Kill The Unicorn – Prism

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

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

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

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

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

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

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

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

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

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

Pete RingMaster 08/11/2017

Copyright RingMaster: MyFreeCopyright

PROMETHEE release spanking new video and new songs.

Promethee Promo Shot

HIGHLY RATED EURO METAL OUTFIT PROMETHEE RELEASE TWO NEW TRACKS AND IMPRESSIVE VIDEO

Promethee are poised to release two new tracks ‘Dark Souls’ and ‘The Sour Taste’ on 7” vinyl and through bandcamp on 1st May. The Swiss riff kings have also just released a brand new video for ‘Dark Souls’, which is out now and available for viewing at

https://www.youtube.com/watch?v=h2ey8SJggus&feature=youtu.be

 

Hailing from Geneva, Switzerland and born during the early part of 2008, Promethee didn’t waste any time, and quickly racked up a plethora of successful shows throughout Switzerland and France in front of a fast growing public. With the release of their debut five track EP in 2010, the metallers were soon hailed as one of ‘The new bands to catch on the European metal scene’.

True to their growing reputation for being incredibly active, Promethee continued to spread their wings and secured tours throughout Europe, Canada and even Cuba before going back into the studio to record their debut album, “Nothing Happens. Nobody Comes, Nobody Goes.”. The record hit stores in 2012 and immediately propelled Promethee to a higher level. Gathering prestigious feedback from the national press, including Kerrang!, Metal Hammer and Big Cheese Magazine, the album has been continually praised for its technical and musical mastery.

Promethee furthered their climb with well received video singles and live videos which have been lapped up by tens of thousands of fans around the world. Aided by an additional one hundred and fifty shows played in over ten countries, the band’s visibility has swiftly increased.

Now in 2014, Promethee unveil two brand new slabs of mighty metal fused with commanding hardcore and a wealth of groove which will be released in the form of a seven inch vinyl along with a lyric video. The tracks are lifted from the noise chiefs’ new album, which will be released by the end of 2014. After a steady incline during the past three years, the band are now poised for a full scale European and North American assault. And with their fan base growing day to day with tens of thousands of active followers and the band touring as much as humanly possible, Promethee have never been so motivated to transcend and evolve into a heavyweight force on the world metal scene.

 Check out the video for Dark Souls @ https://www.youtube.com/watch?v=h2ey8SJggus&feature=youtu.be

www.prometheemusic.com | www.facebook.com/prometheemusic  | www.twitter.com/prometheemusic

RISING EURO METAL CREW PROMETHEE RELEASE EXPLOSIVE VIDEO SINGLE!

Promethee Online promo photo
Up and coming Swiss slayers ‘Promethee’ set loose their spanking new video single ‘Life/Less’, out now.
Pitching ‘Born of Osiris’ against ‘Job For A Cowboy’, and merging the melodic death metal craft of ‘Darkest Hour’, Promethee are here to shatter your world with their stunning blend of original modern metal.
Formed in Geneva, Switzerland, Promethee started life back in 2008. The metal upstarts soon began to play shows throughout their native land, and in 2010, the quintet struck out to France, Germany, Austria, Belgium, Switzerland and Hungary, including an influential appearance at the Greenfield Festival playing alongside HIM, Rammstein, The Prodigy and The Dillinger Escape Plan, among others. Not ones to rest on their laurels, the industrious five-some continued to progress and played a successful mini-tour in Canada before releasing their debut EP, which secured creditable praise throughout the UK and mainland Europe.
Last year the band released their debut album “Nothing Happens. Nobody Comes, Nobody Goes” and it helped to redefine the noise-niks’ place as Swiss metal leaders. The record also garnered widespread acclaim in the UK from Kerrang!, Metal Hammer, Rocksound, Terrorizer and Big Cheese magazine, and by undertaking rampant European touring and high profile festivals, including the Loudfest 2013 (Heaven Shall Burn, Architects, August Burns Red) and the Aries Festival (Knuckledust, TRC, Cutdown), the band’s stock has firmly risen to a European scale.
Promethee are now continuing their climb with the release of their explosive new single and video ‘Life/Less’, taken from ‘Nothing Happens. Nobody Comes, Nobody Goes’. The single is a powerful slab of ferocious edgy metal that clearly showcases the band’s devastating brilliance. Future festival appearances will follow this summer in support of the release, along with extensive touring of Europe.
* The stunning video for ‘Life/Less’ is out now and can be viewed at – http://www.youtube.com/watch?v=q58hSsXgs_Y&feature=youtu.be *
 

Insentient – Remnants EP

INSENTIENT-

The meaning of the name of Los Angeles based blackened death metallers Insentient means ‘devoid of sensation or consciousness; inanimate,’ something you certainly cannot apply to their debut EP Remnants. The six song release is a dramatic and exhausting piece of emotive enterprise and evocative intrusiveness, a heavy shadowed expanse of exploitive and scintillating provocation exploring and inspiring the psyche of its recipients with relish and skilled venom. The release and band has earned comparisons in many ways to the likes of Death, Hypocrisy, and Dissection, something which is hard to argue over but with essences of neo-classical and thrash to their imaginative ideas and craft the band stands apart from the crowd with a unique and expressive presence.

The band was formed in 2009 by vocalist/guitarist Leslie Medina with the line-up of Medina, guitarist Kimberly Orellana, bassist William Palacios-Toledo, and drummer James Coppolino in place from the early part of last year. With a stable line-up in place the band has begun to make a stronger impressive mark which Remnants will only send deeper into the heart of melodic extreme metal.

Wrapped in the excellent artwork of UK artist Thomas Bates, who has graced releases from the likes of Bleed From Within, The REMNANTSSoulless, Siege of Amida Records, Federation, and Promethee, Remnants instantly seduces the ear with the opening of Winters End, crystalline kisses falling around a melodic temptation from the guitars courted by a bass lure. As the temperature rises and melodic blazes spark off mutual fires of intensity, the song evolves into a ravenous torrent of rapacious riffs, merciless rhythms, and voracious vocals from Medina, her guttural squalls and esurient rabid passion startling and impressively malevolent. The track evolves across a charge of sonic invention and melodic imagination which as potently captivates as the intensity devours making an immense and riveting start to the EP.

     Decrepit Minds taunts the senses next with its initial welcome sonic irritant erupting into a rampant snarl of malicious riffing and mutually violent rhythms, a black metal grace wrapped over a death metal maliciousness is once more ridden by the insidious vocals. The emerging thrash rabidity to the riffs infuses another rush of pleasure and satisfaction whilst once more exposing the diverse intent and creativity of the band.

Through both Seethe and its successor As I Wither, the experience raises its game yet again, the first a slowly prowling menace sizing up its victim with bass and guitar as enthralling as they are menacing before taking an unrelenting chew out of the senses with an avalanche of bass drum animosity and controlled vocal savagery, whilst the second is quite simply a furnace of devious imagination and deviant sonic temptation all honed into a gorging depredation.

If the listener was not already convinced the release seals the recruitment of the passions with the closing pair of Death Toll Rising and finally the title track. The penultimate track is a pit borne snarl with hunger and spite to match, again the vocals of Medina a savage contagion alongside the inventive voice and charm of the guitars that bewitches within the at times bestial rage and furiousness of drums and riffs, not forgetting the wonderfully hostile and seemingly rancor soaked basslines. The title track provides a final thrash sculpted maelstrom of passion and intensive debilitation, blisteringly completing a thoroughly engrossing and impressive debut.

Insentient and the Remnants EP make you work at times to discover its wealth of creative ingenuity, its corrosive surface overwhelming what lies beneath but the effort to explore is rewarded with even greater imagination and pleasure. This is a band we will be hearing a lot more of and with even greater successes one suspects.

https://www.facebook.com/insentientofficial

9/10

RingMaster 19/06/2013

Copyright RingMaster: MyFreeCopyright

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Promethee: Nothing Happens. Nobody Comes, Nobody Goes

Promethee - Photo    Last year the single Sickness Unto Death from Swiss metallers Promethee whipped up a strong wind of excitement and expectation for their debut album, its intrusive and enveloping storm of imagination and destructive craft a formidable step on from their earlier impressive self-titled EP. The song also made a suggestion of something remarkable in the future mists of time. Now Nothing Happens. Nobody Comes, Nobody Goes has stepped forward to answer those hopeful and eager expectations.

      The album is a staggering brute of a release, an immense tower of venom, intensity, and creative imagination. It satisfies all wishes and expectant thoughts before exceeding their limits with further ingenuity. It is fair to say the album does not rip open new avenues for melodic and progressive metal/metalcore but brings a new and invigorating interpretation of prevalent sounds from within the existing inventive sphere. In fact the album ignites real passion for its ferocious might and inventive annihilation whilst its technical skill and unpredictability has the senses dizzy whilst within a numbed state from all the malevolent abuse.  Since forming in 2008, the band has earned and garnered a deserved wealth of acclaim of which an elevation due to this outstanding album will not be a surprise, in fact is expected.

Released through Bad Moon Records, Nothing Happens. Nobody Comes, Nobody Goes is a ten track leviathan of intrusive Promethee Cover Artworkand towering sounds coated in an understanding and deeply rewarding craft. As soon as opener The Great Deception sidles up to the ear on an atmospheric raw breeze, the senses are engaged and then thrown into willing turmoil by the brawl of gnawing riffs and corrosive energy permeated by a sonic enterprise which leaves one drooling. Wanton grooves and teasing melodic shards of light shower from within the intense breath of the song to further the already brewing rapture erupting out for only the first track of the release. The guitar craft and imagination of Ludovic Lacroix and Elric Doswald is as mesmeric and captivating as it is intimidating whilst the squalling abrasion of vocalist Joshua Orsi trawls the emotions off of a spine of irresistible rhythms from bassist Mathieu Tappolet and drummer Nils Haldi to incite the primal and emotive heart.

It is a sensational combination and start continued as powerfully by the following Banner Of Lies and Buried. Both tracks rip the synapses asunder through djent spikes and merciless sonic violation, the first a malicious onslaught of devastating inventive chaos leading into the emotive tempest of the second. The latter of the pair smoulders and burns within the ear and though brief in stature lingers long after its departure though the hellacious presence of the excellent Of Loss And Disgust soon after dominates as if the only thing in the world. One of the biggest pinnacles on the album, the track throws the listener into a bedlamic fury of twisted grooves and sonic mania driven by a fierce energy and rhythmic hunger which resonates long after its last violent gasp. A perpetual wash of progressive ingenuity and melodic urgency the song also caresses and kisses the ear as tenderly if forcibly as it erodes and consumes fearsomely elsewhere.

The Geneva quintet continue the blistering confrontation through the equally immense Life/Less, a track with a depth and character dripped in turmoil and vengeance, the brief and masterful Genesis with its hybrid whispers of Korn, and The New Face Of Mankind, another varied assault of innovational expertise. All three send flames of thrilled emotion through the body only to be exceeded by the brilliant Thus Spoke and the previously mentioned single Sickness Unto Death. Thus Spoke is a muscular furnace of hypnotic sonic malice and rib cracking rhythmic tension. As with all the songs and especially the biggest triumphs on the album, the track is a continually evolving exploration of light and dark, passion and shadows which is reported through a magnitude of ingenuity and invention.

     Nothing Happens. Nobody Comes, Nobody Goes is a colossal album which offers a richer and deeper experience as well as a more impressive one the more time spent within its corruptive squall. Fusing essences marked in the likes of The Faceless, Cryptopsy, and Architects, Promethee has made the first towering statement of the year for extreme and metal in general.

www.facebook.com/prometheemusic

RingMaster 22/01/2013

Copyright RingMaster: MyFreeCopyright

Promethee: Sickness Unto Death

It feels a long time since Swiss metallers Promethee ignited the ears into vigorous enjoyment with their self titled EP. Since then the world of metal an ever evolving brute, has seen many bands matching and exceeding the very promising debut of the Geneva quintet. Promethee in their time away has also become a more powerful and formidable creature, the proof coming in the shape of their new single Sickness Unto Death. A foretaste of their debut album due early next year the track is a monster of a release, an intrusive and enveloping storm of creativity, imagination, and destructive craft.

Formed in 2008 the band hit the ground at pace playing as many gigs as they could whilst picking up a devoted and passionate following in their wake. The end of the following year saw the band record the tracks which became their first EP, a release which only went to enforce and accelerate the acclaim from all quarters. Now with shared stages with the likes of HIM, Rammstein, The Prodigy, The Dillinger Escape Plan, shows and tours across their homeland, France, Germany, Austria, Belgium, Switzerland, Hungary and Canada, as well as that successful EP the band has returned a more mature and mightier force. Sickness Unto Death is a statement of intent and a taste of what is to come from this striking band.

Promethee with their previous release created a brew of progressive metal and hardcore which left indelible satisfaction, their thought and craft impacting but with Sickness Unto Death they have found sharper intensity and a keener mouth watering invention to leave the senses breathless. Vocally Joshua Orsi is an emotive bear whilst his power is backed up by a deeper predatory presence from bassist Mathieu Tappolet and a combative yet expertly controlled attack from drummer Nils Haldi. Guitarists Ludovic Lacroix and Elric Doswald like the songwriting weave hypnotic asides into a direct and numbing spine of sound to surprise and engross from start to finish.

The track emerges on a hot wind of atmosphere, slowly bringing its bulk into view with a slow confidence and intimidating intensity. As it expands with the guitars mesmeric as they whip the ear around the forceful beats, vocalist Orsi begins growling out his venom dripping lyrics. The track does not exactly explode in aggression or effect but from initial eager intrigue it slowly wraps the senses with a deeper and fuller infection. The song continues its slow immersion of the ear drawing one in fully before whipping the floor away from the senses and dropping them into a sea of striking and unsettling ambience. The effect is of free falling through consuming depths of emotive ambience, symphonic whispers and unsettling caresses at every turn. It is an outstanding and ingenious twist which as one breaks free, finds themselves in an eruption of rampaging corruptive killer riffs and explosive manipulation trained rhythms.

If this is an example of their album, roll on 2013. Accompanied by an excellent video, Sickness Unto Death sets down a marker for not only Promethee but melodic extreme metal. Time will tell if the eagerly growing expectations instigated by the single will be realised but the band has certainly offered an impressive persuasion that we will not be disappointed.

You can download Sickness Unto Death from the Promethee bandcamp profile @
http://promethee.bandcamp.com/

RingMaster 21/06/2012

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