Red Sky – Solo Musica A Riempirmi Gli Occhi EP

 

Pic 3

What can we tell you about Red Sky? Well he is a masked guitarist/rapper from Milan, creating a web of creative adventure and imaginative sound. From the founding of his solo project in 2011, he has released one album, one single, and three EPs, each earning increasing acclaim and attention. In the third of those latter propositions, the latest release, he has also revealed a simply fascinating and magnetic new direction in sound and intent. The Solo Musica A Riempirmi Gli Occhi EP is a transfixing and compelling exploration which embraces the artist’s broadest landscape of imagination and flavour yet.

Red Sky initially began as an instrumental rock proposal and swiftly drew close attention with the Tra l’ombra e l’anima EP in 2011, awareness increasing with the release of debut album Origami the following year. The Origami RMX EP in 2013 kept the growing buzz around Red Sky going but revealed little of the new adventure and shift of intent to emerge in forthcoming songs and music. Solo Musica A Riempirmi Gli Occhi is the witness to and evidence of the exciting evolution and change in the Red Sky’s invention. Its six adventurous incitements merge the instrumental rock essences which lit its predecessors with new stirring strands of electronic imagination and rap bred enterprise. It is a captivating union which offers an open familiarity in some ways but fresh invention throughout.

It all starts with Il Prezzo, a short and riveting piece of atmospheric sound and persuasion. The piece magnetically shimmers from its first endearing touch, stroking ears with increasing potency as electronic and guitar crafted radiance embrace the imagination with a sultry ambience. Spoken vocals add to the brewing drama, though being delivered in Italian leaves their narrative and emotion unknown for us less enabled linguists. It is an engrossing entrance though which is continued by the following tempting of Cadono Giù (Freestyle N.1). A symphonic whisper coats its start but swiftly the song is a lively romp of electronic revelry and feisty rock flames. Equipped with irresistible spicy hooks and flowing synth bred flights of warm enterprise, the track immediately has ears and feet involved, gripping the imagination just as potently with its subsequent agitated adventure. There is a feel of The Kennedy Soundtrack to parts of the song whilst its sonic weaves embrace rich melodic and gothic metal theatre and vivacity, and with the sparkling guitar imagination having a whisper of Squidhead to it, the track easily enthrals.

Front     Il Flauto floats in next, its opening flirty radiance skirted by darker shadows. It is a union which continues to court each other as the song develops, each aspect increasing in texture and depth as more instrumentation and creative intrigue gets involved. Vocals are also a prominent proposal within the track, their presence punchy and expressive within the thick melodic blaze around them. Rap and metal are no strangers in music and in the song they bring a recognisable offering yet within the maze of its fusion of imaginative symphonic and folk metal with classic and electro rock; everything takes on a whole new and invigorating adventure.

Next up is Neve which features the soaring tones of Ideogram vocalist Martina Ambruosi. It begins its rise with a sinister and cinematic melodic drama, keys providing a catchy and portentous coaxing that simply basks in emotion as a growing tapestry of sound and ideation blossoms around them. Red Sky and Ambruosi do not exactly duet in the song but entwine their vocal deliveries around that of the other, a highly flavoursome union matching the expressive and provocative music boiling up around them. Though not quite as gripping as its predecessor, the song is aural theatre impossible to tear away from.

A mellower croon of sound provides the mesmeric breath of Stelle, music and voice a warm hug on the senses as delicious strings and sparkling electronic endeavour provides visual colouring for the. The track entrances thoughts and appetite with sublime mastery before making way for the closing Finchè Morte Non Ci Separi, itself a fascination of diversely textured sound and exotic invention. Showing a worldly landscape which is constantly evolving through mysterious calms and raging symphonic blazes, the piece is as expansive as it is deeply intimate and an absorbing end to a thoroughly bewitching release.

Also featuring the scratching skills of Dj Zero Tx on certain songs, Solo Musica A Riempirmi Gli Occhi is one of those encounters which take you by surprise and easily breed a keen hunger for more. The new twists in sound and experimentation from Red Sky have created an impressive exploit loaded with the potential of even greater creative emprises ahead.

The Solo Musica A Riempirmi Gli Occhi EP is available now via Ronin Agency.

http://www.redsky.it/   http://www.facebook.com/redskyofficialpage

RingMaster 25/03/2015

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/

Siriun – In Chaos We Trust

Siriun 2

It might have the title In Chaos We Trust but there is nothing random and bedlamic about the debut album from Brazilian progressive metallers Siriun. Certainly the release is a furious and blistering merging of varied creative winds within extreme metal but comes entwined in a superbly imaginative and inventive technical prowess across songwriting and sound. Recognisable essences and established flavours consort with fresh and invigorating ideation, the result one thrilling and thoroughly gripping proposition.

Siriun is the brainchild of Rio De Janeiro guitarist/vocalist Alexandre Castellan, a project formed in 2014 to give an avenue to his musical ideas and creative tenacity. It was a proposal he intended would also be enriched with the strongest creative heart and invention possible, an intent which led to the band line-up of long-time friend and bassist Hugo Machado, and the rhythmic tour-de-force that is drummer Kevin Talley (Six Feet Under, Daath, Feared, Suffocation, Devil Driver, BattleCross) alongside its creator. The subsequent outcome of the union is the hellacious and fascinating In Chaos We Trust, an album bringing the metal world another intensively striking and ferocious proposal from Brazil.

The album first embraces and ignites ears with Mass Control, a track swiftly luring strong attention through its opening wash of melodic endeavour and sonic enterprise alone. The guitar of Castellan virtually flirts with ears, coaxing and enticing before a consuming wall of rhythms pounce. The powerful beats of Talley bring intimidation and temptation whilst the snarling tones of Machado’s bass, though less intrusive, only adds to the emerging predatory nature of the track. It is an impressive start soon casting a just as magnetic storm of scarring riffs and rhythmic voracity. Castellan’s vocals bring their own caustic but also an alluring texture and enticing to the increasingly gripping encounter, their raw and pleasingly varied expression and colour immense within the expanding web of melodic and progressive exploration. At its and indeed the album’s heart, the encounter is a beast though, prowling and growling with almost malevolent aggression and emotion, but consistently baiting its animus with transfixing imagination alongside seriously skilful and anthemic enterprise.

Siriun Artwork 1    The following Infected is just as riveting and mighty, and again straight away holding ears and thoughts tight through the breath-taking craft of Talley courted by a potent acoustic caress of guitar. Of course skirting it all are shadows and a more hostile intent, one which is soon driving the great carnivorous tones of bass and the just as swiftly riled riffs. It is the contagious swings of Talley’s beats though forcibly leading the tempting, their devilry like a sinister and hostile carnival bringing Latin seeded percussive revelry into a courtship with hellish animosity. The track continues to twist and incite through every dramatic aspect, the fingers of Castellan manipulating strings for a fluid and enthralling tapestry of sonic and acoustic melodic captivation.

There is no dipping of adventure and craft, or in an already greedy appetite for the release, as both Spread of Hate and Cosmogenesis seize ears and the imagination. The first of the pair is a blistering fury of sound and attitude, but again reined a touch by the technical invention and skills of the trio, something you can attribute to all songs upon In Chaos We Trust. Ravenous and enthralling in equal measure, the song roars like a mix of Sepultura, Mudvayne, and Devildriver yet entwines its roar in a melodic exploration opening up a unique and mouth-watering adventure. Its successor is a brief instrumental, an acoustic flame within a cold and haunting ambience within which a seduction of electric guitar provides evocative light. It leads into the just as shadowed and initially emotionally imposing and portentous title track. Though that suggestive threat and darkness never leaves, the song soon explores a landscape of provocative melodies and imagination within that tempest in waiting. There is an increasing pressure though bred from bass and drums though, a weight which eventually breaks down resistance and explodes in an onslaught of thrash drawn riffery and death metal vitriol. Again though, it is a passing passage in a journey of a song, part of an evolution which never waits around too long in one train of thought and sound keeping ears and imagination enslaved.

Transmutation steps up next and another web is spun around senses and thoughts, another offering relishing the skills and invention of every band member. Talley has brought his most viciously creative endeavour to the release, perfectly supported by the rabid craft of Machado whilst Castellan vocally and especially in his guitar explorations, leads the listener through a roller coaster of enterprise and emotion with ideas which rarely leave ears less than engrossed even if in rare moments the fluidity of twists are not as polished as elsewhere. It is almost a clutching at straws though to try and temper the weight of the enthusiasm for the release, a ‘lust’ continuing through the emotive and physical turbulence of Transmutation. As uncompromising and venomous as it is engagingly colourful in exotic melodies, the song bellows with creative toxicity sparking once more a hunger for more.

It is a want immediately fed by the closing pair of Intent and Becoming Aware. Each explore yet new spices and exploratory endeavours in their ferocious bodies, the first brewing a waspish nagging in its riffery and a sultry climate around its winery of melodies and sonic intrusion. It all comes ruffled up by the muscular avalanche of Talley’s swings and the grouchiness of Machado’s bass whilst the closing track brings the album to a climactic end. Though it is arguably the least inventively inflammatory and breath-taking of all the tracks, it has ears ringing and thoughts contemplating ardour whilst hoping this union of three exceptional musicians is the first of many.

In Chaos We Trust is an exhilarating encounter, one managing to offer sounds and flavours which provide at times a very familiar canvas to leap upon but just as powerfully create a proposition that reeks of fresh invention and new adventure. Simply it is a mighty mix from a project with the potential to craft truly inspiring templates for progressive and extreme metal ahead.

In Chaos We Trust is available now via http://www.siriunband.com

https://www.facebook.com/siriunband

RingMaster 24/03/2015

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/

Train Arrival – Dramatic Existence

cover

An engrossing proposition for ears and imagination, it is fair to say that Russian band Train Arrival has given one impressive introduction to itself through debut album Dramatic Existence. Oozing creative theatre as striking and potent as the technical craft bringing it to life, the eight track encounter is a riveting adventure of instrumental progressive metal. To that cinematic canvas though, there are also inventive weaves of djent voracity, symphonic ambiences, and oriental and Eastern beauty captivating the senses. It makes for one mouth-watering offering, one not lacking either familiarity or fresh invention, but ultimately providing a thoroughly enjoyable and imaginative emprise of sound and intent.

Train Arrival is the solo project of Krasnodar composer and guitarist Max Ben and that is about all we can reveal about the talented artist. Then again Dramatic Existence does all the talking starting straight away with opener History. A lone melancholic guitar melody wraps around ears first, its sweet tone soon joined by darker caresses and a classical air. It is a gentle and captivating start, immersing senses and thoughts with great potency as keys and a symphonic breeze brings new warmth and expression to a by now rhythmically bold proposal. As becomes a constant success across the release, the imagination is already conjuring a landscape of peace and beauty echoing the dramas and turbulence of past times. The track as all subsequent songs is an aural paint box for thoughts, inviting interpretations addition to the piece’s own suggestiveness, and finding new twists with every listen.

The following Returning takes the listener into a far more aggressive and agitated climate, but equally as tempting and inviting. Rhythms cast a web of intimidation whilst jagged stabs of guitar only accentuate the danger and imposing presence of the new soundscape. A djent bred examination shows its first grouchy signs whilst keys again cast an immersive embrace over the volatile heart of the track. It is a gripping and skilful theatre of sound and invention from Ben, every second of its six minutes providing persistent magnetism, the same which is easily said about all tracks and immediately evidenced by Theatre Of War. The outstanding third track does not enter with the hostility its title might suggest, in fact is less forceful than its predecessor in many ways, but offers drama and epic grandeur aligned to intimate aggression for one transfixing exploit. Again ragged djent persuasion colludes with elegant and immersive symphonic arrangements courted by emotionally colourful keys, whilst mystique and melodic hues of the Oriental with far reaching Eastern spices bring their intrigue to track and ears as the listener is taken again on their travels musically and mentally.

There is an underlying fatality to the track though and its aftermath is echoed in Devastation next, its colder air a telling introduction though soon succumbing to another tempestuous climate, sculpted imaginatively and powerfully by the guitar skills and keys crafted adventure of Ben. To that technical prowess there is a creative resourcefulness too which makes this and all pieces a fluid and tenacious theatre of sound and expression. The track has thoughts and emotions instantly and firmly involved, their premises uniting with the artist for another peak of the already highly impressing album.

Majesty just about sums up the air and presence of the next song, keys dancing provocatively over ears with an endearing renaissance charm before rhythms and riffs bring a creative turmoil to the expanding adventure. Predatory shadows and sounds stalk the melodic flaming of guitar and the bewitching radiance of keys, each of their twists bringing striking textures, creative hues, and sheer mesmeric enterprise best described as, yes majestic.

The ten minutes epic temptation of Badlands is next, provocative balladry and stormy climates colliding and entwining for another spellbinding offering which is simultaneously seductive and fiercely erosive on the senses. Possibly a touch overlong, though there is never a point where attention and appetite waivers, the track is a journey and adventure all on its own, and that is another impacting thing about Dramatic Existence, tracks work just as powerfully alone or as one act in the album’s whole sonic libretto. The song flows straight into the reflective embrace of Ashes Of Time, a serenade skirted by a carnivorous bass tone and raw edged riffs. It is the melodic lure of the song and guitar though which prevails in the increasingly volcanic atmosphere and intensity of the track, both assisted by the warm and emotive tides of the key’s invention.

   History Repeats brings it all to a fine, epilogue like end. The piece is maybe not the most impacting and gripping, relative to what came before, but provides a final richly satisfying and suggestive voice to the breath-taking exploit. It also provides one last slice of evidence to not only the impressive technical craft of Ben but his pleasing understanding and restraint in not over powering impressive songwriting with indulgent excesses of technique.

Dramatic Existence is a tremendous entrance by Ben and Train Arrival, progressive metal which simply ignites ears and imagination. The album might not be imposingly pushing progressive metal boundaries but it is giving them a damn good shaking as it thrills.

Dramatic Existence is available now @ https://trainarrival.bandcamp.com

https://www.facebook.com/TrainArrival

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/

Beyond the Dust – Khepri

Beyond The Dust - Promo Pic 2013 HD 1

Beyond the Dust is a French progressive metal band which has a very potent future on the evidence of debut album Khepri. It is not a release which puts the band up alongside the weightier and more robustly adventurous protagonists of their genre, but one which suggests with the ripe potential coursing through their songs, that the Paris quartet could find that success some when within their evolution.

The band made a potent introduction to themselves with their six-track New Dawn EP in 2011, a release which led the band to shows with the likes of Periphery, Sybreed, Protest The Hero, Monuments, and Becoming The Archetype. The song Reality Deformed opened up a new gaze of attention with its unveiling at the beginning of 2012; the song which featured ex-Aliases singer Jay Berast already showing hints of the new maturity in songwriting and sound which is ripe within Khepri. The band signed with Dooweet Records last year for the release of their first full-length, it a 57 min concept album which has been compared to “references like Dream Theater’s Metropolis Part 2: Scenes From a Memory mixed with Meshuggah’s Catch 33 and Periphery’s albums.” That might be a grand suggestion for Khepri but certainly Beyond the Dust has grown in creative strength and imagination between releases and this certainly lights up the album.

A mature male voice sets the scene as first track Rise waits in the shadows to reveal its presence. It is a dramatic scene being cast under a stormy sky, one soon joined by the melodic charm of guitars and a darker foreboding bass tone. Similarly the ambience of the track becomes thicker in dramatic hue, providing an intriguing premise that Meshuggah bred enterprise agitates and ignites. The instrumental is a captivating opening to the album, alone sparking the imagination and anticipation of what is to follow.

Clarity is the next offering, its own elegant start a potent coaxing before being immersed in a vibrant but cloudier weave of riffs and rhythmic incitement. It is not a particularly stormy encounter though and is soon mixing in peaceful melodies and certain emotional calms, but still prone to eruptions of raw vocals squalls alongside the predominant clean delivery, as well as fierce intensive roars of sonic voracity. The track continues to seduce and blaze away in ears, the band persistently impressing in craft and ideation but, and something which applies to most of the album, not finding that final spark to push the band beyond familiar territories.

After the Light is a valiant attempt though, a voracious predator from the start but guided by the excellent clean tones of the vocalist and almost as swiftly twisting into unexpected and khepricompelling detours. The song is quite gripping, luring in close attention as you wait to see where it goes next, and it does not disappoint with its imagination whilst still managing to stay within the original framework of the song’s tempest. There are moments where it veers towards the precipice of too much but always turns away and explores new just as sonically theatrical and engrossing ventures. A proposal to take your time exploring, much as Khepri itself to be fair, it emerges as a peak of the release which grows even more impressive over time.

A smoother embrace comes with Relief, melodies and harmonies as resourceful as the guitar escapades and vocal variety. There is a small sense of flamboyancy through the solo which will appeal to some and maybe less to others but it is the lack of the bold almost warped ingenuity of its predecessor which prevents the song lighting emotions as potently. As a rapacious melodic rock track though there is little to ignore and refuse, much as with Last Breath, though the song is much more volatile emotionally and aggressive creatively. The further into its short but eventful body it travels, the greater the creative temptation discovered where again a more twisted invention is allowed to flirt with the listener even if in short doses.

Both Zero and Silence and Sorrow have the imagination heavily invested and ears fully attentive, the first a tenaciously expressive and inflammatory instrumental coaxing thoughts and emotions into the savage jaws of its successor. The most carnivorous track on the album, riffs and rhythms a barbarous incitement, the song proceeds to explore a sonic tapestry of bedlamic enterprise and melodic ingenuity. Funk, jazz, and math rock all seem to have a part of its breeding whilst the ever impressing vocals in their harmonic styling only add to the magnetism of the tempestuous encounter. As After The Light, the track stands as a pinnacle of Khepri, the moments where something new is truly breached.

The three parts of The Edge of Earth and Sea complete the album, each a part of an epic twenty plus minute narrative also standing well individually if taken that way. Part 1: The Tears Of Departures is a mellow and evocative embrace, though as expected it has a fiercer energy to its air and a darker nature to its shadows. They subsequently boil over into a brawling hardcore-esque vocal expulsion over jagged riffs and tingling melodies, the evolving vocals and warm guitar expression ensuring though that there is plenty of adventure in the growing maelstrom, a stormy scene which slips into again the more restrained and charmed opening to Part 2: The Fear Of The Journey This in turn rumbles with storm like emotion and intent across its colourful and technically extravagant soundscape. The mid way collapse into hellish domains, where the safety of the narrative’s protagonist is lost, suddenly ignites the track to new heights matched by the voracious stalking of the senses from riffs and rhythms. There is a new inescapable drama to the scene which you wish was there sooner and longer as Part 3: The Bliss Of The Gathering comes in. With its rugged terrain and hungry hostility aligned to harmonic reassurance, the bliss of its title seems to come at a price thematically, but with a new pleasing adventure offered to the listener.

It is potent end to a fine first album from Beyond The Dust, not one to rave endlessly about but easily a release to recommend progressive metal fans take a good look at. Khepri is a seriously solid and enjoyable proposition, not pushing the band above the crowd but with songs like Silence and Sorrow and After The Light showing flair and promise which definitely excites, it hints that their time in a singular light will surely come.

Khepri is available via Dooweet Records now @ http://dooweet.bandcamp.com/album/khepri

https://www.facebook.com/beyondthedust   http://www.beyond-the-dust.com/

RingMaster 28/02/2015

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/

 

Seven Year Storm – Aion I EP

Sean Lang press photo

With most instrumental releases, especially in metal, there is so often a bias to the instrumentation of its creator or the composer of the pieces. This can work or not depending on personal appetites for the leading element, so it was with extra intrigue that the Aion I EP from progressive metal band Seven Year Storm was allowed to take ears in its creative hands. The band is the solo project of Canadian Sean Lang, a Vancouver-based freelance drummer / instructor who until now has been contented to keep his music compositions restrained just to song writing. Thanks to pressure/support from friends, Lang was finally persuaded and encouraged to record and release his music and a fascinating treat it is turning out to be.

The first thing to thrill and please is that there is no leaning to a particular instrument with Lang’s compositions; yes songs are potently rhythm driven but in tandem with just as dramatically skilled and voraciously creative elements across guitar and bass. This could have been a top heavy and certainly an unbalanced proposition in the hands of some but upon Aion I, every imagination coloured and skilfully sculpted landscape is a thoughtful and inventive equilibrium. Solely written and produced by Lang, the EP sees him link up with guitarist Dean Lamb(Archspire), whose fingers are surely possessed by the devil at times, and bassist Brent MacKenzie, the provider of the dark emotions and shadows which also superbly balance and temper the fiery side of the release.

Morphogenesis opens up the EP, keys an immediate warm lure tenderly coaxing attention whilst also brewing up a sonically misty atmosphere. It is not long before a turbulent climate hits the scene though, snapping rhythms aligning to snarling riffs snarl and subsequently a melodic blaze cast by Lamb. There is a swift visual suggestiveness to the music too, a cinematic incitement which only grows as keys and guitar entwined inventively around the precise yet unpredictable patterns of Lang. Essences of classic rock, jazz, and technical vivacity spice up the progressive emprise, the track as the beats growing into a wonderfully fascinating and perpetually evolving creative theatre.Seven Year Storm - Cover small

The dramatic and invigorating opener is followed by the classically seeded Dyatlov, the track bringing a more intimate narrative to its canvas whilst still expanding into another broad movie of sound and evocative enterprise. Tenacious flames collude with calm passages of melodic elegance and stirring almost sinister ascents of drama, as the music again explores new avenues of imagination and inventive twists. As its predecessor and those to follow, the track does not really end sounding as it began, but like a child is still the same heart just with growth evolving its character.

A celestial charm embraces Virtue next, the song a mesmeric soar across a summery climate within which Lang prowls and directs the adventure like a conductor with his exhausting and exhilarating swings whilst MacKenzie adds a throaty growl to the djent like jaggedness of riffs. Into its rich and slightly tempestuous stride, a haunting calm and melodic beauty suddenly descends, a gothic breath spiced by the noir lit vaudeville of keys a gripping twist backed by Lamb’s increasing transfixing invention. The unpredictable treat is a union of light and dark, much as its successor Nazca Lines. The following piece is an emotionally agitated but as now expected fluid exploration through heavier and darker investigations entangled with bewitching flames of light.

     Blue Car Syndrome brings the EP to an impressive close, again all three musicians spinning an explosive and fiercely imaginative web of sound and ideation. As all tracks, it is as separate an individual as it is a part of one massive sonic travelogue of melodic and dramatic realms, emotionally and physically. It is fair to say that our words do not do justice to the skills of the band, the ravenous theatre of the songwriting, and the sheer strength and diversity of the sounds within Aion I. The first of two EPs planned this year, the final thought is to thank those supporting Lang and hope they continue to inspire him to release further triumphs like this.

The Aion I EP is available now digitally and on CD @ http://sevenyearstorm.bandcamp.com/

https://www.facebook.com/sevenyearstorm   http://www.seanlang.com/

RingMaster 26/02/2015

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/

Skeyes – Empty Mirrors

DSC_1352

Like with post-hardcore, for any emerging band to stand out in metalcore, even in its more progressive state, is a bit of a tall order. US band Skeyes is another coming up against that challenge but with debut EP Empty Mirrors, the band certainly makes a potent introduction and offers plenty of potential that they can rise up from the pack. The four track offering is a very likeable slice of metal voracity with a melodic invention which wakes up the imagination. Whether it has enough to push the band above the crowd time will tell but right now the release sparks the feeling that the Pennsylvanian band can ascend to that spotlight pushing height at some point.

Skeyes was formed in 2013 by Jesse Cease and Tyler Williams, and originally was intended as a studio project. Their first year saw many changes in line-up which led to the becoming a fully functioning band with vocalist Dale Brosious and guitarist Ryan Macaluso alongside guitarist/vocalist Cease. Drawing on inspirations from the likes of Erra, Mureau, Northlane, and For the Fallen Dreams, Skeyes have now arrived at the point of unleashing their presence on a broader landscape. Featuring guest vocals from Garret Rapp of The Color Morale and Jesse Cash of Erra, and released on Imminence Records to whom the band signed last October, Empty Mirrors is a more than solid and pleasing base for the band spring forth from.

Ethereal sets the ball rolling and instantly is a flame of clean vocals amidst a web of sonic enterprise, a coaxing punctuated by thumping rhythms which shows restraint in their attack but not their weight. With Garret Rapp bringing his strong guest tones to the song, it is soon a turbulent storm of an encounter, the caustic roars of Brosious an increasingly enjoyable squall against the warmer colours and harmonies of the song. The guitars also grab attention swiftly, tendrils of sonic imagination aligning with ragged riffs equipped with a djent seeded agitation. It is a strong song which satisfies with ease especially through the ever growing voracity of the rhythms, but elevates its stature with an excellent twist of melodic calm coloured by excellent vocals of Rapp.IR030

The following Myriad also needs a breath before unleashing its maelstrom of imagination and sonic tenacity. In some ways it is a less imposing and intrusive track yet still stirs up an intimidation and creative agitation which keeps expectations at bay. Even so there are plenty of recognisable things about the song, as the EP, but it would be amiss to not say it comes over as fresh and with a hungry passion as it roughs up and seduces the listener’s ears and thoughts. Strangely another thing in its favour and success is the briefness of its presence, at under three minutes the track is a dazzling quick jab to the senses with certainly as the old adage says, ‘leaves them wanting more’, just as the similarly swift offering of the EP’s title track which steps up next.

With Jesse Cash involved, Empty Mirrors is virtually a bedlamic swirl of venomous raw growls and melodic suggestiveness within a cage of aggressive riffery and belligerent rhythms. Holding magnetic calm at moments and unbridled energetic hostility in others, the song seduces with dramatic keys and impressive clean blazes of vocal expression. Easily the best thing on the release, the inventive bellow is as fascinating as it is exhausting and with more songs like this, Skeyes will definitely rise to join the cream of melodic metalcore.

The closing Ars Amatoria revels in the mellower side of the band’s sound and songwriting, initially at least anyway. The voice of we assume Cease shows its strongest and most impressive moments on the EP as the song brews up a tempest of sound and angst round him. It does not take long for Brosious to unleash his thick venom too as guitars paint a reflective sonic picture in the rabid frame of rhythms and riffs. The song is also brief, though this time it feels like an unfinished proposition once it departs, as if there was more to say but instead just walks away.

Empty Mirrors as suggested is a strong way to open up their entrance into the ears of the world. It is not going to shake the tree but certainly will do enough to ensure Skeyes and what comes next is given stronger attention, and if the band can really build on songs like the EPs title track, with equally potent rewards in return.

The Empty Mirrors EP is available now via Imminence Records @ http://imminencerecords.bandcamp.com/album/empty-mirrors

https://www.facebook.com/skeyesband

RingMaster 26/02/2015

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/

 

Amber Sea – Infantile Vision

IMG_0997 email

Alongside the full enjoyment Infantile Vision offers one prominent thought is, if their debut is this good just how impressive and potent can French progressive metallers Amber Sea, become. The furiously gripping EP from the Lille band is not perfect, at times its tsunami of invention and imagination bordering on bedlamic tendencies, but for every minor niggle in its chaotic tenacity there is a maelstrom of appetite igniting ingenuity. The attention grabbing five track fury is mouth-watering, and the band’s future subsequently even more so, but right now with their turbulent take on progressive metalcore, Amber Sea have announced themselves as more than a cut above similar creatively driven bands.

The release opens with White Materia: Sideral, and an enchanting caress of piano within a shadowed ambience. Clean vocals add to the warmth of the song’s entrance, crisper heavier beats only enhancing the atmosphere as the song slowly steels itself for an impending tempest. Soon vocals squalls from Matt Rouland rage and the muscular swipes of drummer Guy Tornel assault, the eruption an instant intimidation. Just as pungent are the throaty tones of Axel Richet’s bass, its grouchy touch the perfect ally to the twisted enterprise and sonic invention of guitarist Kevin Chesnais. It is striking stuff, if not yet majorly surprising, though the already impressive and enjoyable diversity to and mix of vocals, clean and hostile, has thoughts and emotions absorbed by song and its blossoming originality. Comfortable raging and bruising the senses or serenading them, the track entangles djent ferocity and death metal viciousness with progressive and melodic toxicity, the result one heavily engaging and commanding song.

Things only grow bigger inventively and impress more as Deci (Mate) takes over, to be followed by the just as exciting Violette. The first of the two has no need of a gentle persuasion in its AS_infantile_vision_ep_cover (300 DPI)start, thumping beats and squirming sonic acidity surrounding ears as Rouland unleashes his guttural belligerent might. Featuring Chris Barretto of Monuments, the song proceeds to savage and charm with spurts of melodic calm and seduction amidst a hellacious landscape of riffs and rhythms. Enticing grooves and deeply rooting hooks are no strangers to the storm either, both offering tempering persuasion within the corrosive atmosphere. Eventually welcoming a wonderful passage of melodic mystique and eye of the storm beauty, the track emerges as the best of the EP, a destructive beast with at times the warmth and peace of a sunrise. Its outstanding successor also uncages venom dripping snarls and bewitching radiance, all within unpredictable and severely tempestuous scenery. As the previous track, it roars and blusters, smooches and prowls around the listener, coming at them from numerous angles and twists of ideation simultaneously. In the hands of another you imagine things would unravel and fall into that chaotic well of going too far, but Amber Sea hold everything which bursts from their minds and skills with superbly accomplishment and riveting craft.

The song’s at times poetic drama makes way for Shinigami, a serpentine trespass of ears and psyche but prone to lapses of melodic and exotic imagination. As proven by all songs, its deep avenues of ideas, sounds, and ferocious enterprise are not suited to one or two listens, but offers ever massing rewards for a concentrated attention whilst confirming Amber Sea as a band destined to and deserving now of enthused intrigue and full attention.

The release is brought to a close by Black Materia: Meteor. Including a guest appearance of Pierre Dane from Kadinja, the track rages and infests the senses with debilitating noise and vocal spite from its first breath. The ever pleasing vocal depth and diversity shines but is courted by the jagged surface of the riffs and the erosive intensity of the song in general, whilst keys paint a warmer hue to the forceful lyrical narrative and intent.

It is fair to say that every twist and turn, surface and corner of Infantile Vision is forcibly impressive, every listen ironing out more of the pernickety ‘issues’ which could be offered up. Such the pleasure and welcome surprise incited by Amber Sea and their introduction to the world, a full recommendation of they and their excellent debut is all that is left to say, especially to fans of bands such as Architects, Monuments, Periphery, and Gojira.

Infantile Vision is available from February 10th via Famined Records @ http://www.victorymerch.com/merch/packages/56429/amber-sea-infantile-vision-shirt-free-download-package

https://www.facebook.com/thisisambersea/

RingMaster 10/02/2015

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