The Sectile Interview

Hi and thank you for sparing time to chat with us.

Gabriel Gaba (Vocals): Of course, the pleasure is ours!

Could you first introduce the band and tell us how it came to be?

GG – I am Gabriel Gaba, the singer of Sectile, 5-piece prog metal band from Dublin, Ireland. The band started in 2016 when Mark O’Reilly (guitars) and Cormac Hennigan (bass), who have been friends since school but had never been in a band together, decided to meet and jam some ideas at the beginning of 2016. The creative juices started to flow and once they had a couple of demos made, they started looking for potential band members online. That’s how they found me and then later on Zachary Newman (drums). Things started a bit slowly at first, with the four of us meeting occasionally to play around with the demos. The band only became an official thing in November of that year, that’s after we found a 2nd guitarist, came up with the name, recorded a home-brewed demo and created our band profiles on social networks!

How would you define not only your sound but the creative character of the band?

GG – Probably one of the hardest tasks for a musician is to define their own sound! We usually just do our thing without worrying much with labels and let people decide for themselves. That being said, we still think progressive metal is the best ‘easy way’ to inform others of what we do. We try to combine our various influences to craft tunes that have enough complexity in them to keep things interesting, but still have really cool and beautiful chords and melodies, hooky choruses and a good contrast between heavy and quiet sections. We generally focus a little less on technical displays (though there’s plenty of that for those who dig it) and more on simply writing tunes that we would love to enjoy as listeners. We are definitely a songwriting driven band, at the time of this interview, our first album is not even released yet and we are already hard at work at writing the second, and let me tell you, it is sounding very exciting so far!

Are there any previous musical experiences for band members and how have they been embraced in what you do now?

GG – All of us have had previous bands, in various subgenres of rock and metal, and that experience stays with you. Prog metal is the common denominator in our taste for music but each of us lets their influences seep into Sectile. Speaking for myself, I grew up enjoying heavy metal and hard rock in equal measure, bands like Aerosmith, Skid Row and Guns n’ Roses are among my favourites, up there with classic metal such as Iron Maiden and Savatage. I played hard rock in cover bands for years! Sectile doesn’t really sound like any of those bands, but I believe the influence comes through in the vocals, especially with the presence of high notes. I played in pop-rock oriented bands too, and I believe it gave me valuable insight in terms of writing good hooks, which is something we definitely explore in the context of Sectile.

Is there a particular process to the band’s songwriting?

GG – It varied over time, but it’s usually up to our guitarist Mark to do the bulk of the writing. We have an online drive where he saves the song ideas and the rest of us will listen to that and think of our parts. But the magic really happens at practices, when we put everything together and jam those ‘drafts’ with our drummer Zachary. Zach is more of a ‘in the moment’ guy rather than someone who does a lot of homework, and he comes up with unbelievable stuff on the spot, which in turn affect the guitars and everything else. So the process is very organic, with the five of us exploring a lot of ideas during those jams, guided by the song drafts Mark writes. For the vocals I will often mumble something over while the boys are playing to create the basic vocal melodies and later on write lyrics that fit those melodies.

Would you tell us about your latest release?

GG – Our debut full-length album is coming out on the 25th of February, it is titled ‘Falls Apart’ and it has 7 songs. One of the songs on it, ‘The Hunt’ was launched as a single about a year ago, and we have another single and video – ‘Black Cloud’ – ahead of this release, on the 4th of February. We are beyond excited to finally have a full album out, it is something that we worked hard to achieve and we’re very proud of the result! We hope people love it as much as we do.

What are the major inspirations to its heart and themes?

GG – The album covers a wide spectrum, from light to dark. The melodies that appeal to us the most tend to be melancholic, and the lyrics also reflect that, as we speak of themes that pertain to the darker aspects of the human psyche. I am a big fan of sci-fi and horror books and movies, but we try not to be too obvious about it in the lyrics, they’re more metaphorical. We also have a lot of savage riffs and big choruses in the songs, we like that contrast!

I am always intrigued as to how artists choose track order on albums and EP’s and whether in hindsight they would change that. What has been the deciding factor for you or do songs or the main do that organically?

GG – That’s a great question! On Sectile, as a new and largely unknown band, we strive to balance our artistic integrity with strategic thinking when making those kinds of decisions. A band with an established fanbase has more freedom, as they can count on people checking out the full album either way. An unknown band doesn’t have that luxury, so you have to make sure the first song will grab the attention of many different types of listeners from the get-go, because if it doesn’t, you may never get another chance. So the first few songs have to be some of your best, and the more ‘demanding’ songs can come later once the listener has already decided to give you their time. It’s also important to finish with a banger to leave a positive lasting impression!

What do you find the most enjoyable part of being in a band and similarly the most cathartic?

GG – There are many great things about being in a band! To me it’s always been a way to keep my sanity and blow off some steam, so I suppose it is not only a pleasure but it’s also ‘therapeutic’ in a way. When you’re in a band with people you genuinely like, and you’re creating music together, that’s an incomparable kind of satisfaction. As for cathartic moments, those tend to be when you play live and you see the crowd really getting into the music and what you’re trying to do. It’s a really phenomenal feeling!

For anyone contemplating checking you out live give some teasers as to what they can expect.

GG – A local reviewer said at one of our first gigs that “Sectile is a band that needs to be seen live”. We really work hard into putting on a great show. There are a lot of times where we let the songs speak for themselves but when things get energetic, so do we! It’s actually very hard for me to stand still on stage, growing up I was fascinated with that 70’s – 80’s type of rockstar frontmen who really owned the stage, and started to emulate that, even at practices to really get the hang of it. Bruce Dickinson is my number one influence there, he’s the number 1 metal frontman of all time for me.

What has been your most thrilling moment on stage to date?

GG – Just recently we decided to organise our own headline gig at a local bar that’s not exclusively a rock / metal venue, we had never played there before. Right before we started, the place suddenly got full, most people were total strangers who didn’t know they were at a prog gig. Anyway, we finished our set with an epic 13-minute long tune, and even so the crowd immediately started to chant “one more tune”! That was absolutely unexpected under the circumstances and totally exhilarating!

Do you have live dates coming up?

GG – Absolutely! We are back in Dublin’s Fibber Magees for Metal 2 the Masses again, and we’re really excited about it. We also have our album launch party in The Grand Social on February 28th with a cracking support line-up. That’s going to be a great night we think!

What else can we expect in the near future from you guys?

GG – 2020 is really going to be all about our new album. We plan to work our hardest to share this music with as many people as we possibly can, through promotion and through live performances. With this album in hand we are really aiming to broaden the Sectile name, and we really can’t wait to find out what people think of it!

What are the major inspirations to you sound wise and as a musician?

GG – This answer can change for any of the band members depending on what day you ask them! But, I find that there are a number of bands we always circle back around to when we’re songwriting or discussing musical ideas collectively. Bands like Opeth, Leprous, Porcupine Tree, Symphony X, Pain of Salvation and TesseracT would be some of them. To me personally, in addition to those I could mention Savatage, Iron Maiden, Skid Row, Angra, Marillion, Jeff Buckley, Devin Townsend, Guns n’ Roses and Jimmy Gnecco from Ours.

And finally what song or release would you say was the spark to your passion for music?

GG – It’s hard to say! I’ve been into music for as long as I can remember, rock and metal captured my attention early on. More than a specific song or album, perhaps I should mention the first time I saw a live gig, it was my brother’s rock covers band with his high school mates, that day really changed my life because I was absolutely blown away to see that it was possible to get on a stage and play a gig in front of people. I decided then that I would pursue the same thing, part of me is probably still yearning for the thrill I felt that day as a child.

Many thanks once again; anything else you would like to add?

GG – First of all, thanks for the interview! I would like to invite everyone to check out our new single and video ‘Black Cloud’ (available from February 4th) as well as the ‘Falls Apart’ album, out on February 25th. We love to interact with our audience so please drop us a message on social media telling us what you think of the album! You can find it on all platforms for streaming and / or for purchase on digital and CD formats – just look for Sectile on your preferred service. Thanks for listening!

check Sectile out further @…

https://www.facebook.com/sectile/   https://twitter.com/SectileOfficial   https://www.instagram.com/sectileofficial   https://sectileofficial.bandcamp.com/

Pete RingMaster

The RingMaster Review 27/02/2020

Copyright RingMasterReview: MyFreeCopyright

Black Lilium – Dead Man’s Diary

credit_by_Andy_Gruenitz

Last year saw the digital release of Dead Man’s Diary, the debut album from progressive melodic metallers Black Lilium. To provide an injection of fuel to its ear grabbing presence, the German outfit has just unleashed it in physical form, another reminder and nudge on the rich attention its impressive exploits deserves.

You could say the seeds to the band were first sown in the school days of guitarist Marcel Wroblewski and drummer Jan Knoop, the pair friends who subsequently played together in their first band in 1987. Jumping forward to 2013 and the pair began to work together again with Black Lilium formed a year later. In time its line-up was completed by guitarist Maurice Scholz, bassist Lasse Lammert, and vocalist/keyboardist Felix Hochkeppel, a quintet swiftly showing their imagination, craft, and bold adventure within Dead Man’s Diary.

There is something familiar but more so boldly individual about the band’s sound, its melodic seduction and rousing physical roar something akin to a fusion of Malum Sky, Silent Descent, and Voyager with a potent splash of early My Chemical Romance. Album opener Beast In The Backseat quickly insists of a predominate uniqueness to the band’s sound though, the song a swiftly and persistently striking introduction to the band for ears. Keys spread an engaging mesh first, rhythms lurking in its midst before triggering a voracious stride complete with swinging beats and the instantly delicious grievous grumble of the bass. There is an instinctive catchiness to the Black Lilium sound in general which just as quickly soaks the first track even as it calms a touch for the entrance of Hochkeppel striking tones. Every note and syllable comes with an inherent swing, the imaginative dexterity of voice and sound prowling every twist and moment with the same tenacity.

COVER_credit_by_Chris_Valentine

It is a great start to the album and straightaway Paragon Of Imperfection builds on it. An electronic reflection initially hugs ears, keys a thoughtful intimation as all the while darker shadows brew around them. Drama tints every evocative caress before Hochkeppel’s throat sparks another surge of contagious agility and energy which too embraces a melodic heart already bared. The volatility at the soul of the track never truly erupts but brings extra appealing drama to the encounter before Demon In Disguise out shines both with its virulent character and almost prowl like gait. As siren-esque as the embodiment of dangerously dark temptation that is its central protagonist, the outstanding song infests as it seduces, invades as it charms; its shadow wrapped moment of calm as magnetic as the galvanic roar driving its impressive presence.

As all tracks within the release next up Start All Over effortlessly fuses light and dark emotion and intensity with rich enterprise and imagination; the nurturing of a fine line in unpredictability within a fluid landscape of infectiousness extra captivation. The rhythms of Knoop and Lammert bite as they tempt and encourage, keys and guitars weaving a just as compelling persuasion within the track’s dark serenade while both Never and Walls Around My Soul seriously aroused with their respective uninhibited creative agility and emotive brooding. The first again is the epitome of one of the band’s stirring traits which helps shapes the album, its sound physically stalking body and imagination as it manipulates both into eager engagement with organic almost pop like catchiness while its majestic melancholy lined successor teases and tempts intimate shadows whilst brewing its own singular virus of invigorating sound and emotional orchestration.

Across the likes of equally inward seeking Everything I Am and The Ones You Made Us with its bold declaration, the band’s ever varied blend of flavours and captivation adds greater depth and captivation to Dead Man’s Diary; darkness, inner light, and the melancholic beauty which pervades the whole of the release uniting with individual attention hounding craft and a combined imagination which never lets expectations settle. If not quite breaching the depth of lust as incited by earlier tracks both offerings left ears and pleasure enriched, the following My Purpose similarly nurturing quick and increasing greed for its swiftly established distinction.

The closing pair of the album’s title track and Ghosts Without A Voice ensured Dead Man’s Diary left as dramatically and powerfully as it began, the former rising from a solemn sigh on melodic guitar threads to craft an incendiary pyre of emotion and sound; Hochkeppel’s continuing to impress vocals exposing heart and intensity. The final track almost infernally nags before opening up its electro metal resourcefulness and suggestion; a continuing rich temptation as the song unfurls its aggressive metal and invasively contagious trespass. Both songs alone left a hunger for more, an appetite severely exposed and escalated with every listen of this exceptional album.

So whether preferred as files or as something firmly grasped in the hand on CD, Dead Man’s Diary should seriously be checked out and indeed with great releases like this Black Lilium are unlikely to remain in the shadows of recognition for much longer.

Dead Man’s Diary is out now across most stores.

https://www.blacklilium.de/    https://www.facebook.com/blackliliumband/   https://twitter.com/blackliliumband

Pete RingMaster 18/02/2020

Copyright RingMasterReview: MyFreeCopyright

Arcade Messiah – Hell By Default

After two years of pretty much silence since the release of previous release, Trilogy, Irish musician John Bassett has returned with a new slice of Arcade Messiah temptation. Hell By Default is that offering, the declaration of a new captivating breath to his sound and songwriting and an ear grabbing EP making a rather potent teaser to a new album in the works.

Already renowned before Arcade Messiah as the frontman/songwriter of KingBathmat, Bassett himself says that ‘After a couple of very difficult years, I’ve finally managed to get back to making music, the new Arcade Messiah sound is more song focused with vocals…” That was the first surprise as previously the Sligo based songwriter/multi-instrumentalist/producer’s project has been an instrumental adventure and news which immediately intensified the intrigue as fruitful experiences with KingBathmat and SΔCRED ΔPE as well as an acoustic album under his own name proved vocals was another potent string to Bassett’s creative bow.

Equally there is a new hue to the Arcade Messiah sound, a lighter multi-flavoured flume of melodic imagination and contagious hookery which comes with something of a KingBathmat lining but one which colludes with and enhances rather than defuses the established progressive shadow haunted explorations of Bassett’s project. Its first three albums and their union as Trilogy in 2017 provided a cathartic venture for the imagination within a kaleidoscope of suggestive sounds for ears. Hell By Default is no different yet with its broader palette of enterprise is a bold new trail of exploration for Arcade Messiah.

The EP opens with its title track, a song taken from that new and fourth album planned for release later in the year. Hell By Default rises on a siren sonic call, a lure within which a teasing melodic hook soon beckons and the tones of Bassett coax. With every note and second, the song gently but firmly accelerates its urgency and temptation, soon hitting a keen stroll soaked in drama and fiery intensity. Rock and metal essences blend in the post rock nurtured flames which boldly consume and ignite upon the senses, dark almost rapacious tints soaking the creative trespass swiftly igniting imagination and appetite. It all unites for a thickly magnetic proposition and a greedy devouring of the return of Arcade Messiah.

The following Death X-Ray strolls in with a calmer and lighter character and touch, one fuelled by an instinctive tempting and organic catchiness which instantly gripped attention. As melodic infectiousness, vocal intimacy, and rhythmic persuasion continue to flourish, the track blossomed with greater radiance. Even so a shadowy courting to the melodic radiance and emotive heart on offer brings an edge and drama which only highlights the nagging prowess of hooks and grooved melodies, the result another track which only compelled pleasure and attention.

Hell By Default concludes with its instrumental version, a piece of creative inference which led thoughts to a different adventure to that highlighted by the words of Bassett in the opener and that is another attribute proven to its creator’s craft, songs can have a dual aspect and has the imagination constantly conjuring.

It has been a perpetual pleasure for us to engage in any Arcade Messiah encounter so far and the new EP only repeats that experience though through it there is a feeling that that new album could be the biggest thrill of all.

Hell By Default is available now @ https://arcademessiah.bandcamp.com/album/hell-by-default as a name your price download.

https://www.facebook.com/arcademessiah

Pete RingMaster 09/08/2019

Copyright RingMaster: MyFreeCopyright

Maziac – Forged

When a release instantly and impressively smacks you in the face and proceeds to tease, taunt, and fascinate thereon in you know there is something rather special in the brewing. Forged is one such proposition, the new album from UK based outfit Maziac devouring ears and attention from its first breath and only continuing to captivate with its eclectic body through every passing second.

Formed in 2017, the London residing trio of guitarist/vocalist Tony Best, bassist/synth player Tim Stokes, and drummer Marc Vachon have already faced potent fan and critical praise through their first EP, the Justin Hill (SikTh) mixed and mastered Parallel unveiled in the May of 2018. Its success alongside the band’s rousing sound and live presence has led the band to share stages with the likes of The Ever Living, Epsilon, Derange, On Hollow Ground, and Winchester; it all adding to their growing reputation. All previous acclaim though should be quickly paled by that destined to be garnered by Forged, one of the year’s brightest gems so far.

Again recorded with Hill, Forged erupts with an immediate predacious hunger, opener Symptomatic a tempest sweeping in and consuming the senses. Rhythms bludgeon as riffs dismantle the senses, Best’s vocals just as urgent and rapacious as a cyclone of djent/technical and alternative metal/rock disgorges its rabid temptation. It is a starting introduction which only continued to incite and thrill as the song reveals its craft and prowess. As quickly and continually proven, Maziac have a sound which enjoyably proves very difficult to pin down with references to others but certainly within its ferocious sonic kaleidoscope essences resembling bands such as Fear Factory, Deftones, The Contortionist, Between the Buried and Me, and Spineshank swirl.

It is a stunning start keenly and powerfully matched by the following Escapism. Relatively restrained in comparison, the track still prowls with a definite predatory intent; its rich body wrapped in melodic wiring as alluring as they are cutting. Best’s vocals equally have a calmer harmonic edge in a delivery as varied as the sounds around it, the band’s alternative rock instincts a thick colour to the inventive metal of the song. It is hard not to think of the track as a beast, stalking and preying on willing ears tempted by sonic plumage of inventive temptation.

Cortisol teased an already eager appetite right away with the rhythmic rapping of Vachon, his beats taunting attention as the guitar brews up its subsequent eddy of bold enterprise and melodic flaming. The song’s progressive nature shapes its imagination; rock ‘n’ roll contagiousness fuelling the animated gait of unpredictability. There is a touch of Voyager to the track as too Muse but once again, it emerges solely Maziac before Prisoners saunters in with its swiftly beguiling lures. A whiff of The Kennedy Soundtrack shades its beginnings, a Muse-esque hue adding to the mix as the riveting track unfurls its intrepid enterprise and adventure to challenge for best track honours.

The melodic intimation of brief instrumental Vicissitudes had the imagination conjuring ready for the far more feral but composed dynamics of Again. Once more progressive and djent elements collude in its buoyant design, Stokes’ bass not for the first or last time a rousing snarl of incitement in the midst of skilled melodic and sonic endeavour. It is fair to say that as potent tracks are on first listen, each following play only reveals fresh depths and textures for greater rewards as no better proven than here.

Deceptive of its title, Allure instantly embroils ears in a pestilential cauldron of metal but soon relishes the band’s melodic dexterity and the almost poppy catchiness that breeds. It is a thunderous encounter teasing with glimpses of the peace at the eye of the storm, never giving in to predictability or anything less than compelling while closing track, Resolution, casts its own experiment in texture and tone to bring the album to a fine close. In certain moments almost primal in its climate and in others like a melodic sunspot, the song just enthralled as another aspect to the Maziac sound and imagination is shared.

With Forged ringing in our ears it is easy to be excited about what is ahead for and from Maziac because as suggested, they have created one of the year’s finest moments so far.

Forged is released July 5th; available @ https://maziacband.bandcamp.com/album/forged

https://www.facebook.com/MaziacBand/   https://twitter.com/maziacband

Pete RingMaster 05/07/2019

Copyright RingMaster: MyFreeCopyright

Redshift – Cataclysm

With influences to its breeding ranging from “70’s/80’s Rush and Genesis to more modern prog like Dream Theatre and Between the Buried and Me” it was hard to exactly imagine what the debut album from UK metallers Redshift was going to offer. It was an intrigue though rewarded with a release which was as unpredictable as it was fascinating and only increasingly enjoyable by the listen.

Their sound is tagged as progressive metal but that only gives one aspect of the Bath trio’s sound. It embraces extreme metal textures as easily and readily as melodic and classic hues, the band’s technical prowess just as ripe and open within the creative tapestry. For personal appetites there are moments which simply enthral and other times where the record merely held keen intrigue yet from start to finish Cataclysm held court on ears and attention and as mentioned with increasing success.

A concept album depicting the story of an invasion like no other around an engrossing lyrical thread based around honour, love, and a devastating apocalyptic event, the Ben Turner produced and Jamie King (Between the Buried and Me, The Contortionist) mastered Cataclysm easily lured attention with its opener, Overture: Something In The Sky. Immediately the technical craft of the band engaged; the guitar of Joshua Boniface casting a lure of intimation before showing its feral side alongside the driving rhythmic incitement of drummer Jack Camp and the rich lines of bassist/vocalist/keyboardist Liam Fear. The instrumental with its progressive suggestiveness effortlessly had the imagination weaving before the full force of Invasion descends.

The second track rises up from the formers portentous calm, almost hunting the senses and conjuring thoughts before rushing their barricades with vocal causticity amidst guitar spun wiring. The unpredictability and imagination of the band’s sound is soon properly unveiled, the song an aural kaleidoscope of flavours and sonic grains all designed to spread the tale and entice firm attention. Extreme and seductive textures continue to fluidly collude across the compelling proposition, the band’s progressive instincts seemingly honing the attributes of everything unveiled before Call to Arms stirred things up further with defiance and aggression. Yet it too brings an infectious melodic essence to its eruption, the mellower calms in between like the verbal and sonic narrator to the blossoming conflict. As the album itself both are tracks which reveal a little more by the listen, the richness of their narrative and bodies only thickened over time.

Promises provides a melodic amnesty to the friction, its unsettled piano crafted repose the calm before the storm, a tempest announced by church bell chimes and unleashed by the outstanding Fire, Smoke and Thunder. It devours the senses instantly, every angle of its attack carnivorous but equally voraciously virulent, ferocity and barbarous intent in league with dextrous progressively hued enterprise throughout. Easily our favourite track within Cataclysm, it tips a great potent release over into rousingly impressive if leaving the final pair of tracks the unenviable challenge of following its triumph.

Both May Fate Rest Upon You and The Last Stand may miss out rivalling their predecessor but both escalate the album’s appeal, the first with its classic hues over appetite nagging technical prowess and the closing track through its evocative atmosphere and expressive melodic radiance, a redolent beauty across a mercurial landscape which is never far from erupting and at times does so with rapacious agility and expectations defeating invention.

The final song also epitomises the unpredictable nature of album and sound, a core reason of its perpetual fascination and temptation and even after numerous plays we are discovering fresh things to chew on and enjoy within Cataclysm. Suggested as an album for fans of bands such as Opeth, Between the Buried and Me, and Dream Theater, Redshift has provided something well worth checking out for anyone with a taste for adventure.

Cataclysm is available now digitally and on CD @ https://redshiftband.bandcamp.com/releases

https://www.facebook.com/RedshiftBandUK/   https://twitter.com/RedshiftBandUK   https://www.instagram.com/redshiftbanduk/?hl=en

Pete RingMaster 01/05/2019

Copyright RingMaster: MyFreeCopyright

Obey – Swallow The Sun

Obey have not exactly been hidden in the shadows of the UK metal scene in recent years, finding acclaim and success with increasing intensity but now the Midlands outfit is surely poised to really demand and receive major attention with the release of their new album, Swallow The Sun. Offering nine tracks of the band’s firmly individual fusion of heavy rock, groove metal, and doom bred intensity, though that only hints at the flavours involved and it all wrapped in progressive metal individuality, the band’s fourth full-length takes the listener on a creative and emotional journey shaped by fascinating imagination and potent craft.

Formed in 2008, Obey has established themselves with increasing success within the British metal scene live and across a trio of previous albums starting with their debut, New Day Rising in 2009. If that first release for the Staffordshire trio tickled strong attention, Doom Laden in 2012 and Maelstrom four years later gave it a bigger jab to reinforce a redoubtable reputation earned by their live prowess and successes. As suggested though Swallow The Sun is a proposition which swings a mighty dextrous hook at ears, swiftly revealing itself not only the band’s finest moment yet but a release which easily grabs attention away from the majority of releases to grace the year so far.

With ex- Generations and Molly Leigh drummer Ryan Gillespie completing the band’s current line-up alongside guitarist/vocalist Steve Pickin and guitarist/bassist Dan Ryder last year, Obey joined up with producer Sam Bloor at Lower Lane Studios to record Swallow the Sun and immediately the album takes a robust hand on ears with opener Back Home. Riffs straight away nag at the senses, they soon entangled in the sonic intimation of a solar thread of guitar. The band describe the album as a “sonic journey dealing with the cruelty of Dementia and the devastation it leaves, melding that together with themes of fantasy and folklore” and from its first few seconds there is a haunting dark hue to sound and atmosphere even as the track quickly collects its attributes to create tides of rhythmic and sonic enticement. Like the band’s sound is a blend of open styles skilfully united, the song is a web of textures as voracious and often predatory as they are melodic and frequently seductive; an encounter as unpredictable as it is captivating for a simply superb start to the album.

Drive follows and it too simply seizes ears from its first wiry throes before opening up its kaleidoscopic landscape, one tempestuous and as unsettled as it is creatively magnetic but a maelstrom of enterprise fluidly consuming and exciting ears. Classic hues join modern and progressive essences as the song blossoms by the twist and turn, Pickin’s vocals a strong and emotionally disturbed match for the cauldron of sounds around him. Both the opening pair of tracks has an inherent catchiness to them which is just as instinctive within next up Call Of The Judderman. Initially there is a common wiring between the third song and its predecessor, a core asylum of sonic endeavour but it soon unveils its own unique character and presence across three minutes of compelling confrontation.

Star Crusher takes the imagination on a swift heavy doom laden cruise across celestial space, its fuel imposing intensity before landing ears and appetite at the siren presence of Esmeralda And The Doom Blues. Instantly seductive verging on the salacious, the track soon reveals its medusa-esque heart in sound, endeavour, and threat whilst simply ambushing any possible resistance to its melodic bewitchment before the album’s title track romps across the senses and instincts with its flirtatious rock ‘n’ roll. Defiance to its bounce and swing was futile; submission to its virulent scheme unsurprisingly inevitable as the song rivalled and at times eclipsed the already thrilling escapade of the album so far.

A calmer air embraces ears next as The Mountain looms up, the song soon ensnaring them in its own commandingly creative lattice of guitar as rhythms manipulatively infest. Even so it is a less volatile proposition though it carries certain tempestuousness in its outstanding body of sound and imagination while snarls and wonderfully harasses the senses with its technical mastery and physical agility. Both tracks keep the lofty heights of the album in place with ease leaving Emerald Eyes to bring Swallow The Sun to a similarly fine close if it took a touch longer to elevate to the stature of other tracks.

It does though simply epitomise the band’s craft and imagination and the wonderful unpredictability of every essence making up one addictive album; Swallow The Sun announcing Obey as one seriously striking proposition.

Swallow The Sun is out now @ https://obeyuk.bandcamp.com/album/swallow-the-sun

https://www.facebook.com/Obeyuk/   https://twitter.com/obeyuk

Pete RingMaster 11/04/2019

Copyright RingMaster: MyFreeCopyright

Obzerv – Acherontia Atropos

Praise and acclaim always has more force when it is delivered with a flurry of excitement and this is the fuel to our words on the new album from Greek metallers Obzerv. A ferocious cauldron come unpredictable kaleidoscope of sound embracing a broad landscape of metal, Acherontia Atropos is an irresistible voracious predator revelling in a world heading to its own end of days.

Maybe the triumph of Acherontia Atropos is not as major surprise as it could have been thanks to a debut album five years ago which awoke the metal scene to the Rethymno, Crete hailing outfit. Released via Greek label Trailblazer Records, it too garnered potent attention and recognition the way of the band but in hindsight merely sowed the seeds to the ravenous craft, ruthless temptation, and imagination bred agility of its successor.

Cast in the threads of modern metal lined with progressive imagination and rich technical dexterity, and with glorious artwork to match, Acherontia Atropos needed mere breaths to have ears and intrigue closely involved as opener, That Defining Moment followed its initial coaxing sonic lures with an imposing trespass of power and sound. Despite the threat of that thick infringement there is only invitation to its nature and adventure in the textures making up its incitement. Dextrous rhythms drive and shape the compelling wall of sound, they too as tempting in their swing as punishing in a touch bound in the compelling, bewitching wires of guitar. With the equally ravening tones of Nikos soon adding their dissonance, it is a creative maelstrom which proved very easy to be sucked into.

A riveting rousing start to the album not to mention an appetite inflaming one, it is backed up by the just as dynamic Apex Predator. The tapestry of style and imagination of the first is matched in the individual character and presence of the second, a track even more feral and craving in its gait and urgency. Essences of death, groove and progressive metal, to mention just a few, unite in the track’s creative web; it’s stabbing riffs, bass groove, and sonic lattice of flavours casting an adroit tempest which effortlessly got under the skin.

Mother Nature Is a Serial Killer followed with a gentle coaxing of the senses, the melodic beckoning of guitar a quickly captivating intimation within which a surge of riffs brews, coming closer by the half breath before leading in another entangled incitement of texture, sound, and discontent; the latter a fire of vocal enmity. Of course as the song evolves cleaner and harsher elements become involved as that unpredictability already invigorating the first pair infests song and imagination to magnetic effect; it’s still discontent soaked calms as poignant and striking as its hostile ravishes of ears. Obzerv’s sound is wonderfully hard to pin down in a few words and the multi-flavoured roar of this song just epitomises that inescapable lure.

New single Agitated is next up and in comparison makes a far more familiar and straight forward proposition though subsequent swirling grooves and unstable movement in rhythms and gait soon bring a strong temptation to the boil. Eventually rolling with almost barbarous appetite, bass and drums enslaved as sonic discord unites with melodic acidity around again a great mercurial vocal delivery; together all flourishing in ebbs and flows of capricious enterprise and threat.

Lyrical and vocal exploration of apocalyptic and nightmarish depths in a self-destructing world is as unappeasable as daring is dauntless in the surround sounds; both in full bloom within the epic Overthrown. Over nine minutes of the darkest shadows and intent it is a track as prone to be claustrophobic and suffocating as it is melodically seductive and imaginatively mesmeric. Volatility lines every second and breath, the track ever ready to scar and blister as it is to melodically romanced and imaginatively compelled eager attention. At its vast length maybe it is a touch too long yet with every inventive note and resourceful intrusion it is impossible to say it came anywhere near to outstaying is welcome or left intrigue looking ahead.

Through the rapacious rock ‘n roll bred corrosive metal conflagration of Thought and Voice and the prowling doom aired, carnivorously devouring Desensitise, the album gripped with tighter tenacity; both tracks riveted in their individual and imaginatively twisted clamours of observational restlessness, sonic exasperation and downright animosity aiding the second as it provided another major moment among plenty across the release.

The final incensed dance of Acherontia Atropos begins with Stage Chrysalis, a track which initially simmers in sonic and melodic vexing before emerging a searing caustic serenade, and closes with the predatory stalking of the listener that is Plot Twist. A track which discontentedly prowls even when unleashing its more physical rancour, it makes for a glorious, manipulative infestation of body and senses and indeed for a striking conclusion to one thrilling encounter.

We expect Acherontia Atropos to lead Obzerv into major European recognition and certainly into the greedy clutches of a whole new horde of fans; we suggest being among them.

Acherontia Atropos is released April 5th with pre-ordering now available @ https://obzerv.bandcamp.com/album/acherontia-atropos

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Pete RingMaster 21/03/2019

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