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

https://www.facebook.com/obzervband    http://obzervband.com/

Pete RingMaster 21/03/2019

Copyright RingMaster: MyFreeCopyright

Sober Truth – Psychosis

Less than a handful of months in and 2019 is already looking like it could go down as a major year for startling releases. Adding to the growing reasons why we are suggesting that possibility is the new album from German metallers Sober Truth. It is a snarling, writhing tempest of the band’s already individual progressive groove metal but has breached a whole new expanse of varied sound driven by an imagination living a up to its title; in short Psychosis is one dramatically thrilling engagement.

Formed in 2007, Siegburg hailing Sober Truth has established themselves as one of Europe’s most intriguing propositions across a trio of previous albums starting with Riven in 2009. The quartet has grown and nurtured their presence and reputation release by release but fair to say major spotlights and recognition are set to be stirred given the required opportunity with Psychosis. The successor to their previous well-received full-length Locust ▼  Lunatic Asylum, there is no escaping a new maturity and bolder imagination to the band’s songwriting and sound within Psychosis or the richer fusion of flavours making up its boisterous canvas.

The release opens with Solitude, the song initially brewing its attack in the background before crowding ears in a rapacious but controlled swirl of riffs and rhythms. A potent coaxing, it in turn soon centres its trespass and drives across the senses as eager grooves align with hungry riffs, the vocal antagonism of guitarist Torsten Schramm soon in league with the ferocious incitement. Instantly contagious and increasingly unpredictable as melodic strands and invention entangle in the fury while variety enhances the magnetism of vocals, the song just blossoms by the second. Already hints of different styles and spicing are at play, stronger in some moments than others but all adding to the track’s potent imagination and character.

It is a stirring rousing start easily backed by the sonic tapestry that is Akardos. Classic metal lined progressive wiring initiates the temptation, a great slim but rich prowling gait emerging before those early hues inflame the melodic enterprise of Schramm and lead guitarist Aaron Vogelsberg. Darker, heavier shadows soon infest the contagion, the esurient beats of Sam Baw uniting with the magnetic pulsation and lure of Jules RoCkwell’s bass. New threads of sound and styles continue to be keenly woven into the magnetic web before Dark Valley takes over the enslaving of ears and appetite. There is a bedlamic edge to Schramm’s vocals which quickly captured the imagination, one which only escalates across the song as musically too it nurtures an anarchic pandemonium within its skilfully bred infestation; the result which is maybe something akin to Dog Fashion Disco and Mudvayne meets The New Jacobin Club but is truly unique to Sober Truth.

The brief atmospheric ally portentous instrument of Ode To Reality leads to the authoritative bait of Riven which subsequently embraces thrash metal bred enticement and blackened shadows to its creative breast. As all tracks though, it evolves and spreads into a diversity of flavours and endeavour, the song as the band’s sound, wonderfully difficult to truly pin down though there is something of a Fear Factory tint to it.

The progressively flamed, death metal flushed Horizon and the nu/groove metal webbing of Utopia only cement the album’s potency and temptation; both unforgettable escapades forged in the diverse furore of sound and imaginative craft from across the whole band before Sober (ReArranged) reveals a whole new side and character to a song previously found on the last album. As catchy in temperament and intent as the original, the song flourishes in the fresh creative winds which race through the band’s growth in sound.

Dying Dreams follows bringing tenebrific clouds over melodic and harmonic intimation before the album’s title track seduced ears with its enthralling mesh of voracious metal and gothic rock equipped with almost malevolent grooves and post punk starkness. At times the song sparks thoughts of The Mission and Sisters Of Mercy, in other moments erupts in an insatiable squall of dissonance and instability. The track is superb, and one of the album’s biggest highlights.

The album concludes with an Unplugged rendition of Collapse, it too a song first introduced on Locust ▼ Lunatic Asylum. Whether intended as a mere bonus slice of Sober Truth goodness or not it provides a wonderful conclusion to Psychosis which is very easy to be greedy over.

Sober Truth may have still been an unnoticed proposition to many but surely that will change thanks to Psychosis. Quite simply the album is a real pleasure of originality and heterogeneity which deserves all the attention and plaudits it will hopefully get.

Psychosis is available now @ https://sobertruth.bandcamp.com/album/psychosis

http://sober-truth.com/    https://www.facebook.com/sobertruthband    https://twitter.com/sobertruthband

Pete RingMaster 14/03/2019

Copyright RingMaster: MyFreeCopyright

Joakem – Mind Matter

Mind Matter is the striking debut album from Cyprus-based singer songwriter, composer, keyboardist Joakem; a release which just blossoms and further impresses play by play. Woven in a magnetic blend of progressive rock and metal it shares tapestries of craft and imagination, they all created with an instinct to tempt.

Joakem (Stelios Ioakim), from his beginnings as a classical pianist, has formed and played in a host of bands including alternative rock outfit Slightly Offensive and melodic death metallers Tørment. Musically, as in rich evidence within Mind Matter, he embraces various threads of styles and flavours in his atmospheric and progressively nurtured sound and as proven by his first full length, it makes for one seriously enjoyable proposition.

The album instantly began to keenly lure ears and attention as opener A Peaceful Place teased with rapaciously edged guitar, its full entrance joined by an equally enticing coaxing from keys. Already what proves to be a distinctive flavouring to the latter is working away on a swiftly found appetite before just as potently Joakem’s vocals add to the temptation. Immediately too, there is an infectious touch and tenacity to the song, one which as the track evolves and reveals a wealth of imaginative twists and turns only intensifies while across its irresistible length, various metal bred colours from extreme to melodic ignite progressive rock instincts to create one fascinating and thrilling start to Mind Matter.

The following Resurgence makes a just as persuasive first impression; Joakem’s almost carnival-esque keys dancing with ears and imagination as riffs reveal a similar creative bent. Lively rhythms soon add to the swiftly captivating incitement before an atmospheric calm if one carrying crepuscular shadows, emerges. This in turn breeds a new wave of tenacious enterprise with keys, vocals, and guitar colluding in the casting of a richly compelling aural painting within which its creator’s classical breeding is a perpetual lure as too the Dave Greenfield (The Stranglers) scented those keys.

One of the album’s early singles is next up, Generation Z a fiery fusion of rock and metal with a snarl in its breath and irritability in its body yet equally a song sharing a reflective calm and spirited animation in its respective tempting and rousing roar. Maybe not as immediately gripping as its predecessors, the track only needed one round of its chorus to banish doubts, that carousing bred on the ever alluring presence of Joakem’s voice and keys before Illusory stepped forward to share its own intrigue lined exploits. It too has a dark edge and tone to its bold exploration of a shady world in sound and word but as potently a melodic radiance which only adds to the thick intimation.

Through the constantly tantalising journey of The Path, another previous single which awoke plenty of attention the way of Joakem, and the mercurial trespass of Terra captivation tightened. The superb first of the two is a blend of aggressive disposition and melodic elegance, though charm fuelled by fire bearing melody while its successor shares an instinctive earthiness with almost psychotic inclinations, twisting and turning with almost bedlamic mastery. A track which took a touch longer to persuade in comparison to others, it emerges as another big highlight as Joakem makes use of his obvious vast palette of sound and imagination.

Treacherous is a far less tempestuous affair though it too erupts in a cyclone of composed melodic and metallic fury led by the driven winds of keys. As with all tracks, it fluidly surges and slips through an array of contrasts and contradictions, impressing with its unpredictability and bold imagination before Departure brings it all to a great close. From an evocative caress of piano, the final song serenades and arouses the senses before rising up in virulent coercion of vocal chords and ardour providing a glorious end to an equally magnificent release.

Wrapped in the stirring artwork of Alexandros Papantoniou, at times Mind Matter is simply sublime and in other moments ridiculously captivating, throughout casting a web of easily addictive enterprise which only leads to our recommendation that you go treat yourselves.

Mind Matter is available now for download/streaming on all digital platforms with physical copies available @

http://www.joakem.com/   https://www.facebook.com/joakemmusic   https://twitter.com/joakemmusic

Pete RingMaster 12/03/2019

Copyright RingMaster: MyFreeCopyright

Malum Sky – Diatribe

Welsh progressive metallers Malum Sky have been coaxing attention for a fair while; from the 2015 release of their extremely well-received self-titled debut EP luring praise for their richly flavoured sound.  Now though they are done teasing it and are making real demands on acclaim and spotlights with their new mini-album, Diatribe. Offering five tracks which bound with energy and spirit whilst embroiling the imagination in their creative cunning and bold adventure, the encounter is a cauldron of fascination and pleasure.

Formed in 2014, the quintet as mentioned has earned high plaudits and support and equally through their live presence as their first release and a greedily devoured following single in Eye Above. It is easy to expect all success to date though to be majorly eclipsed by the surely to be eagerly welcomed Diatribe. The band’s sound has always been a multi-flavoured affair with its own notable stand out character but it has evolved and been honed into something truly individual and enthralling as evidenced by the band’s new offering. A collusion of progressive and tech metal with similarly bred melodic rock ferocity, it is a proposition which unapologetically arouses the imagination as like a fever it invades the body, making it inexcusable at the very least to not give it an eager check out.

There is a fresh darker feel to the band’s music from that first release, equally a heavier touch and intensity which seems to accentuate the melodic prowess already shown previously. With even more assured and adventurous songwriting going hand in hand with open individual craft it makes for a rather tasty proposition as proven immediately by opener Year Of The Rat. As it lays out its staggered bait the instantly compelling tones of vocalist Ben Honebone share their harmonic temptation, all the while guitars weaving and rhythms brewing their equally magnetic snares. Guitarists Michael Jensen Després and Jon Evans continue to entangle their enterprise and skills, setting out a web of melodic adventure around the track’s blossoming personality and imagination. A dark heady edge lines every strand set down as eagerly as it fuels the rousing trespass of drums and bass and with a great variety to the vocals around Honebone’s continuing to impress presence, it all makes for a striking and thrilling slice of creative incitement.

There is something of a TesseracT meets Karnivool spicing to the Malum Sky sound but indeed just a flavouring in something solitary to the band as confirmed just as easily by next up Borrower. Its gentle bordering teasing entrance comes with melodic intimation as keys add a melancholic yet radiant air. From the inescapable seductive caress warm vocals dawn but it is only the calm before a tempest of sound and enterprise. That though is equally the step to another twist and shade of emotional and physical dynamics, the track never afraid to revolve and evolve into another aspect of bold invention and initiative. As the first it is also an imposingly infectious affair in every way, its bite addictive and melodic lures delicious; a combination just as resourcefully exploited by next up The Coil. In fact from its first breath, the song has a catchy virulence which had body and spirit dancing like a puppet as ears and imagination succumbed to its brooding breath and increasingly rabid contagion. Després and Evans cast another riveting web of enterprise and technical prowess which alone compels attention but with fine vocals and a rhythmic manipulation to song and ears which directs reactions, the track is another major incitement within Diatribe.

All songs live up to that description though, the fiery and ridiculously infective Eye Above indisputable proof. Through the album the rhythmic incitement of bassist Athanasios ‘Saki’ Patsiouras and drummer Joe Wilkes is irresistible as it is dextrous but within the fourth track they simply seize instincts and appetite with their combined enterprise and drive. Their tenacious spine and leadership just sparks a matching hunger and endeavour from the rest of the band, every element of the track ambitious and ferocious, inventive and unpredictable.

The album’s title track brings things to a might close, the wiry net of enticement cast by the guitars around again voracious rhythms setting the tone of track and temptation. It is a carnivorous yet galvanic proposal grabbing easy attention and greed, a predator of a song again as virulently infectious as it is imaginatively gripping for a conclusion which alone makes the most rousing and memorable experience.

Across every single second, Diatribe was a major treat and adventure impossible to get enough of. Already 2019 has offered some truly striking and thrilling releases; Malum Sky has added another and one surely thrusting the band to the fore of the UK metal scene.

Diatribe is out now through Sliptrick Records across most stores.

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

Pete RingMaster 02/02/2019

Copyright RingMaster: MyFreeCopyright

Khaidian – Penumbra

The release of the debut album from UK metallers Khaidian has been long time coming, seemingly expected and all geared up to be unleashed in 2016. But as ears and the passions are finally being infested, those patient many will feel it has been more than worth the wait and can assume they will soon be joined by tides of new hungrily impressed and lustful hearts. Penumbra is quite simply superb; a cauldron of imagination and intensity wrapped in a rainbow of melodic enterprise amidst a tempest of technical and multi-flavoured dexterity.

Listening to Penumbra, there is no surprise at the rising reputation and stature of the London based outfit; both recently given boost by a trio of lead tracks to the album. Weaving a web of rich intrigue and thick persuasion bred from a fusion of progressive and technical metal, the band’s sound is just as inventive and tempting with its alignment to eager strains of electronic cunning. It is something akin to a fusion of the voracious flavours and touch of Gojira, Sikth and The Browning with the ravenous/melodic adventuring of Tricore/An Entire Legion; even so Khaidian pull it all to a proposition which is as unapologetically unique as it is greedily captivating as Penumbra forcibly proves.

Founded in 2010 by guitarist/programmer John Tyrell (ex-Interlock), Khaidian found its first few years as much a difficult journey to find the right mix and line-up of people as an adventure in nurturing and breeding their vision and sound. In fact, the perfect mix of personnel only really appeared once drummer Paul Fowler (ex Dragnerve) was enlisted to join Tyrell, vocalist Andy Hutton (ex-Stoopi/Dragnerve), and bassist Joseph Perumal (Mortad/ex-Almamorta). It was Fowlers departure leading up to the original release date of Penumbra which he plays upon which played a big part in its delay it seems but the band has since found the equally striking and agile percussionist in Kris Perrin (Gravil, ex-One Fell Down, Faux Fighters), he completing the current line-up last year.

Now with everything firmly in place Penumbra has been unveiled and we for one can only suggest it is the first leap in a massive and surely certain ascent for the band into the broadest spotlights. The album opens with Pearls Before Swine and immediately had ears pricked and appetite keenly intrigued as sonic and electronic enticement colluded with already stirring rhythmic lures. Just as swiftly the equally potent and enticing vocals of Hutton step forward; his clean, calm yet emotive tones an alluring bridge between the band’s sides of physical trespass and suggestive melody, their indeed their technical hunger and electronic intimation. The track continues to stomp and dance with the senses, a mix of the familiar and boldly fresh creating a whole new vehicle for ears and imagination to ride with.

The striking start is only reinforced by the band’s outstanding new video/single Dominion. Its entrance is even more rapacious but almost instantly wears a portentous calm before its predacious instincts unite with inventive and somatic catchiness. Pure persuasion with increasing enslavement of the senses, the track embraces further hues resembling those cast by Voyager and Fear Factory as it twists and turns with relish but never breaking its fluidity or charm carrying rapacity.

The following Trigger The Landslide glides in on electronic shadows around a slim but copious melodic insinuation; all the while its air brewing an intensity and threat which turns into a senses harrying stroll. Still the menace is part anger, part seduction; the song never choosing sides even as its body and imagination boils across another devilish landscape of thought, emotion, and craft. As with all tracks some kind of participation is inevitable with the increasingly blossoming and thrilling encounter, a manipulation just as potent within next up Thrive and in turn Sense Of The Spherical. A Korn-esque scent pervades the first of the outstanding two, its carnivorous breath colluding with the skittish flirtation and bite of rhythms and the tantalising yet voracious almost rabid lures of guitars. Hutton again is a matching magnet in its midst as the track creatively and vocally writhes while its successor similarly draws dark and esurient strains of sound and intent with melodic and flirtatious enterprise to tempt, seduce, and infest ears and imagination in tandem with the body.

The album concludes with the pair of Evasion and Dramatic Professions Of Martyrdom, the band getting under the skin with relish in the first where again whiffs of Korn meets Fear Factory share its own inescapable  individuality, and through the second’s musical irritability, melodic and electronic espionage, and simply unique prowess. Both tracks enslaved as heartily and strenuously as those before, the bounce of bodies enough to suggest eager submission, the following lust unbridled confirmation.

No release is going to win over all but with its thick mix of flavours including at times spices of grunge, alternative metal and more alongside sheer invention, Penumbra is one which is going to conquer far more than most and with ease we suggest. Though in theory three years late it is one of the freshest most thrilling things heard here in a long time and Khaidian one of the most exciting propositions.

Penumbra is out now through Armalyte Industries; available @ https://armalyte.bandcamp.com/album/khaidian-penumbra

http://www.khaidian.com/   https://www.facebook.com/khaidianmusic/   https://twitter.com/khaidian

Pete RingMaster 30/01/2019

Copyright RingMaster: MyFreeCopyright

Masiro – Geodesics

Simultaneously teasing and engaging the imagination from start to finish, Geodesics is the new EP from British instrumental metallers Masiro. It offers up six tracks which take the listener on their own inspired journey through realms of creative intimation and magnetic craft; a collection of pieces which provide a straight line to pleasure but across a landscape of adventure which curves and fascinates like an aural kaleidoscope.

A trio hailing from Oxford, Masiro consists of original founders in guitarist Mike Bannard and drummer Chris Pethers, the band emerging as a duo in 2011, alongside bassist Chris Hutchinson Mogg formerly of ex-50ft Panda. Scented by the inspirations of artists such as Meshuggah, Primus, Mars Volta, Animals as Leaders, 65 Days of Static, Psyopus and many more, their music is a tapestry woven from strains of mathcore, progressive metal, and post rock though that only skirts over its varied richness. The band soon drew acclaim once releasing debut EP Technocologist Unknown in 2016, praise and recognition only thickened by their live presence which has seen them share stages with the likes of Poly Math, Core of IO, Iran Iran, and Kusanagi as well as festival appearances.

Geodesics is surely set to see Masiro lure even greater and broader recognition and plaudits their way, though strangely it is an encounter which with us depended on close attention to be really seduced and enthralled. As background support to whatever maybe needed to be done, it is a certainly fully enjoyable but a touch too easy to have distractions take charge but sit ears down with headphones and record and Masiro had us lost in its riveting web of craft and imagination whilst bouncing to its dynamics and suggestive incitement.

The EP swiftly entices with opener Andromeda Handshake, the track almost instantly a sonic chasm of turbulence but from within which tendrils of melody bred guitar wrap around ears and imagination The snarling almost bestial tone of the bass keeps the threat alive whilst rhythms pick their spots with rapacious intent. The tempest though breeds melodic radiance, it being swallowed once more but only to wait its moment to crystalize air and the rich temptation it ignites. Perpetually evolving, the track transfixes from start to finish with its mercurial flight.

The following K-Ursa is a far calmer proposition from its first breath. Featuring the saxophone prowess of Charlie Cruickshank, the song is a warm almost summery canter but with bold flames in its sultry climate. Again though there is a volatile instinct to the music, one which never fully ignites but brings a thought inspiring temper to the melodic beauty woven and eventually incites it all to come to a fiery head for its finale.

Both tracks also revel in an array of infection spreading hooks and twists, a creative agility just as potent within next up 21:15. With shadows courting its lining and depths, the track is a dark almost predatory controlled waltz, always intimating a portentous outcome even through its melodic elegance; a threat accentuated by the throaty growl and crawl of the bass and Pether’s agile swings. As all tracks it sends thoughts off on an exploration, espionage and danger courting their conjuring this time around.

The sonic displacement of Intermission: Graveyard Orbit with Lee Riley supplying drone dissonance intrigued if not much more and is soon forgotten as the outstanding End Permian emerges from its raw mists. Instantly a nagging groove had us hooked, its guitar lure increasing as the bass seduced as it prowled with slight irritability amidst a shimmering melodic glaze. Subsequently, as you can rightly assume, the piece gyrates with ideation and individual craft aligned to a united imagination, every slip into something new as fluid as it is expectantly unpredictable.

The release concludes with Grand Trine, another inescapable incitement of emotional and physical response. It is carnival of eager bordering rabid enterprise, the band’s mathcore instincts dancing like a dervish around relaxed moments of equally compelling melodic insinuation. As with all tracks, where it takes you will be as individual as the sounds provoking your imagination and as each we suspect leaving little else but pleasure especially the deeper you immerse in its creative emprise.

That is the same for Geodesics as a whole, give it your total time and attention and the rewards verge on the irresistible.

Geodesics is released September 7th, available @ https://masiro.bandcamp.com/

https://www.facebook.com/masiromusic   https://twitter.com/masiroband   https://www.instagram.com/masiro_band/

Pete RingMaster 07/09/2018

Copyright RingMaster: MyFreeCopyright