up to them to go for and take it.

The Kera EP is available now via https://kerainvidia.bandcamp.com or http://kera.bigcartel.com/

http://www.facebook.com/KeraInvidia   https://twitter.com/KeraInvidia

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

 

Acrania – Fearless

Acrania Color Publicity #1_Reputation Radio/RingMaster Review

You would imagine it hard to be thrown off kilter and truly surprised within the broad landscape of metal nowadays, even in the avant-garde and experimental realms which blossom and scintillate from the unique creative minds of bands like Trepalium, 6:33, Pryapisme, and Hardcore Anal Hydrogen to name a few. One band which has and continues to through new album Fearless is Mexican death metallers Acrania. The release is a psychotic fusion of extreme metal and lyrical confrontation with virulent Latin rhythms, celebratory melodic revelry, and schizophrenic imagination. You could call it death jazz or funk core to make up tags, we call it one of the most exhilarating encounters you will hear this year.

Mexico City based Acrania began in 2006, taking their time to unite and hone their blend of Latin Jazz and Metal before releasing their first encounter, the In Peaceful Chaos EP the following year. Three years later debut album Unbreakable Fury was unleashed, its well-received presence supported by the band playing a mini tour in Germany with the support of The Wacken Foundation. Its 2012 successor stirred up even more attention and acclaim, An Uncertain Collision named Best Album Of The Year in the Kalani Metal Awards. From there Acrania has extensively toured around Mexico and Europe sharing stages with bands such as Diablo Swing Orchestra, Death To All, Exodus, The Agonist, The Faceless, Legion Of The Damned, and Havok along the way. Now Fearless has all the qualities to thrust the quartet into the broadest keenest spotlight, and the presence to inspire listeners to salsa and bomba whilst head banging like a dervish.

Fearless explodes from its first breath through People of the Blaze, the opener a tidal wave of rigorous rhythms aligned to a hypnotic groove. Its air is instantly and furiously busy as a sonic aggression surrounds it all whilst percussion get rowdy and the vocals of rhythms guitarist Luis F. Oropeza growl and squall over the concussive web of sound. Predictability is as absent in the band’s sound and song as dullness, a quick step into a temptation of throaty bass and spicy jazz seducing from Alberto Morales G. and César A. Gallegos respectively, a trigger for hips and feet to heavily flirt with the floor. At the same time a trespass of bruising rhythms and metal bred antagonism becomes the spark to testing neck muscles. It is a fascinating and bewitching incitement which never settles in one form or moment for more than a clutch of body moves before twisting in on itself all over again for a breath-taking maelstrom of addictive flavours and incendiary intent.

Cover_Reputation Radio/RingMaster Review     The excellent start continues through Poverty Is in the Soul, the beats of drummer J.C. Chavez S. a swift protagonist rifling through ears and stirring up an eager appetite. Its lively start slips into a reflective few seconds before challenging and inviting the listener through a slim but intimidating lead into the relentless fierce shuffle of its body. The sturdiest rhythms throw themselves around like a mosh pit whilst the more traditional percussive tempting just lights ears with exotic persuasion. The scythes of melodic and sonic enterprise from lead guitarist Gallegos equally spark the imagination, especially when they evolve into acidic strands of incitement alongside the same musician’s sax exploits.

Undoubtedly Fearless is a proposition needing numerous plays to explore all of its involved and finely entwined textures and corners, but equally it is an immediately impacting adventure sparking ears and energies as proven again by I Was Never Dead. The track is a bracing and hostile fury, though as much as it is fearsome it is irresistibly tempting as rhythms and sax stir up a hornets nest of lustful responses reinforced by another lively bass line and the spiralling invention of the guitars. The great rabid tones of Oropeza are the least adventurous aspect, his delivery pretty much the same raw assault on every track and for personal tastes and to be fussy lack the desired diversity to match the sounds, though to be honest it has no negative impact on songs at all. The malicious jazz of the song makes way for the funkier caustic escapade of Blinded by Power, it as expected a constant evolution slipping through ravenously aggressive, sublimely beauteous, and melodically charming climes in creating its progressive tango. It is a glorious adventure, a roller coaster of turbulence and melodic radiance before the punkish festivity of Overflow rouses ears and appetite into another seriously wanton greed, after which a respite for the body comes through the brief and evocative instrumental En el Puerto. Its quaint and nostalgic air slips into Hypocritical Conflict, an instant thick embrace of discord and raw intensity which brews and grows into a hellacious swamp of sound and agitation, though in turn that spins into a transfixing blaze of jagged jangly riffs and bass bait. Everything gets fiery and intense again before…well the changes and turns are numerous and a treat for all to find out in another major pinnacle of the album.

Man’s Search for Meaning starts with a hypnotic cacophony of percussive beats and a roaming dark bass line aligned to the potent narrative and tones of Oropeza. From there the song’s every second heads towards another seamlessly aligned and mixed collective of sounds, styles, and ingenuous ideation. As the album, the track is ripe with Latin tradition and flavours bound in a death metal breeding and malevolence, though it has to be said at no time within Fearless is there ever a moment when the suffering and oppression lyrically portrayed is matched by a similarly destructive musical assault.

Fearless is completed by Point of Collision, a final riveting tapestry of deranged imagination and experimentation which just grips ears and pleasure like a mix of System Of A Down meets Cynic meets Pryapisme. It is a final treat to an outstanding release, a triumph for those prepared to be challenged, at times bewildered, and ultimately thrilled. Acrania should definitely be a recognised world-wide presence after this.

The self-released Fearless is out now @ https://acraniaofficial.bandcamp.com/album/fearless

http://www.acrania.net/   https://www.facebook.com/acraniaofficial

RingMaster 19/06/2015

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