Bastards Of Fate – Suck The Light Out

 

If Bethlem Royal Hospital had a house band at the time of its notoriously infamous period when it was better named as Bedlam, Bastards Of Fate would have fitted the role like a glove. The Roanoke, Virginia hailing outfit create a sound and incitement to which a description of lunacy is inevitable and inescapable yet, as evidenced in their new album Suck The Light Out, it is a skilfully woven and creatively deceptive aberration which borders on genius; a dementia ridden habitude obviously.

There are few bands which truly offer an adventure for mind and ears but Bastards Of Fate go even further; challenging and testing the listener, almost examining their tolerance and their psyche for unsettling creative behaviour but with something which is rich unrelenting fun. Though our introduction to the band thanks to our bud Mike at Crashing Through, the well-received releases of their previous two albums suggests the quintet has been sharing striking and daring proposals for a while, most likely from the first emerging breath in 2012 as a solo project for frontman Doug Cheatwood. Without experiencing either 2012’s Who’s A Fuzzy Buddy? or Vampires are Real and Palpable two years later, it is still easy to say that Bastards Of Fate have hit a new plateau in sound and imagination, as well as mania such the might of Suck The Light Out.

From its first breath the album has claws in the imagination, opener Freemasons heralding its arrival with the ringing of bells recorded at a Cardiff church during a UK tour. Swiftly their call is smothered in darker off-kilter hues; a breeze evolving into a quirky theatre of sound with an air of hallucination and as suggestively clockwork as it is nursery. Vocals led by Cheatwood are just as eclectic settling into a controlled incitement with a scent of Bill Nelson’s Red Noise to it, Cheatwood indeed not for the last time with a touch of that band’s founder to his delivery. Across its tempestuous flank, the song shows irritability in it rock ‘n roll, the guitar of Benji Pugh mischievously colluding with the keys of Camellia Delk for cheerier temptation while the constant nagging of bass from Jason Wellz and Doug Shelor’s swinging beats drive the raw aggressive drama boiling up in it all, an agitation ebbing and flowing with mercurial energy as 12 Stone Toddler like dynamics further colour the fevered affair.

The following Portal to Hell is creative mayhem from the first second, rhythms jabbing with relish as Cheatwood announces his throaty demon. Soon a muggy start, it subsequently clears as a melody sizzles, it in turn relaxing as madness boldly simmers before infesting the song’s eruption with a legion of styles and flavours at its merciless fingertips. Fondling the senses and thoughts with pleasure igniting insanity and psychosis loaded unpredictability, like Pere Ubu on LSD, the track is unfathomable glory. Again the former Be Bop Deluxe frontman in his latter solo era is reminded of at times but only in something so unique to Bastards Of Fate it too is hard to believe.

To be honest numerous artists are nudged into suggestion across Suck The Light Out but none are truly accurate clues to the beautiful absurdness and imagination bursting fun on offer, next up Dark Matter pushing XTC and The Residents as possible references yet neither really fitting the maze of metal and heavy rock growling upon the song’s indie and pop sculpted landscape, a pasture in a constant flux of broken normality.

Through the relatively stable stroll of Book of Lies, though a romp with volatility in every element from tenacious rhythms and synth spun poetic webbing to melodic suggestion and vocal paranoia laced reflection, and the vocal lamentation of Misanthropy, bewitchment and confusion collude in a lustful embrace of the continuing diversity and irrational lure of Suck The Light Out. All releases need numerous listens to truly get to grips with thoughts and emotions on what they offer and there is no doubt that this album needs it more than most with the pair of songs alone showing the increasing rewards to be gained.

From the captivation of Girlfren with its crystalline melodies and screwy charm to the slow funk swing of the rhythmically tribal and vocally weird Caligula, ears and pleasure are only further inflamed, the latter and our favourite track, a salaciously deranged waltz. Its majestic prowess and mental manipulation is matched by that of Supercollider, a frenzy of sound and energy bursting from calm if warped crooning like a dangerously corrupted Pryapisme; punk and psych rock just two flavours in the frantic dementia.

Unicorns in Love is instinctive Bastards of Fate twisted rock ‘n’ roll with Waste My Time backing up its raw captivation with its hazy hug of melody spun, scuzz kissed, Fleetwood Mac spiced beauty with Delk taking vocal lead; her delicious tones as mouth-watering as the sounds caressing her harmonic presence.

The album is closed by Meatstar, a celestial dirt ball of progressive and melodic intrigue again tempting comparisons but evading all with its uncompromising invention in a brewing cacophony of sonic drama and imagination driven refreshment. It quite simply sums up the album, something aggressively individual and hungrily entertaining not forgetting deliriously deranged.

Suck The Light Out is, as Bastards Of Fate, indeed Bedlam and simply one of the most striking and uncomfortably fun propositions in recent years.

Suck The Light Out is available now digitally and on vinyl through HHBTM Records from most online stores with a special limited vinyl edition including a bonus LP of alternate tracks through http://hhbtm.com/

https://www.facebook.com/thebastardsoffate

Pete RingMaster 25/03/2017

Copyright RingMaster: MyFreeCopyright

Pryapisme – Diabolicus Felinae Pandemonium

band-_RingMasterReview

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

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

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

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

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

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

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

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

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

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

https://www.facebook.com/pryapisme    https://twitter.com/Pryapisme

Pete RingMaster 08/02/2017

Copyright RingMaster: MyFreeCopyright

Ethmebb – La Quête du Saint Grind

ethmebbok_RingMasterReview

The band’s Facebook profile tags their sound as epicleptic power death / progressive metal; a description which pretty much does sum up the anarchic fun of the Ethmebb if still leaving their imagination short changed. Their music is crazed, it is drunk on almost schizophrenic adventure, and at times it certainly leaves the imagination intoxicated but as shown by new album La Quête du Saint Grind, it is also a myriad of flavours, skilfully sculpted, and downright fun.

Apart from emerging in 2012, apparently from “the still-smouldering ashes of Grindcore band Ethmeb”, there is little more we can tell you about the Paris hailing quartet but then again their debut album does all the talking. Wrapped in the fine artwork of Nicolas Dubuisson, the release swiftly makes a potent impression, first track Tathor, l’Echalote de ses Morts soon feeding and adding to the intrigue already sparked by its cover.

Opening up a tale of a mighty warrior and his adventures as he tries to get back his Grind stolen from him “so he can get laid again”, the starter is an atmospherically suggestive, melody caressed instrumental. It is ‘similar’ to many imagination stroking starts that metal and progressive releases seem to hold but a vibrantly pleasing one, its more straight forward body a deception to the mania to follow.

ethmebb-album-artwork_RingMasterReviewrvbThat creative ‘insanity’ is uncaged through Lost my Grind. Riffs rifle the senses immediately, their enjoyable invasion soon joined by the dawning of melodies and floating harmonies as wiry grooves entangle the progressively nurtured blossoming of the track. A tenacious blend of power and death metal with that progressive nature envelops ears though it is only part of the picture as symphonic elements merge with grouchily aggressive and subsequently blackened essences, not forgetting various other unpredictable twists of fun. The vocals of guitarist Rémi Molette are a guttural trespass enjoyably tempering and complimenting the melodic quest of his and Victor Tunidjah’s guitars, their sonic web radiant and evocative within the epic nature of the song.

It is an excellent start soon eclipsed by next up Orlango Blum. From caressing harmonies it surges through ears with cantankerous riffs and majestically flourishing keys. The bass of François Santenoff throbs provocatively in the midst of the enticing tempest as the rapier like swings of drummer Damien Baissile pierce the folkish lined melodic death canvas. There is a touch of Trepalium to the song, 6:33 too, but quickly it stretches its already riveting tapestry of sound and imagination into something irresistibly unique and compelling. Melody soaked passages are oases in the storm yet every imposing second is a conjuring of raw aggression, creative ferocity, and seductively bedlamic enterprise.

The warrior’s quest continues through GPS: Gobelin Par Satellite and A la recherche de la découverte de la quête pour trouver le Saint Grind, the first a thrilling mix of the raw folk ‘n’ roll of Ensiferum and the creative psychosis of Carnival in Coal involved with plenty of other strains of imagination while getting involved with a great array of clean and dirtier vocals. Its successor is just as eclectic, from an acoustic stroll weaving a colourful intrusion of extreme and melodic endeavour all bound in an unhinged devilry.

It is fair to say that the Ethmebb sound is not going to connect with those only hankering for straightforward metal but for an appetite for creative boldness bordering on the meshuga; it is manna for the ears as proven yet again by next up Pirates of the Caribou. Concussive in its touch, promiscuous in its flavours, the folk/power metal fusion roars with drama and prowls with venomous intent, guitars spinning another inventive web as vocals anthemically unite and melodies swagger with boozy spicing. Its ebb and flows in intensity are just as masterful and alluring, as too its aggressive invention and multifarious nature.

Bruce Lee mena l’Amour brings the release to a close, the track probably the most loco of the lot though smouldering in persuasion initially before growing into its inventive skin with every passing minute to heartily convince. With a growing theatre of sound it is a fine end, though listen out for the Pryapisme like hidden track, to a thoroughly enjoyable and impressive debut album from Ethmebb and the beginning here to a greedy appetite for their insanity kissed world.

La Quête du Saint Grind is out now and available through https://ethmebb.bandcamp.com/album/la-qu-te-du-saint-grind

https://www.facebook.com/ethmebb

Pete RingMaster 01/02/2017

 

öOoOoOoOoOo – Samen

photo_RingMasterReview

Every year seems to have one month where riveting surprises and essential releases come at ears in a keen flood. This year it is maybe two as October follows September in unleashing records which simply inflame the imagination, an increasing list now added to by the irresistible and rather deranged offering from öOoOoOoOoOo (“Chenille” in French, “Caterpillar” in English).

A new collaboration between former Pin-Up Went Down vocalist/lyricist Asphodel and multi-instrumentalist Baptiste Bertrand, öOoOoOoOoOo creates a theatre of sound and imagination within debut album Samen. “Visually built as an art exhibition”, the release is a kaleidoscope of styles and invention cast in an avant-garde/experimental metal/rock adventure. Helped by the rhythmic prowess of session drummer Aymeric Thomas who is no stranger to creating off-kilter and seriously unpredictable exploits with Pryapisme, the duo ignite and enslave ears and psyche from the very first seconds of Samen, never relinquishing their magnetic grip of mercurial enterprise driven alchemy.

Rules Of The Show opens things up, the track initially enticing with a tender melody as a darker groan lurks before quickly welcoming the instantly impressing tones of Asphodel. Her voice is as magnetic as the sounds brewing around her with a growing blend of bewitching harmonies courting as the song slips into a catchy stroll with a poppy air. Soon it unleashes its hellish heart in a ravenous metallic outpouring as honed in gothic and epic metal as it is through orchestral and melodic rock. It is a virulently infectious affair, its tempestuousness icing on the compelling cake with Asphodel’s unexpected and masterful barbarous death bred growls extra engaging bait.

Its increasingly deranged presence is followed by that of Fucking Freaking Futile Freddy a track wearing Pryapisme like scent at times but equally sparking thoughts of bands like The Creatures and Stolen Babies. Thomas is a blur of rhythmic tenacity, Asphodel vocally captivating, while Bertrand creates a tapestry of sonic and melodic bedlam shaped into one fluid skittishly versatile weave.

cover_RingMasterReviewFrom one pinnacle within Samen to another and the creative devilry of Meow Meow Frrru, a track teasing with melodic intrigue while taunting with bolder energies, the first shaped by electronic fingering with a slight medieval essence and the latter through climatic crescendos which become more irritable and prolonged with each expulsion. The deeper into its insanity the song goes the more it evolves, an espionage loaded hook and System Of A Down flavoured revelry especially tempting.

Straight away the suggestive lures of cello from guest and Psygnosis member Raphaël Verguin charm ears and imagination as the following No Guts = No Masters launches its bruising and increasingly dramatic rock ‘n’ roll upon ears. A blackened air grabs the senses at times, its occasional trespass imposing on the glorious melodic seducing surrounding the shining vocal prowess and class of Asphodel and a psychotic majesty which would be almost sinister if it was not so glorious and irresistible.

Verguin also features on next up Bark City (A Glimpse Of Something), his bow on strings the poetic shadow to a track which merges the melodic beauty of a Nemesea with the dark secrets of creative dementia, all on show in a track which kisses the senses as it corrupts the psyche. Again understandably there is a touch of Pryapisme to the song but equally Russkaja, Siouxsie and The Banshees, and Die So Fluid are pointers to the uniqueness of the band’s sound.

There is a Fleetwood Mac/Stevie Nicks feel to the bewitching Purple Tastes Like White, the track yet another brazenly diverse aspect to the landscape of Samen with the brooding bass a particular treat alongside the melodic might of Asphodel while I Hope You Sleep Well is a cracked and bedlamic web of ideas and imagination stirring sounds hard to describe in words but so easy to physically indulge in with its sinister nursery room childlike innocence and crazed invasive genius.

With Adrien Cailleteau guesting as on its predecessor, Well-oiled Machine draws ears next with its soulful R&B infused balminess. With a flaming sax igniting the jazzy noir atmosphere of the brief song, all courting the somewhat pub-singer like fun of the male vocals, the song only leaves a smile in the imagination before the outstanding Chairleg Thesis dances with the listener in an eighties spiced affair which is at times as ruggedly boisterous as it is erotically seductive and ravenously stormy.

Across the screwy pop/hip hop soaked metal of Fumigène, a song revelling in a Lady Dynamite meets The Sugarcubes meshuga, and the gothic rock drama of LVI where band and album explore even more enjoyable expectations defeating adventures, the latter with Germain Aubert and Verguin bringing their individual craft, the inescapable lure of Samen just strengthens.

Completed by the fierce death metal toned blaze of Hemn Be Rho Die Samen, a song soon showing an array of contrasting yet perfectly uniting strands to its inventive disorder and predacious appetite, Samen leaves an exhausted and blissful pleasure in its wake. Even in the most off-kilter sounds and releases there is an order, an underlying texture which links all. Within Samen it is only the members of öOoOoOoOoOo themselves as unpredictability and unbridled imagination locked into one glorious ride.

Samen is released October 21st via Apathia Records, available @ https://apathiarecords.bandcamp.com/album/samen

https://www.facebook.com/ooochenilleooo

Pete RingMaster 20/10/2016

Copyright RingMaster: MyFreeCopyright

Gloomy Hellium Bath – Sistema Solera

ARTWORK GHB_RingMaster Review

Always partial to some creative bedlam or a seemingly deranged adventure which, no matter how much you think you understand it, never fails to surprise and leave a vacant expression of pleasure on the face, Sistema Solera was destined to spark an eager appetite here for its sonic psychosis. It is easy to predict that the riveting debut album from French trio Gloomy Hellium Bath is not going to be for everyone but if the likes of Pryapisme, Mr Bungle, or 6:33 light the fires, then this unique fusion of industrial, electronic, and metal bred incitement is well worth exploring.

Gloomy Hellium Bath is the union of former guitarist Würm Edgard Chevallier (guitar/machine/samples) and Christophe Denhez (guitar /vocals), the latter no stranger to exciting ears through his work and releases with Nerv, Mur, and Område. Emerging in 2014, the Val d’Oise hailing project, with a line-up completed by bassist Neil, also previously of Würm, takes no prisoners with its infestation of the senses and emotions. Their sound is compelling aural violence and off-kilter enticement spun with black humoured mischief and realism caked antagonism; the result a cacophony of raw and intricate ideas honed into a roaring storm of gripping chaos and as shown by Sistema Solera, deviously captivating.

Fight is first, instantly throwing a melee of voices and fizzing sound at ears before leaping into a psychotic stomp with carnivorous walls, ravenous vocals, and warped electronic flirtation. Imagine Mindless Self Indulgence and Rabbit Junk in a dirty fusion with Young Gods and you get a whiff of the lunacy soaked enterprise, though from its ‘mid-season’ break it returns as another fresh industrial shaped punk of a proposal with the vocal alone insanely bewitching.

It is a great start continuing with Alcoholique Djerk, the track organically evolving from certain aspects of its predecessor to explore an even more industrial metal hued canter quickly working its way into the psyche. Equally it is unafraid to expose raw nerves with caustic eruptions and abrasing animosity, or indeed to throw one or two exotic or incendiary sonic slithers of surprise in to the mix too.

Fuck It swings in next, warm yet fuzzy air and sound coating ears as melodic rock with grunge lined edges colours the song’s sinister intent before hardened and rapacious provocation blends with funk urged enterprise and vocal revelry. Across its body, the track reveals a host of flavours, country rock and jazzy scented essences amongst the metallic turbulence again walling in varied endeavours within the song.

The album’s title track merges haunted and dark natured ambience with atmospheric volatility straight after, its Nine Inch Nails toned electronic grumble drawing in lighter exploits throughout to evocatively spark ears and imagination whilst setting up the tenaciously energetic and dynamic Lady Boy with its steely schizophrenic rock ‘n’ roll carrying elements of Trepalium and We All Die (Laughing) to it.

Across the sonic dissonance of Ouarchhh and the industrial neurosis of Bloody Mary, band and album wrong-foot, ignite, and twist body and thoughts inside and out. The first of the pair has a slight whiff of US band Pere Ubu to it in many ways as essential grooves and hooks lurk and spear an unpredictable landscape of dark intrigue and disorientating aural dementia with emotions to match whilst its successor scythes through and permeates the senses via a debilitating cyber invasion.

A melodic calm of sorts mellows things a degree or two through Fucking Mashine, its emotive and enveloping croon expectantly laced with provocatively disturbed and manipulative additives bringing light and dark, reserved and twisted elements in potent collusion. The track brings another open and striking variation to the album as too the CD version’s closer Dead Rising Horse, a drama of piston driven rhythms and scuzzy temptation aligned to melodic seduction and tempestuous extremes in sound and creative provocation. It is a rousing conclusion to a release which might need time to get fully under the skin but is ultimately very likely to if the kind of warped imagination it holds is the kind of pleasure which gets the senses and passions inflamed.

As suggested for some it might be an adventure too far, but Sistema Solera for the rest of us is as easy to greedily devour treat.

Sistema Solera is out now via Dooweet Records @ https://itunes.apple.com/fm/artist/gloomy-hellium-bath/id1057587349

https://www.facebook.com/gloomyhelliumbath

Pete RingMaster 17/12/2015

Copyright RingMaster: MyFreeCopyright

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

Adrenechrome – Tales From Adrenechrome

Pic Credit Dave Saunders_

Pic Credit Dave Saunders_

Just like a blurring of reality and fantasy, the sound of Canadian metallers Adrenechrome is a muggy fusion of styles and flavours, and just like a drug addled climate, it provides an adventure which devours and permeates every pore of the senses and emotions. Taking their name from the a fictional drug in the film Fear And Loathing In Las Vegas, Adrenechrome cast a kaleidoscope of rigorous and virulent tempting as creatively progressive as it is thunderously rock ‘n’ roll, as predatory thrash bred as it is spatially grooved, and as imaginatively ravenous as it is simply seductive. The evidence is all there within new album Tales From Adrenechrome, a seven track encounter which from its classic comic like cover, created by Clownbaby and Tim Kehoe, through to its final suggestive note, is a compelling exploration of self experiences, fantasy, sci-fi, and classic literature.

Hailing from Ontario, Adrenechrome began in 2010, formed by veterans of the music scene with bands such as Gaswitch, Shimmy Rabbits, and The Doug Trucker Band in their histories. Debut EP Hideous Appetites emerged in 2012, inspirations from artists such as Pantera, Black Sabbath, Thin Lizzy, Metallica, Mastodon, High on Fire, and Children of Bodom colouring a sound which soon lured strong support and attention to the release and equally the band’s adrenaline driven live presence which over the years has included playing with Corrosion of Conformity, Green Jelly, Ninjaspy, and Manahan. It is a reaction and success sure to be matched and overshadowed by Tales From Adrenechrome as it spreads its creative rabidity from hereon; with it the band ready to breach and incite richer and broader spotlights.

Album Cover - Adrenechrome - Tales From Adrenechrome _RingMaster Review   The album opens with A Familiar Face, an immediate tempting of bold rhythms and melodically spun sonic enterprise woven into a warm instrumentally led tapestry. The track swiftly captivates as its hooks and grooves seduce as the bass swings and drums badger, a union which only captures ears and imagination with vocal harmonies adding just one more flavoursome texture to the album’s initial temptation.

Things quickly get rugged and heavy as Lockstep storms in next; its thrash breeding is full rabid evidence as vocalist Chris Friesen rides his own riffs and the raw flames of fellow guitarist Tim Kehoe. As becomes the norm, the track is soon evolving within ears. The fury of more extreme metal hues collude with heavy Mastodon resembling grooves and a Torche likened web of flavours as the licking of thrash seeded and groove metal honed flames continues. It is riveting stuff, the body and emotions involved in the devilment as easily as pleasure and an appetite for more, which the song continues to offer with its persistently twisting proposal and Black Brubeck continues with its superb jazz lit imagination and progressively sculpted inventive waltz. As avant-garde as something from a Trepalium or a Pryapisme, and as heftily compelling rock ‘n’ roll as a predacious roar from an Anthrax or High on Fire, the song is irresistible; a fascination with mischief in its heart and fiery passion in its soul.

As all tracks, God Sized Shadow is nurtured with the same fire of intent and character, it even more rapaciously dirty and intrusive than its predecessor but with, greater degrees, the same kind of cosmic air and aggressive volatility, the blackened shades of the latter especially potent. Bewitching and intrusive, with the excellent dark grouchiness of Mike Van Dyk’s bass and the lethally swung beats of drummer Matt Copeland gripping, the track is a primal yet worldly blaze with the rawness of a Triggerman and dark seduction of a Faith No More.

The Heart and The Feather instantly incites ears and thoughts as clean vocals impress within a hug of spidery grooves and sonic expression, Friesen becoming even more compelling as he mixes up his delivery with dirtier tones and rasping expression. Musically the song matches him, again that bedlamic quality a perpetual enticement of unpredictability and highly persuasive surprises woven in to a mix of fierce and richly spiced metal and heavy rock styles. Hips are soon swinging and imagination entangled in the proposition, a success just as easily inspired by Hideous Appetites, a manic appearing and skilfully conjured smog of ferocious enterprise and dynamic devilment; a ravenous beast of a song with melodic and antagonistic weaponry.

Completed by the cauldron of warmth and hostility that is The Lead Elephant, a track which majestically merges melodic tempting, sonic trespasses, and cantankerous metal ‘n’ roll within its tenacious and often enjoyably bruising tempest, Tales From Adrenechrome is a thrilling beast. There is no moment where emotions and appetite are not inflamed and pleasure thicker than the grooves it unleashes.

Grabbing a dose of Adrenechrome is a no brainer as far as we are concerned, Tales From Adrenechrome the release declaring a new band to challenge if not quite now certainly ahead those ‘giants’ mentioned.

Tales From Adrenechrome is out now @ https://adrenechrome.bandcamp.com/album/tales-from-adrenechrome and through most online stores.

http://adrenechrome.com/    https://www.facebook.com/Adrenechrome   https://twitter.com/adrenechrome

Pete RingMaster 28/11/2015

Copyright RingMaster: MyFreeCopyright

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

Mercutio – Back To Nowhere

mercutio shot 1_RingMaster Review

It might not have the passions always ablaze throughout the length of its certainly compelling body, but Back To Nowhere, the debut album from Mercutio is a new acquaintance you only want to get to know better and of its creators, more about. The twelve track encounter is a tapestry of varied flavours and perpetually enticing enterprise with something for all varied tastes. At times it embraces a metal breeding, others moments a diverse rock seeding, whilst across its twelve tracks a host of other styles and flavours are zealously infused and entwined into its theatrical and fascinating adventure. The result in a collection of songs which raise the passions in varying degrees but all entice and captivate as they make up one thoroughly enjoyable proposition.

Italy hailing and now London based, the quartet of vocalist Mirko Petrini, guitarist Fabio Staffieri, bassist Emanule Nazzaro, and drummer Francesco Lucidi since forming in 2011, has increasingly garnered a potent following and reputation on the UK scene with their progressive weave of sound, earning supporters in the likes of Anna Phoebe and the Porcupine Tree’s Colin Edwin amongst a growing legion of fans along the way. Recorded with Andy Wright [Jeff Beck/Simple Minds] at the Assault & Battery Studio in London, with Gianluca Cucchiara co-producing, Back To Nowhere is the band’s strong and inviting nudge on broader attention and keener spotlights with a rich personality to back it up.

It opens up with Shed Your Skin, instantly soaking ears in drama and awakening the imagination with its opening build of sinister sound around the instantly alluring tones of Petrini. Just as quickly, the track unveils a bubbly funk underbelly to a brooding union of riffs, voice, and rhythms. Reminding of UK band Japanese Fighting Fish, it is a gripping entrance by song and release which only increases in persuasion as things get more creatively agitated and atmospherically darker, as well as virulently tempting. Within this the bass growls seductively as drums lay down anthemic bait, around both the guitar painting a suggestive proposal lit by the excellent vocals. Ravenous metal, heavy rock, avant-garde mischief, and indie enterprise is all in there with other hues equally catching ears and imagination alight.

Packshot BTN_RingMaster Review   The following album title track is as rousing and inventively exhilarating in its individual way, opening on a rock ‘n roll stomp before casting a weave of electronic and melodic rock endeavour gripped by the just as dramatic but controlled vocals. Its heart is warm and air symphonically painted with melodies that entangle the senses with emotive prowess, though shadows are always a constant flirtation too as things build to small and harmonic but potent crescendos throughout before A Part Of Me lays a calm acoustic hand on ears. Melancholic with an air of the ever present drama in songwriting and sound, the song is an increasingly bewitching offering which certainly is enjoyable on the first listen but something to get more enamoured with over every subsequent listen.

The flirtatious Anytime with its emotive breath within rugged rhythmic scenery forges a similar engagement next, its classic and melodic rock enterprise given greater potency by the rousing exploits of the rhythms, whilst Fake unleashes another ridiculously infectious and instinctively off-kilter treat to match the opener. At times Mercutio create sound and imagination that stalks the listener, a mix of flirtation and intimidating in the invention which here courts strands of alternative metal and darkly bred rock ‘n’ roll with bands like Pryapisme and Toumaï coming to mind. It is a trespass of sonic intrigue which, as in most songs, leads to catchy embraces of energy and tempting posing as a chorus.

The reflective balladry of No Compromise is a warmly engaging proposal next, its emotive hues wrapped in summery spices keeping satisfaction high even if it is still over shadowed by its predecessor. Nevertheless with a delicious stringed embrace and the ever impressing vocals of Petrini, pleasure is a sure thing and back in torrents through the voracious shuffle and invention of Hail The Night. Again Japanese Fighting Fish is the closest to describe the robust imagination and draw of the track, a dash of 6:33 and Faith No More also adequate hints to the rich and provocative rock ‘n roll courting ears.

Featuring an appearance by Colin Edwin, In Front of you romances and captivates next with a carousel of vibrant melodic invention which works its way to an even more thrilling stretch of rap/alternative metal where Skindred meets Muse might be a good comparison. The song just gets bolder and more unpredictable with each passing minute, its theatre engrossing and matched by the smouldering allure of Mother, another song growing into its skin and exciting ears more over numerous plays. In contrast the fuzzy triumph of Set Me Free has body and emotions enlisted in its volatile and invigorating stomp from the first breath, a tinge of grunge aligned to Queens Of The Stone Age spicing its boisterous nature for another pinnacle within Back To Nowhere.

Straight after The Ghost That Is You casts a more restrained and atmospheric roar of sound but one with tempestuousness to its emotion and invention which soon gets under the skin and leaves a healthy appetite just a touch more greedy before Reasons To Erase brings it all to a jazz/funk/classic rock swinging close. Some tracks hit the sweet spot straight away and others take longer to ignite a similar reaction, but ultimately all do as with the final track which despite some sensational moments steals most full admiration over a host of pleasing plays.

As suggested earlier with Back To Nowhere, Mercutio provides something for everyone with plenty of just as flavoursome sounds and moments to back each aspect up; at times they make you lustful for the album, other times just leave you fully content, but throughout the band inspire a want to hear more and more…

Back To Nowhere is out now via Diverge Records through most online stores.

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Pete RingMaster 25/11/2015

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