Ciconia – Winterize

Ciconia_RingMasterReview

One complete movement or song split into ten standalone chapters, Winterize is one riveting adventure for ears and imagination. The new encounter from Spanish instrumentalists Ciconia, the concept album is a bold and fascinating merger of progressive rock and metal with post rock attributes aligned to a whole array of other flavours and styles from stoner to folkish enterprise. Winterize is quite superb, a mesmeric and invigorating incitement leaving pleasure and spirit eagerly aroused.

Hailing from Valladolid and drawing on inspirations from the likes of Opeth, Anathema, Distance Calling, Toundra, Mogwai, Liquid Tension Experiment, and Porcupine Tree, the 2013 formed Ciconia soon grabbed attention with debut album The Moon Sessions the following year. Its impressive body drew the band to the attention of the Independent Music Awards in Spain last year, that recognition backed by The “Z” Sessions EP, which featured a trio of tracks from the album re-mastered and remixed by Roy Z and was unveiled as the band hungrily took their live presence around Europe; the likes of France, Italy, Germany, Holland, Belgium, Slovakia, Romania, and Hungary taken in as well as extensive shows across the band’s homeland.

Now it is Winterize set to awaken new spotlights; an aim easy to see succeeding such the beauty and impressive melodic character of the album alone. The trio of bassist Jorge Fraguas, guitarist Javier Altonaga, and drummer Aleix Zoreda open the album and creative narrative up with Snowfields. From wintery winds and a solitude suggesting ambience, a single melody flickers into life and begins seducing ears and imagination. Like a flame in the cold air, it dances on the senses, painting provocative imagery in thoughts before the band cast an alluring mix of classical and Spanish like guitar. With the theme of the release from artwork to aural suggestion, expectations were that the album would provide cold and imposing soundscapes to ponder. The pure warmth and elegance revealed by track and album throughout was not predicted but swiftly devoured as it added to the inventive palette presenting the imagination with plenty to work with.

cover_RingMasterReviewThe gentle flight of the first track is replaced with the busy and bullish tenacity and energy of Eloina´s Inn. Strands of varied metal and heavy rock enterprise entangle as they descend feverishly on the senses, the track like a celebration and boisterous oasis out of the starker air of surrounding creative scenery. Rhythms are virulently dynamic and guitars a blaze of flirtatious and descriptive adventure whilst the skills of the individual members are as open and gripping as their combined endeavour.

There is no way words can present all that is going on in songs and album or of the diverse flavours lured into each dramatic piece of composing and invention but as the volatile soar of Limbus and the snarling confrontation of Scarsman proves, Ciconia create music which does not need to offer or receive any hints or clues to help the listener invest in their own adventures.  The first of the two takes thoughts through spatial hues whereas its successor creates a flesh marked protagonist in another mentally sculpted exploit which you would might be wary of yet reassured of their involvement.

As each track passes it offers a theatre of sound and rousing ingenuity; the epic serenade of The Forgotten casting a melancholic embrace and tempestuous fire of attitude and emotional turmoil all in one whilst A wolf never comes alone is as predatory as it is anthemically irresistible. A tempest of ear lashing beats and carnivorous riffs at its core, the piece is also a maze of classic rock acidity amidst antagonistic turbulence and quite thrilling. Its darker moonlit secrets and dangers midway only add to the bewitching drama of a song which leaves ears and emotions alive and ready to be ignited further by the outstanding Reel of Trevinca. Spanish folk rock meets Celtic spicery, the song has a great essence of Horslips about it at times as it whips up a jig and romp to get physically involved in.

The very brief melodic stroll of Forestwalk beside the crystal beauty of running water leads thoughts into the classical, almost vaudevillian exploits of Fiadeiro. Extreme metal textures collude with the radiance of classically spun melodies, further growling textures emerging with each twist of the song’s adventure and the sonic enterprise which colours the scene painting imagination shaping it.

The album is completed by the sixteen minute plus Towards the Valley, an emprise of craft and unpredictable incitement that seamlessly and beautifully moves though peaceful scenery into shadow drenched and in turn danger spawning challenges. Continuing to revolve and evolve through various shades of each across its long but seemingly quick in the ear such the eventful nature of its passage, the track is a striking end to a sensational release.

With Winterize, Ciconia have pushed themselves to the fore of instrumental and progressive rock; more importantly though they have given ears and the imagination one truly exciting and irresistible collection of aural pigments to go conjure with and inevitable richly enjoy.

Winterize is out now @ https://ciconia.bandcamp.com/ and http://www.ciconia.bigcartel.com/

https://www.facebook.com/ciconia666   https://twitter.com/ciconiaband

Pete Ringmaster 19/04/2016

Copyright RingMaster: MyFreeCopyright

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

Aliases – Derangeable

Aliases_RingMasterReview

Obviously, it is too early to suggest what will be the best of 2016 but amongst album contenders we suggest you can expect to see Derangeable flirting with the top spot. The new and second album from British progressive tech-metallers Aliases is simply majestic, inescapably irresistible, and a proposition more than living up, in sound and imagination, to the its title.

The brain-child of former SikTh guitarist Pin and fellow six-string maestro Leah Woodward, Aliases quickly whipped up attention and eager appetites from the first steps of its emergence in 2010. The band’s first year saw ear exciting single We Never Should Have Met create a potent buzz; an introduction quickly backed by the band making their live debut at Euroblast Festival in Germany and subsequently signing with Basick Records. Highly acclaimed debut album, Safer Than Reality, was uncaged in 2011 to swiftly make the band a potent presence and protagonist within tech metal and suggest the potential to rise to the stature of Pin’s former band. With a new vocalist and drummer bringing their prowess to events, Aliases easily live up to that promise and indeed have more than matched, and arguably surpassed, anything previous exploits have offered with Derangeable.

The album is a non-stop, often exhausting kaleidoscope of sound and invention; a release as technically beguiling as it is infectiously compelling and creatively mouth-watering. It is also an openly individual and unique proposal which at times borders on the loco in its dance of craft and imagination. It all starts with Find Where You Hide, a track which leaps at ears with a wall of imposing rhythms and spiky guitar coaxing as new vocalist Joe Rosser springs with equal attention grabbing zeal. From his initial dirty tones, he swiftly gives a glimpse of his melodic and harmonic diversity which increasingly shines across song and especially album. If ever a voice was perfect for an unpredictable and fluidly eventful sound, Rosser’s is it; his delivery and invention seeming to flow and prowl the inventive discord and flirtation lining every twist and turn in sound with their own striking adventure. The song itself continues to seduce and incite; the sultry addition of sax, antagonistic beats, and finally classical keys, just a few strands in the enthralling tapestry of the song.

art_RingMasterReviewEverything Is Upon Us is soon dazzling ears and thoughts with its instant busy weave. Entangling varied metal bred lures with funk, avant-garde, and nu-metal devilment, the track enslaves in seconds. The guitars of Pin and Woodward simply dance with almost schizophrenic invention whilst Joe Heaton’s bass prowls through it all like a predator equipped with resonating groans and salacious grooving. As with all songs, it is impossible to reflect the emprise of senses twisting and psyche captivating exploration going on, every second seemingly a new cascade of adventure as shown again in the beefier and equally melodically alluring Back To The Start. Shaped by the crafty swings and beats of Jof Walsh and coloured by the impressive vocal exploits of Rosser, the song emerges like a mix of The Kennedy Soundtrack, KingBathmat, and maybe unsurprisingly SikTh on the way to being something distinct to Aliases.

The pair of Smile All You Like and Deep Sea Avenue keeps attention tight and the imagination stirred; the first with its intricately woven exotic bedlam of guitar and rhythmic ingenuity ridden by the great vocal resources of Rosser and band. It is a fascination of sound and imagination emulated in an even more strikingly unbalanced way by its successor, a track that growls and leers at the listener whilst taking them through its sonic psychosis. It is an outstanding and virulent treat of sound and temptation pretty much matched in success by the lighter yet just as frenzied tango of Uncontrollable Desires. There is a touch of Korn and System Of A Down to the song; spices which simply add to the irresistible web of creative alchemy infesting body and spirit.

The commandingly intensive and barbarously engrossing Callous comes next; it a merger of contrasting shades of aggression and intent bound together by the band’s ever riveting casting of unhinged innovation in sound and idea. It completes a quartet of unmissable favourites at the centre of Derangeable, though through the agitated maze of Face For Lust, where the bass is instinctively flirtatious, and the similarly dynamic and left-field bearing Seen It All, the album and pleasure are locked closer together than ever.

The album comes to a mighty close with the grooved beauty and psyche bending resourcefulness of the wonderful Untangled Mind and finally the warm harmonic charm and mischievous eccentricity of Above The Sky. The pair provides a quite glorious and lingering conclusion to not only one of the year’s major triumphs so far but one of the most enjoyable and impressive adventures in the history of tech and progressive metal. Derangeable is one of those releases which are destined to become an inspiration to others and the best friend to ears and imagination; the tag of genius is already on the lips in reference to their glorious triumph.

Derangeable is out now via Basick Records with buying options @ http://www.basickrecords.com/releases/derangeable

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

Pete Ringmaster 18/04/2016

Copyright RingMaster: MyFreeCopyright

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

Hacktivist – Outside The Box

Photography and editing by Perry Westphal

Photography and editing by Perry Westphal

It has been a fair time in the coming but the highly anticipated debut Hacktivist album is finally about to be uncaged. It is a rage living up to the heights and promise of the UK band‘s previous self-titled EP whilst pushing further the band‘s imaginative distinct fusion of nu/alternative /progressive metal with extreme and electronic textures aligned to rap/hip hop fuelled incitement. In some ways it is not bold enough in its exploration and creative drama. Occasionally there is the feeling that the band missed opportunities to create a landmark proposition, but truthfully from start to finish Outside The Box leaves an already established appetite for their sound more than thickly satisfied.

Emerging in 2011, it is fair to say that the Milton Keynes quintet has been leaving deep marks on the British metal/rock landscape whether through their ravenous live presence or that aforementioned EP and surrounding singles. They have been devoured by fans and media alike even with a sound naturally which is going to make as many enemies as long term friends such its unconventional and unpredictable character. Festivals have equally have embraced the band, and Hacktivist them by lighting up the likes of Reading, Leeds, Sonisphere, Rock Am Ring, and Rock Im Park these past years. So as suggested, Outside The Box has bred plenty of intrigue and expectations in the wait for its eventful arrival, a pressure it more than deals with, if without quite realising its own potential at times.

The album opens with Our Time; a track featuring Marlon Hurley which lays out a dystopian atmosphere as an emotive climate springs from keys and spoken vocals before the muscular weight and intensity of the band bears down on the senses and imagination. It is a stalking rather than an assault but with djent spicing to its teeth, the track is a waking up of attention for the following tempest of Hate. An electronic coaxing entices ears initially, though its touch is as sinister as it is magnetic, especially once the subsequently duelling and colluding vocal rapacity of J Hurley and Ben Marvin steer the descending storm. Like a cantankerous cousin to The Kennedy Soundtrack, the track lures and berates the senses; eventually unleashing its full animus with intrusive grooves from Timfy James and predatory rhythms spawned in the creative venom of bassist Josh Gurner and drummer Rich Hawking.

art_RingMasterReviewThe track is a gripping affair followed by Deceive & Defy. It is the first in a trio of re-recorded older tracks amongst eight new provocations, and features Jamie Graham from Heart Of A Coward as guest vocalist. With ambience soaked smog around a rapped narrative, the song’s entrance is restrained yet dramatic, increasingly so as firmly swung beats and agitated riffs build towards an open almost carnal hostility of sound and tone. The track swiftly and increasingly pleases yet it is one which maybe holds back and never quite delivers the raw intensity and explosive adventure hinted at and expected.

It is something Taken certainly offers; its snaky steel lined tendrils of guitar and combative mix of melodic, raw, and spat vocals firing up the passions for antagonistic confrontation alone. The band builds on that with imaginative slips into harmonious vocals and warm melodies shared by James, moments which surprise and reveal the blossoming invention of the band’s songwriting. With Rou Reynolds from Enter Shikari guesting, the song leaves ears and thoughts eagerly involved as does the instrumental, The Storm. It is an evocative moment in time reflecting the physical and emotional aspect of its name, time giving the listener time to regroup before No Way Back launches its dissension. With a scent of Heart of a Coward and Monuments to it, the track badgers and tears into the senses with its jagged stabs of guitars and barbarous rhythms, soothing the wounds with the sighing caress of keys whilst a triple threat of vocals keeps ears consumed and eager to embrace the volatile textures being blended.

A re-working of False Idols comes next, the song moving from an opening romancing to a mountain of groaning rhythms and gnarly riffs bound in viperish grooves. The track certainly pleases without making a big stir in its opening moments but as each passing minute uncages more creative and intimidating adventure, the song blossoms to impress in a way fresh to its original version, even though the differences are not as dramatic as they might have been. The track is a standard bearer all the same but eclipsed by Rotten which sees Astroid Boys and Jot Maxi involved. Weaving essences reminding of Tech N9ne and Twizted into a progressively atmospheric climate, the track simply seduces the imagination as it provides a new strain of invention and diversity to the album.

Elevate has been re-tuned for its place within Outside The Box, given new sonic oil and vocal attitude as it builds build on its first outing in the band’s earlier EP. It is a dogfight for ears and a showdown for emotions as it attacks and stirs up a bedlam of carnivorous textures and electronic trespasses. Melodic and harmonic caresses add a great tempering but they never subdue the thrilling discord and friction of sound and voice.

Lyrically the band is as sharp and incisive as expected but at times they seem to carry a chip on their shoulder which does not lie quite as well as their more politically incited targets. It is something which can be said about the album’s title track where, even with the broadening investigation of its narrative, it captivates most potently in sound.

The album is brought to an exhilarating close by firstly the volcanic and bestial enterprise of Buszy, a deft entangling of contrasting textures in a maelstrom of ire and creative intensity, and lastly by The Storm II, a melodically elegant and sonically ravenous flight into uniting emotional resonance and turbulence. Both provide a climactic and impressing close to an album which itself is only striking.

Whether Outside The Box could have been even more impressive and impacting will surely be debated, our thought being that maybe it missed a trick or two knowing the invention and craft of the band. From start to finish though, it had ears and emotions enthralled and greedy for more; a success no one can turn their nose up at.

Outside The Box is released March 4th via UNFD / Rise Records through most online stores and @ http://www.hacktivist.uk.com/store/products/outside-the-box-cd-2/

http://www.hacktivist.uk.com   https://www.facebook.com/Hacktivistband

Pete RingMaster 03/03/2016

Copyright RingMaster: MyFreeCopyright

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

Huron – The Dead Stay Dead

Photo by Leigh Drinkwater Photography

Photo by Leigh Drinkwater Photography

It will not be the first time that UK metallers Huron will have majorly stirred up acclaim and attention with a release but their stunning new album, The Dead Stay Dead is surely going to ensure that the band is regarded as one of the big boys from hereon in. As mentioned, previous encounters have all drawn strong support and praise from media and fans alike but their new and easily finest proposal to date is a band reshaping and igniting not only their own creative landscape but the metal scene around them.

Formed towards the end of 2007, Plymouth hailing Huron has worked through many line-ups changes which seem to have only help spark new potency and power in their fusion of progressive, thrash, and melodic metal and the increasingly impressive releases it fuelled. Debut album Cheyne Stoking lured strong praise and focus with its release in 2009, the band’s live reputation only being enhanced as they toured the UK in support. Its successor Mary Celeste whipped up an even feistier storm of acclaim across fans and media in 2011, its success matched a year later by the War Party EP. Performances at the likes of Download, Bulldog Bash, and Bloodstock followed whilst a British tour with Skindred was just one more live triumph to add to shows with bands such as One Machine, Onslaught, Evile, Alestorm, Ill Niño, and Viking Skull over the years. As the outstanding The Dead Stay Dead lights an expected touch paper to the strongest spotlights upon the band yet, this year looks set to emulate and surpass the successful twelve months the band had in 2015 and show Huron to be the new big roar in modern metal.

Mixed and mastered by Justin Hill (SikTh) and produced by guitarist Rimmy Sinclair, The Dead Stay Dead opens with The Ark Of Deucalion. A provocative sonic mist first wraps ears before intensive riffery from Sinclair and Chris Smith descends venomously on the senses driven by the barbarous beats of drummer David Parsons and the predatory throaty lures of Rohan James’ bass. It is a swiftly compelling and anthemic incitement built on the contagion of thrash but quickly showing the hefty weave of textures and styles now in the Huron sound as it evolves under the antagonistic roar of vocalist Sean Palmer, who has since left the band with James taking over the vocal spot. Darkly celestial harmonies only add to the drama within the blazing cauldron of craft and intensity, at times the track almost like a merger of Slayer, Devin Townsend, and now demised UK band Mishkin.

Huron Cover artwork_RingMaster ReviewThe striking start is soon eclipsed by the album’s title track, The Dead Stay Dead a predator quickly stalking ears and imagination with its scything rhythms and sizzling tendrils of sonic spice. Vocals assault and ripen the appetite as the song matches their bait with aggressive kind but it is when the track slips into something more melodically comfortable with clean vocals to match, that a great song opens its full temptation. It is irresistible, an ugly duckling evolving into blooming beauty and back with Jekyll And Hyde frequency for the thickest contagion.

Santa Muerte slips in next with a sinister climate and grievous intent in its rhythms and riffs. As in its predecessors, tortuously swinging grooves bind ears and an already greedy appetite whilst the raw vocal tones collude with the open animosity in the thrash bred and increasingly dynamic ferocity devouring the senses. Exhaustion and joy is the by-product of the blistering encounter, ears basking in the melodic enterprise searing their flesh and the rapacious imagination seducing their depths before both Pyschosis and Murder Hole unleash their venomous rancor and creative rabidity. The first of the two is a thunderous onslaught with a death thrash tendency to its equally tenacious weave of infection loaded flavours and ideation. Infused further by the burning prowess of guitars and solo it makes for one glorious collision between song and lust emulated again in its successor, a song which wraps itself in more recognisable thrash spices a la Metallica and proceeds to twist and re-weave those flavours into something far more primal and inventive with another dose of excellent clean vocal adding to the great diversity.

Managing to be brutish and seductive, the mouth-watering Despina feverishly rampages on ears like a cultured barbarian next whilst Bastard King emerges from atmospheric shadows to infest body and psyche with its sonic trespasses and rhythmic predation like a vampiric temptress taking the imagination on a ride through the darkest fearsome scenery. Both again are individual in their nature and bodies but united in igniting the passion with their invasive and imposingly addictive adventures through they are slightly outshone by the merciless virulence of The Spirit Of Hat & Vengeance. Like Black Dahlia Murder meets System Of A Down with Bloodsimple in close attention, to try and give a hint to its insatiable tempest, the track is manna to the metal feeding passions and for personal tastes the king amongst only great warriors on the album.

With the militant natured Bokanovsky’s Process and the flaming progressive subtlety of Solace, band and album continue to beat and thrill; the cunning twists and resourceful stalking of the senses by the first contrasted by the melodically poetic and cantankerously intrusive might of the second. Again each song has its own creative agenda and voice to keep the rich variety to the album flowing before Fresh & Thorns brings The Dead Stay Dead to a fearsomely rugged and invigoratingly rousing close. There is a hint of Mudvayne to the violent wantonness and canny maze of biting textures of the track, yet as everywhere any hints offered to songs in reference to others are slim hues in something uniquely Huron.

It has been a fair while between albums but the time has seen Huron escalate their craft, imagination, and fiercely flavoured confrontation of sound. The Dead Stay Dead is the proof from a band ready and undoubtedly equipped to take on the world.

The self-released The Dead Stay Dead is available from February 12th through all platforms and outlets.

https://www.facebook.com/Huronofficial   https://twitter.com/huron_uk

Pete RingMaster 11/02/2016

Copyright RingMaster: MyFreeCopyright

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

Odyssey – Voids

Odyssey_RingMaster Review

Feeding the imagination as boldly and adventurously as it does ears, Voids is quite simply an enthralling kaleidoscope of invention and craft. The ten track encounter is the new album from US progressive instrumentalists Odyssey, a Spokane, Washington based trio who are no strangers to acclaim thanks to their striking sound and creative dexterity. This new offering though simply towers over all that came before and other like styled bands around with in its multi-faceted aural emprise.

Emerging in 2007, Odyssey has increasingly impressed through a pair of albums in Objects in Space (2009) and An Abstract Existence (2011) as well as a trio of EPs in Schematics, The Conscious Device, and The Turning Tide; the last two splitting Voids and the band’s last album with the latter igniting the senses in 2014. As no better evidenced than within their new endeavour, the threesome of guitarist Jerrick Crites, bassist Jordan Hilker, and drummer Lukas Hilker sculpt exploits and scenarios which are as melodically spellbinding as they are tenaciously imposing, at times even carnivorous in their snarl and dynamics. Excesses are also conspicuous by their absence, not something which can always be said about instrumental metal and rock, but the individual skill and invention of each member is never hidden away either. The result, taking Voids as proof, is a gripping and ravenously boisterous collection of imagination fuelled canvases for the listener’s own thoughts to play within.

cover_RingMaster ReviewEmerge. Evolve. Adapt. opens up Voids, engulfing ears in a sonic mesh around the instantly flirtatious bass and thumping beats adding inviting bait. The track is soon strolling along with a vibrant air bound in sultry tendrils of guitar though, but an easy going proposal soon evolving into a more agitated and addictively volatile passage as riffs and beats chip away at the senses as the bass offers its throatier support. Continuing to twist and turn within a landscape of intrigue, every one of the song’s five minutes is a suggestive narrative to be revealed and captivating drama to explore. It is a glorious start to the album, like a portrait of a meeting between Arcade Messiah and Chimp Spanner with Native Construct whispering amongst them.

That is a description which often applies to the release, though the Odyssey style and imagination defies any direct comparisons as shown by the sterner but no less resourceful character of Negate The Infinite. Both Hilkers create a frame around and a floor of addictiveness for the enterprise flowing from Crites’ strings; the union a virulent proposal which is as imposing as it is seductive and irresistible to the imagination as equally so in the creative nagging of Like Moths to the Flame. Darker again, the song is a frontline of cantankerously gnawing riffs and a bestial bassline tempered this time by the lighter touch of sticks on skin and the sonic persuasion of guitar. As its title suggests, there is persistence to the song which will not desist, an undeterred drive and repetitious temptation which gets under the skin as a rhythmic flickering intermittently escalates with the same successful intent.

Through the frenetic virulence of Motives and the ethereal elegance of Echoes, the band nudges thoughts into new escapades with their creative hints. Both tracks again cast a sublime mix of contrasting textures which would be at war in the hands of others but here simple embrace and revolve around each other. The latter also has a reflective lustre which charms until Before There Were Eyes To See comes from the other side of light to take over with its dark intimidating shadows and predatory wave of riffs and beats bound to another sinisterly alluring bass incitement. As expected but always unpredictable, each piece of music takes ears and thoughts through a creative gest that has both enslaved and bold in their interpretations, visions that enjoyably change with every listen such the depth to the musical narratives offered.

The Plot Thickens is a rousing slice of rock ‘n’ roll but of course one which from its anthemically invigorating first breath soon opens up into a provocative climate of hint loaded musical espionage keeping body and mind on their toes before making way for the calmer radiance and spatial yet intimate temptation of Delineation. Once more shadows crowd in close to the sonic sun of the track, making their impact as heavier and grouchier elements seeping into the dramatic and increasingly clearer psychosis of the track.

The melodic hug of Left Unspoken brings an oasis of perpetual calm to ears next, though there is still a shadowy lining through the melancholic tone of the bass, before Voids is concluded by its outstanding title track. If you want a physical clue to the album the song has it all, all the attributes and diversity summed up in its maelstrom of genre skipping, imagination igniting revelry that gives expectations no inkling of where it is going to go or the turns it is going to fluidly and infectiously take.

The album is quite superb, almost a brand new adventure with every listen such its textural and suggestive depths, and an early benchmark for progressive adventure for the year ahead.

The self-released Voids is available from February 5th @ http://odysseyspokane.bandcamp.com/

https://www.facebook.com/odysseyspokane    https://twitter.com/OdysseySpokane

Pete RingMaster 05/02/2016

Copyright RingMaster: MyFreeCopyright

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

Fall – The Insatiable Weakness

Fall_RingMaster Review

Busier than a swarm of flies on a carcass but far more thrilling and rewarding, The Insatiable Weakness is a seriously explosive and dramatic introduction to Texan band Fall. The album is a cauldron of styles and flavours within a progressive/melodic death metal landscape which never gives ears and the imagination a moments rest whilst creating a gripping incitement as creatively tempestuous as it is coherently fascinating.

Taking inspirations from Scandinavian metal and bands such as Opeth, At the Gates, and Soilwork to their sound, the Portland based quartet emerged as 2010 took its early breaths. It was not too long before they were a notable presence on the live scene, going on to share stages with bands such as Helstar, Periphery, The Human Abstract, The Contortionist, Textures, Fallujah, and Aegaeon as their presence and reputation grew. A self-titled EP was released in 2012, an encounter featuring guest vocals from Soilworks’s Bjorn Strid which soon awakened not only more of the US to the band’s emerging potency and force but ears and attention further afield too. Now the band’s self-released debut album is set to stir up plenty more with its inescapable adventure and invasive imagination.

Consisting of vocalist/keyboardist Jessie Santos, guitarist Daniel Benavides, and bassist David Gutierrez alongside, for the album, the ever irrepressible rhythmic craft of Soilworks’ drummer Dirk Verbeuren, Fall swiftly encase ears in a cloud of sonic and rhythmic incitement as opener From Ashes rises threateningly to spawn a maelstrom of cutting riffs and intensive rhythms. In its air harmonies also break out with an atmospheric tempting, both getting their moment to descend poetically on the senses within the storm with Santos revealing pleasing variety and strength to his vocal delivery, raw and clean. Given potent hint of what is to come, the song continues to evolve its forceful and evocative tapestry with strands of progressive invention and rousing enterprise, all amidst intrusive turbulence led by Verbeuren’s renowned prowess.

Cover artwork by Niklas Sundin

Cover artwork by Niklas Sundin

Not of the Sky continues the attention catching start; the vocals again one focal point in a cascade of many, with their slight discord, whether intentionally or not, adding greater character to the emerging bedlamic and creative tirade of the song. Furiously unpredictable and fluidly aligned, melodic enticing and colliding flavours breaks through as each twist grips ears, softening and working them up into an eager appetite for the also tempestuously toned and adventurously woven Ever Hollow. Bellowing and tempting, the track is a magnetic fury veined by seductive magnetism, extreme and progressive metal uniting in something intimidatingly hellacious, sonically psychotic, and at times rousingly catchy.

Through both Harvester and Cinis, band and album continue to infest and corrupt the senses, though the former is just as potent in its infectious glaze of pop metal. Featuring guest vocals of Jessie Frye, it is another bundle of contrasts and clever contradictions creating a track which mesmerises as strongly as it bruises. Arguably it is the most accessible offering on the album but is as inventive and volatile as any of the more challenging and invigorating proposals within The Insatiable Weakness. Its successor is a much more voracious proposition, as swiftly shown by Strands of Night vocalist Asa Dubberly, who guests on the tempest, and the carnivorous tone of the bass which builds on the darker menacing tone it offered the previous song. Around them, and the bracing roar of Santos in its different strains, guitars stir up a nest of sonic vipers and melodic resourcefulness, the track painting a turbulent and tenaciously diverse canvas of raw and alluring flavours.

Ears and appetite are only drawn in tighter as the celestial hued and aggressively bracing Desolation and the predatory thrash seeded, death fuelled torrent of provocation posing as Soul Ignition thickly satisfies whilst …to dust lights ignites another fuse to lustful reactions with its unbridled ferocity and cantankerous attitude lined with infection soaked exploits. Providing one more major highlight amongst only heftily persuasive successes, its rich tempting is emulated in kind by the uniquely different Empty where, arguably for the first time, keys stretch their ever present atmospheric and ambience casting prowess into being a leading protagonist.

The album closes up with firstly Gods of Ruin and its landslide of unforgiving rhythms within an exhaustive infestation of expansive metal voracity and finally You were but a Shade, it an invasive and virulent episode of unpredictability, absorbing imagination, and explosive individual craft from all concerned. A seduction that tears strips off the senses, the song is an immense end to a similarly impressing release.

Only a weighty amount of listens does The Insatiable Weakness true justice, but every venture reveals new striking layers, previously undiscovered twists, and a bigger hunger for more as reward. As a name, Fall does not make a particular impact but rest assured from their first moments, sound and album more than make up for it.

The Insatiable Weakness is out now @ http://fall1.bandcamp.com/album/the-insatiable-weakness

http://facebook.com/falltodust

Pete RingMaster 28/01/2016

Copyright RingMaster: MyFreeCopyright

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