Lark – Self Titled

Their sound is described as progressive sludge/stoner metal but as the debut EP from Lark reveals, it is a broadly flavoured proposition truthfully rather hard to totally pin down. The creation of the Mizzi brothers, it is maybe no surprise that it is a multi-layered and styled proposition; Raph the former guitarist and lead singer of Sail In Between and former bassist of Angher Incorporated bringing a passion for and experience of hardcore and progressive metal while Zach, ex-drummer of Bright Curse, has nurtured his craft within stoner, psyche and hard rock adventures. They have melded their talents, experiences, and tastes for a brand new exploration, one which has ears and imagination pretty much enthralled from the first to last moments of their first offering.

Though immersed in music for numerous years, surprisingly the uniting of their enterprise and invention only came earlier this year, from which the EP emerged with the help of Robin Mariat of Grey Matter Studio France, Chris Painter of Red Roof Sounds, Marco of Marc&Cheese, and Jake Read of Living Room Studios, all London based studios. Said to be inspired by the likes of Mastodon, Opeth, Gojira, Black Peaks, and Russian Circles, many essences easy to surmise, the EP immediately has attention held with opener Hailstorm. Instantly an inviting wall of sound presses on ears, its potent lure the spring board for a charge of hungry riffs and spicy grooves ridden by equally enticing vocals. Both men holler and croon with melodic dexterity, guitars weaving a matching web of suggestion and enterprise as rhythms rumble. A fusion of post and progressive metal with grooved and melodic imagination, the song continues to evolve and tempt; that varied sound fuelling its increasingly compelling character and imagination.

It is an impressive start quickly backed by the tantalising endeavours of Red Eye. Though its air is warm and melodic prowess magnetic there is a dystopian tone to its breath shaped by the raw throated vocals and dark hearted grooves. It is a compelling blend which, as simply the gait of the song has the body bouncing, has ears and thoughts hooked. Raw but beauty laded, the track swiftly and increasingly gets under the skin, its strength in its instrumental prowess but potently backed by vocal suggestion and intensity.

The beginning of next up Heavy defies its title, its gentle melodic caress aural poetry but soon departing for the portentous tower of atmosphere and thickly toned sound which looms around vocal trespass. Sludgy bordering on the pestilential, the track is a blackened suffocation veined by melodic wires which shimmer with temptation. Though not quite finding the heights of the first pair, the song is raw captivation keeping expectations guessing and attention keen before Too Far Gone shares its post rock beauty and tempestuous emotions. Once more a host of metal bred shades and heavy rock essences collude in a kaleidoscopic tapestry, and again the imagination and appetite can only keenly sink into its creative landscape.

Decay brings things to a close, the track a vexed and portentous proposal crafted with melodic dexterity and emotional turmoil as dark storms simmer and erupt. Maybe the EP is at its most striking across its first few tracks but it never is less than riveting and ends on an engrossing high with the potential of greater endeavours as ripe as the pleasure found in its varied enticing and imposing soundscape.  It is a release which demands attention for a band you can only think is setting out on one striking adventure for them and us.

The Lark EP is out now as a name your price download @ https://larkbandofficial.bandcamp.com/album/lark

https://www.facebook.com/LarkBandOfficial/    https://www.instagram.com/lark_band/

Pete RingMaster 08/11/2017

Copyright RingMaster: MyFreeCopyright

Kill The Unicorn – Prism

The final few words on the press release for Prism, the debut album from Swiss metallers Kill The Unicorn declares that they “are a band to get excited about!” Greedily listening to the eleven track web of sound and intrigue yet one more time to continue concentrated attention it really is impossible to disagree.

Launching from a bed of metalcore ferocity, the album is a kaleidoscope of trespass and suggestion embracing everything from hardcore to groove metal and progressive to post metal whilst fusing an array of funky and jazzy bred psychosis with some classic 8-bit sound mischief. The result is a release which devours and seduces with violence and unpredictability like a deranged dervish; one which is a little unhinged, slightly uncontrolled, and persistently sending ears and imagination to lustful places.

Hailing from Lucerne, Kill The Unicorn emerged in 2014 and took little time in stirring up attention through their live presence which has subsequently seen them share stages with the likes of Promethee, Ghost Iris, Vola, Science of Sleep, Walking Dead on Broadway, Voice of Ruin and many more. 2015 saw the release of a three track demo, an encounter laying the seeds and hints of things to come; the joys and intrigues to be now heard and explored within Prism.

Recorded with producer Aljoscha Sieg (Nasty, Eskimo Callboy, Vitja), Prism hits the ground running with opener Motoko Kusanagi. As the guitar joins an initial 8-bit fingering, a tempest gathers behind, swiftly unleashing its voracious force as rhythms fly and riffs bite. Vocalist Pipo Thalmann is quickly there in the midst growling as a delicious hook and similarly tasty grooves entwine the aggression before the already intensive beats of drummer Matteo Leuthold raise their rabidity and pummel the senses. Already a fusion of metal is at fevered play, expectations are taken to the cleaners by the subsequent twists and turns though the band has still yet to dip into their boldest enterprise hindsight revels. The track is pure bait with the guitars of Ziggy Lebon and Raphael Zumstein as predatory as they are creative conjurors.

The vocal dexterity already suggested within the opener is pushed again within its proper successor, Ode To Spot. Unleashed after the Sinclair-esque loading of Dreams In 56k, riffs and rhythms sink their claws and teeth into eager flesh, the track savaging and gnawing the listener before suddenly turning on its head with a funk/progressive shuffle. Thalmann mixes his throat scuffed squalls with clean vocal and similarly off-kilter expression to match the sounds twisting around him; all the time the bass of Marc Sommerhalder grumbling with bestial discord though eventually even it has to join the swing before a death nurtured storm descends. Like Horse The Band in league with Pryapisme and Cryptopsy, the track consumes the senses before Wormhole To Gliese 556c voraciously infests the psyche with extreme metal hunger and corrosive adventure. Though it never truly deviates from its rapacious remit, the track is just as gripping as its predecessor and unafraid to follow where its instincts wander.

F.U.C.K.U.P. equally has a carnal heart but is soon wrapping its core in System Of A Down like mania and Hardcore Anal Hydrogen similar eccentricity, continually twisting and turning sound, imagination, and the listener alike. There is an early Korn like air to the carnivorous moments before primal outbreak too; adding to a tapestry of unpredictability which hits the spot relentlessly before the progressive beauty and stroll of Me And My Velociraptor invades the imagination with its compelling instrumental. Rousingly and hauntingly infectious, the piece has the body and pleasure bouncing ready for the invasive tone and touch of Conquistador and its tide of punk and metal hostility again impressively steered by the guitars and the vocal prowess of Thalmann. Tightening its grip by the second, the track flings the senses around like a rag doll yet seduces them with nuances and bold turns within its inhospitable consumption.

Through the punishing depths of Catacombs with its maze of sinister deviations and the senses stalking blackened incursion of Ausgefuchst, the album simply reinforces its dexterous invention and uncompromising extreme metal voracity though both tracks have to give way to the even more contentious siege of the senses uncaged by Rendesvouz with Cleopatra. Malevolence drips from every note and syllable here yet equally the band’s untethered imagination soaks every trespassing breath if without revealing the hungry boldness of earlier tracks.

The album ends with Pitch Black VR, a rancorous, skilfully woven and delivered savaging compounding the animosity and inventive craft of Prism with might and boisterousness not forgetting imaginative zeal. It is an unforgiving, mouth-watering conclusion to an album which certainly lit our fires and as that press release suggested it might, our excitement.

Prism is out now and available @ https://killtheunicorn.bandcamp.com/album/prism

http://www.killtheunicorn.com/    https://www.facebook.com/killtheunicornband/

Pete RingMaster 08/11/2017

Copyright RingMaster: MyFreeCopyright

Virtual Symmetry – X-Gate

The new EP from Italian progressive metallers Virtual Symmetry, X-Gate is quite simply a theatre of sound, craft, and creative storytelling which keeps ears and imagination greedily engaged from start to finish. Simplicity though is not a feature of the release with every song a kaleidoscope of flavours and styles, each encounter a lure into surreal realms and adventures woven with individual and united craft which alone grabs attention.

Founded by guitarist/ multi-instrumentalist Valerio Æsir Villa, Lugano hailing Virtual Symmetry potently build on the creative landscape and progression of their well-received debut album Message from Eternity of 2016 with X-Gate, creating a web of enterprise and imagination which ensures fascination is an equally lively reaction. There are moments when things settle into a calm temptation, a low key seduction and other times when the EP ignites a real zeal for its dramatic body of sound and invention but always attention is firmly hooked.

X-Gate opens up its exploration of man and its evolutionary possibility, which starts with its artwork, with Eyes of Salvation. Instantly guitars coax the listener with a fiery glaze to their lures before a portentous calm is accompanied by poetic strains of piano from Mark Bravi. Swiftly his additional keys flame up as the rest of the band unites their essences in a rising tide of sound and suggestion. Vocalist Marco Pastorino walks alongside the piano in another mellow passage, his potent voice matched by others within the outfit, before that fire erupts once again with the rhythmic rapacity of bassist Alessandro Poppale and drummer Davide Perpignano driving things. From its first breath, the track is a web of enterprise and thought, a myriad of textures and layers explored better over subsequent listens though its infection loaded chorus is a swift recruitment of ears and involvement. Across its seven plus minutes, the song continues to tease and tempt whilst weaving a fluid collage of styles and theatrical imagination.

It is a great start which has ears and appetite hooked for that to follow starting with the epic flight of Alchymera. For almost a quarter of an hour, the song is a magnet for the senses and thoughts; its celestial and emotional journey especially blessed with keys carrying a definite  Bill Nelson vibe whilst the guitars give Steve Vai like scents to their endeavour. An eighties new wave/synth pop essence also simmers within the track, seductively caressing its more irritable traits while Villa alone brings an emotional drama and moodiness to the track which is absorbed and emulated in the atmospheric climate spreading across the mercurially alluring and skilfully woven landscape.

Elevate completes the release, the track notable alone for the union of Pastorino with the radiant voice of Diane Lee from Swiss melodic progressive metallers Lost Journey. The pair is surrounded by a serenade of sound with volatility in its nature as potent as the emotional drama and invention loaded imagination baring their qualities. The song almost swarms the senses with its charms and fiery heart, breaking into more tempestuous moments throughout to only increase its pull.

It is fair to say that though its strong first showing, X-Gate simply escalates in depth and persuasion over time. Virtual Symmetry is a richly intriguing and tempting proposition from the outskirts of the progressive metal landscape but a prospect increasingly coming to the fore with each offering they make and though the EP might not end up on the year’s best lists come the New Year, but could for many, as one of the most enjoyably fascinating propositions X-Gate is right up there.

The X-Gate EP is out now.

https://www.facebook.com/VirtualSymmetryOfficial    https://twitter.com/virtualsymmetry    https://www.instagram.com/virtualsymmetrypjct

Pete RingMaster 25/07/2017

Copyright RingMaster: MyFreeCopyright

Baring souls: talking Exoaura

Fresh in presence and fresh in sound, US progressive/alternative metal duo Exoaura are beginning to create a stir. Drawing on an array flavours, it is a band with bold imagination and sounds. So with their debut release barely out of its wrapper, we took to exploring this exciting emerging outfit with great thanks to both Lindsey and Adam, delving into the band’s beginnings, musical instincts, that new release and much more…

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

Can you first introduce the band and give us some background to how it all started?

We are Lindsey Church (vocals/piano/strings) and Adam Ingram (instrumentation/engineering). We’re a female fronted alternative-metal duo with a twist of soul, from Spokane WA, US.

Lindsey: We’ve been best friends for years and have been writing and performing music together since 2004. We have extremely different tastes in music. I like a lot of soul and R&B, while Adam listens to a lot more prog and rock, but we both have a common love for metal, so we decided to blend our styles and form Exoaura.

Have you been/are involved in other bands before? If so how have those experiences infused within Exoaura?

Lindsey: We were both in the nu-metal band Reflection. It had a wide spectrum of light and melodic, to heavy sounds that we both loved…and some progressive elements, so we brought a lot of that into Exoaura. Also writing and growing as musicians together for so many years, we’ve developed a great chemistry that, from what our fans tell us, can really be felt in what we write.

What inspired the band name?

Adam: We wanted our sounds and band name to represent a concept of being something bigger than the boundaries and limitations that people put on themselves…so, we came up with Exoaura, “exo” meaning outside and “aura” meaning one’s atmosphere.

Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

Lindsey: Exoaura is a new project that we just formed summer of 2016, but the drive regardless of what band I’ve sung in, remains the same. It’s a need for raw self-expression and using that to connect on a deeper level with other people. It’s the freedom that you can only get from your art.

Where has your thoughts and personal direction in music evolved over time?

Lindsey: I think we should always be looking for ways to grow and evolve, so I’ve studied vocals for years. I take what I learn and apply it to my writing. When I increase my range, or learn different styles, it gives me the ability to get a more diverse sound. It’s like getting a new toy to play with and it’s always exciting lol.

Though you are still in your early days as Exoaura, how would you say your sound has evolved to date?

Adam: I’m a gear junkie. I love picking up and experimenting with new sounds, processes and effects. I’ve also been listening to a lot of progressive metal bands and have been incorporating more and more of these kinds of picking techniques in my guitar work.

Is there an organic flow to the movement and exploration of your sound or is it that you deliberately search out new things to try?

Adam: Our evolution has been organic. Whether it’s from finding new bands to listen to, or learning something different from training, our writing flows in new ways with each other from the inspiration we find.

Presumably across the band there is a wide range of those inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

Lindsey: Absolutely. TesseracT has been a huge influence. Dan Tompkins is an incredible vocalist and I’ve always been blown away by his impeccable technique and range. I had a chance to study with him and he helped me to realize the dynamics of my voice and how to unleash it. So, he’s had a huge impact on how I write.

Is there a particular process to your songwriting?

Adam: Usually, yeah. I’ll boot up one of my writing templates in Cubase, set a tempo then create a groove as a foundation for the mood and energy of the track. After I’ve recorded my instruments I’ll send Lindsey a draft mix where she adds her creative process with orchestral and vocal melodies. Once all the magic is captured I spend quite a bit of time getting a solid mix together then migrate to mastering, getting it spit polished for release.

Where do you generally draw the inspirations to the lyrical side of your songs from?

Lindsey: I’m fascinated by the polarity of love and hate in the world and the interconnectivity between all living things that people feel, but tend to ignore. So, a lot of my lyrics are about that seemingly eternal struggle to break free of that and see things for what they truly are.

Could you give us some background to your latest release?

Our debut self-titled EP will be released on June 30th, 2017. It’s a combination of thought provoking lyrics, melodic grooves, ethereal orchestration and passionate soul.

How about the themes and premise behind it and its songs.

Lindsey: The concept relates to the division in society today and that despite how much negativity and hate there is there are people who are strong enough to surpass that.

Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

Adam: We tend to develop our songs in our studio: We’ll have basic ideas and outlines, but once we’re tracking and start to hear the composition come alive, it guides us in which direction the song should go.

Is there a live side to the band yet?

Lindsey: Exoaura is new, so we haven’t started touring yet. But with our past projects, for me it’s the combination of getting lost in the feeling our music, while connecting to the audience so that they can experience the intense emotion that went into writing it. That synergy is just unforgettable.

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it? Are there the opportunities to make a mark if the drive is there for new bands?

Adam: Honestly, I think it is far easier now than it has ever been. Regionally speaking, metal is very much alive and kicking in the Pacific Northwest, and we are very fortunate of that. We’re from Spokane, not far from Seattle, one of the largest music scenes in the US and have proximity to a very active music community here. Nationally and further afield, bands have access to social media, digital discovery services and by leveraging analytics/demographics, any band in any genre can find and connect with their target audience. We’re a new band ourselves and even in the past few months we’ve been asked for tour dates from here in the US all the way to Brazil.

…And the internet and social media. How has that impacted on the band to date? Do you see it as something destined to become a negative from a positive as some artists seem to almost expect?

Adam: As a DIY artist, social media and digital streaming services are incredibly valuable, nearly mandatory resources. I happen to have a marketing background, which has certainly helped Exoaura’s online presence. The evolution of how music is accessed is something musicians just have to adopt. Each platform and strategy has its own learning curve, sure, but the reward of understanding these tools is far greater.

Once again guys; a big thanks for sharing time with us; anything you would like to add or reveal for the readers?

Lindsey: You’re so welcome! Yes, our official release date for our EP is June 30th, 2017. And of course, thank you to all our fans for your love and support! Find us https://www.exoaura.com/

Explore Exoaura further @ https://www.facebook.com/Exoauraband/    https://twitter.com/exoauraband

Pete RingMaster 07/07/2017

KingBathmat – Dark Days

Ears and the imagination have been spoilt these past three or so years by the solo adventures of songwriter/multi-instrumentalist John Bassett. From the melancholic beauty and emotional exploration of a self-titled album to the ever evolving post/progressive metal instrumental kaleidoscope of ARCADE MESSIAH and most recently the electronic/synthwave exploits of SΔCRED ΔPE, Sligo based Bassett has enthralled with an ever broadening landscape of sound and invention. It is fair to say though that, as for so many others, there has been a yearning for something new from the band which first brought him to our attention, KingBathmat. Now that hunger has been fed with the progressive rock/metal outfit’s new mini album Dark Days; satisfied and forcibly ignited further by the band’s first outing in four years.

Now consisting of just drummer Bernie Smirnoff and Bassett, KingBathmat follow up their acclaimed and seriously compelling Overcoming The Monster with the band’s heaviest and darkest proposition yet but one still bred in the band’s instinctively melodic prowess and suggestiveness. The songs within Dark Days were conceived last year for a 2 man side project but soon found a familiar identity, Bassett admitting when talking about the release that, “It wasn’t initially in my plans to make another KingBathmat record, but these songs just had that KingBathmat feel to them.”  Having enjoyed the impressively individual characters of his other projects it is easy to agree that the songs within Dark Days are instinctual to the band from the rhythmic dexterity of Smirnoff to the unique voice and style of the songs and their writing.

The title track of Dark Days starts things off, its sonic air soon sharing a keys coloured melody and the familiar tones of Bassett. Reflection fuels his words, harmonic suggestion his voice as additional textures slowly slip into the blossoming encounter where a moodier bass aligns with dancing beats as melodic hooks continue to magnetise attention; the track simultaneously growing warmly inviting and atmospherically shadowy.

The compelling beginning is continued through the more crepuscular Tis Pity She’s A Whore, its air heavier and darker yet equally sharing the calming invitation of its predecessor. Embracing an array of rock textures in its progressive web, grunge and stoner-esque essences among them, the track rumbles and flirts with increasing imagination; at times coming over like a blend of 12 Stone Toddler and An Entire Legion within its ultimately unique proposal.

Magnet To Pain has a mellower climate yet with a boisterous energy epitomised by the funkiness of the bass and Smirnoff’s vivacious rhythms. At the same time, a more volatile element is at play in the background, prowling the shadows with moments of fiery release as Bassett’s vocals and guitar honed melodies serenade. As with every song, each second carries an adventure, a bold invention which has the imagination as eager and lively as ears and a swiftly spirited body soon hooked on the track’s swing and catchiness.

The dusky charm of Feathers follows, its emotive voice and tender melodies instantly captivating especially as both elements alone bloom in expression and depth as the song grows. Bassett’s guitar weaves a tapestry of sound and temptation, Smirnoff’s rhythms offering a controlled but earthier union to the progressively nurtured layers emerging within the compelling encounter.

Dark Days concludes with Nihilist, the darkest track emotionally on the release; its feeling of emptiness countered by hope rich melodies and a spirited catchiness which grows from initial seeds into the driving force of the increasingly animated and frisky track. Bassett gives rein to his attributes across an array of instruments, his dexterity and craft as compelling as the song and supported superbly by the lithe rhythms of Smirnoff.

It is fair to say that Overcoming The Monster is one of our intimately favourite albums and though the outstanding Dark Days did not hit that level straight away, with every rewarding listen it moves a fresh step nearer to those heights. Without doubt a hankering for a new KingBathmat encounter has been satisfied with a richness which outshines any hopes lying in wait for such an event, the greed for a lot more though has now been set ablaze; over to you Misters Bassett and Smirnoff.

Dark Days is out now and available at https://kingbathmat.bandcamp.com

https://www.facebook.com/kingbathmat/    https://www.facebook.com/johnbassettmusic

Pete RingMaster 04/07/2017

Copyright RingMaster: MyFreeCopyright

Pigeon Lake – Barriers Fall

Three years after the release of their striking and quickly acclaimed debut album, Tales of a Madman, Norwegian quartet Pigeon Lake return with its successor in Barriers Fall. The time between has seen changes within the band and a reassessment of the way forward; a shift sparking an evolution in sound too which is actually hard to pin down but openly inflaming the Oslo outfit’s new offering and release which like its predecessor at the time, will make a definite rival to those around it for one of the most essential investigations of the year.

Since emerging in the opening smiles of 2012, Pigeon Lake has grown to be one of the most compelling propositions on the melodic rock/metal landscape. Founded by vocalist/guitarist Christopher Schackt and completed by childhood friend and drummer Andreas Prestby and bassist Kenneth Stiansen, the band instantly sparked attention and praise with the I: Mindrape EP later in that first year. Its themes of domestic violence, sexual assault, and mental health were as striking as the raw sounds inciting ears. The three became four with the addition of lead guitarist Magnus Engemoen soon after while the following year saw Stiansen replaced by Anders Børresen. As their sound moved towards a flavouring more akin to the likes of Katatonia, Stone Sour, and The Ocean, the band’s live presence escalated before they got down to work creating Tales of a Madman, its release coming in the Autumn of 2014 and followed by the band heavily hitting the road again including taking their first steps touring Europe.

Linking up with Wormholedeath Records in recent times provided the spark for that previously mentioned re-assessment and the resulting highly amicable departure of Børresen and Prestby which was soon followed by the joining of bassist Håkon Bechholm and drummer Jonas Rønningen. Now the new line-up has unveiled Barriers Fall, an encounter feeling darker and rawer than that first album yet their most melodically seductive and inventively mature adventure yet.

The album opens with Ragnarok, grooves instantly wrapping ears with shadow lined radiance. There is a portentous edge to them though, nothing imposing but clearly there as rhythms jab and riffs collude around them. Magnetic straight away, the track settles down into a heavy prowl where all those imposing elements erupt for a few rapacious seconds before Schackt’s cleaner tones steer the tempest into kinder waters. Abrasive growls remain alongside him though as the song merges predatory and seductive sides, luring the imagination into a provocative squall of emotion and intensity.

It is a striking start soon eclipsed by the just as tempestuous roar of Lyra. Nagging riffs align with Schackt’s distinctive tones initially, the bass prowling around them before the incendiary heart of the track erupts with fiery melodies and antagonistic tendencies. Harmonies and melodic tempting bewitch as the song subsequently shares its evolving soundscape, contrasting textures blending their potencies in one beguiling encounter. There is definitely something of the aforementioned Katatonia to the song and indeed album but equally the likes of Opeth and Swallow The Sun come to mind though in all honesty Pigeon Lake here and across Barriers Fall only reveal their own character of sound and imagination.

The album’s title track is next, seducing with a mesmerising poetic melody and calm vocal reflection before Rønningen’s beats add increasing threat. In time, as things increasingly simmer with greater intensity, everything comes to a head, vocals spilling their psychosis as a sonic causticity descends. A relative relief in the storm comes with the closing breaths of the excellent track before the more mercurial presence of The Futility of You takes the listener into a controlled yet seemingly unstable emotional embrace. Again the music is a web of trespass and radiance, vocals matching the changeable mood with suggestive prowess as wiry hooks and almost toxic melodies tempt and trap the imagination. Epitomising the album as a whole, the track only reveals new layers and textures with every listen, each time within it seeing growing attraction and the blossoming of image painting thoughts.

Hide and Seek runs a fine line of control and lawlessness, its cauldron of corrosive energy restrained and held back by the harmonic and melodic beauty hugging the senses though it is never more than a breath from breaking free while within Sunder it shapes the predatory nature of a track which equally is as much an oasis of elegance and gentle repose as a turbulent tempest; a beauty and beast of inner and worldly turmoil.

Senses harrying riffs brings A Familiar Problem to bear on ears next, delicious bait opening up into a just as enticing fusion of roaming grooves and brooding rhythms around feral toned vocals. That previously mentioned raw element of the release has its head with the harsh throated presence of Schackt adding to the psychotic edge of the track with clean and melody woven radiancy just as powerful before Perfect Place casts its variable cyclone on the passions. Irresistible within its first moments and only stealing greater lust thereon in, the track breeds an addiction as rich as its unpredictability to provide if not the pinnacle, one of many.

Closing track Let’s Pretend takes the listener into one final embrace of emotional restlessness and creative anxiety, the song as the album whilst being intricately woven and layered is almost anarchic in its nature and heart. It is a fine end to another encounter with Pigeon Lake which simply blossoms and further impresses with every listen.  To be fussy, personal tastes would see Schackt’s throat scarring vocal side reduced to allow his excellent clean and emotionally suggestive tones to have an even larger say but it is a mere passing thought in a release which stirs every part of body and mind.

Barriers Fall is available now through Wormholedeath Records across most online stores.

http://www.pigeonlake.no/    https://www.facebook.com/PigeonLakeMusic/   https://twitter.com/PigeonLakeMusic

Pete RingMaster 17/05/2017

Copyright RingMaster: MyFreeCopyright

Pryapisme – Diabolicus Felinae Pandemonium

band-_RingMasterReview

The press release for Diabolicus Felinae Pandemonium, the third album from the creative diablerie that is avant-garde/experimental metallers Pryapisme, declares it is “definitely the album of immaturity”. In truth it is the most accomplished, dare one say inventively mature offering from the Clermont-Ferrand hailing outfit yet. That growth has not defused the rousing bedlamic imagination of the band, in fact it seems to have escalated its mischief but where previous releases might be called schizophrenic such the mayhem of their head spinning diversity, Diabolicus Felinae Pandemonium feels in control of its creative chicanery; the result importantly again, a hell of a lot of fun and another irresistible infestation of psyche and spirit by the French outfit.

Their latest release is the first recorded with the band’s actual live formation rather than the core trio, the full quintet of Benjamin Bardiaux (keyboards), Nils Cheville (guitar), Antony Miranda (bass, guitar, moog, vocals), Nicolas Sénac (guitar), and Aymeric Thomas (drums, clarinet, keyboards) revealing their off-kilter craft and imagination. The album itself reveals the “advent of the Era of the Cat, the one which will replace mankind. After the arrival of the lol-cats all over internet, which constitutes the last conspiracy, well after the one of Ancient Egypt where the cats were already ruling the highest spheres of power, the diabolical felines are now preparing the birth of Satan’s cat, the Chosen One which will tame humanity and in the end, conquer the whole galaxy with the help of its pentagram of cat food.” Further music to our ears as we always claimed they were the devil’s spawn.

It opens up with Un max de croco, coaxing Middle Eastern vines escaping the guitar as rhythms shuffle around, ready to dance in the subsequent blossoming of melodic frivolity. There is a restraint to it all though, a reserve which accentuates the glint in the eye of hooks and keyboard spun melodies. In saying that, the infectiousness of the track is rampant and only strengthened by the jazzy twist and throaty throb of the contrabass provided by guest Matthieu Halberstadt (Ogino, Please lose battle). Never predictable but as expected and welcomed, the band and song turn on a spin of notes through varied styles and flavours, each move enslaving body and imagination in active participation.

artwork_RingMasterReviewLa Boetie stochastic process follows, flowing with summery warmth and flirtatious catchiness through darker shadows and dirtier street corners, every crevice a well of human drama and devilish enterprise. As with every song, thoughts have a field day interpreting and playing with the suggestiveness offered and the melodic painting shared, hips swinging with zeal to funk infused turns as the sax of Adrien Daguzon (Zibeline) flames in the midst of it all. There is a touch of 6:33 to the track, a whiff of Trepalium in its rowdier twists but as ever expectantly unique to Pryapisme.

The tenacious stroll of 100 % babines, pur molossoïde! roams ears and imagination next, its wave of hookery and sonic theatre if not cinematic resembling themes of those old sixties detective/sci-fi shows around floral melodies and darker, almost sinister beauty. Its individual escapade and canvas of sound just confirms another release driven by unbridled diversity, A la Zheuleuleu backing its affirmation with its celestial, moon lit saunter into a hectic and aggressively boisterous romp while Tau Ceti Central immerses the listener in another jazz scented, smoky adventure.

The album is like a travelogue, glimpses at landscapes and intimate insights discovered and invaded by its theme’s protagonists though Tête de museau dans le boudoir (Intermezzo) is more of a captivating and increasingly weird caress allowing for mental refreshment though to be fair it engages with the imagination as much as any other proposal within the album such its loco array of styles.

Myxomatosis against architektür vol IV is equally a rich tapestry of styles, its psychotic nature a trespass of extreme and melodic metal bound in the virulent revelry of varied flavours and pure manna for body and soul before Carambolage fillette contre individu dragon non-décortiqué casts its Nintendo spun contagion, a lure becoming more tempestuous with time as guitars and rhythms add their cartoonish devilment.

The album is completed by firstly C++ and its mesh of cosmopolitan spicing and endeavour, not forgetting mewing cats, and lastly Totipotence d’un erg, an epic thirteen minutes of dawning power, imposing contagion, and majestic wickedness. Flying by such the consuming potency of its evolving drama and kaleidoscopic soundscape, the track alongside its predecessor provides a compelling end to another thrilling outing with the instinctive insanity of Pryapisme.

Diabolicus Felinae Pandemonium is arguably the band’s most fluid and persistently contagious release yet, certainly it is their most skilfully woven and a treat for the bold and the insane.

Diabolicus Felinae Pandemonium is out now through Apathia Records @ https://apathiarecords.bandcamp.com/album/diabolicus-felinae-pandemonium

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Pete RingMaster 08/02/2017

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