Deaf Eyes – Self Titled

Deaf Eyes - Band

Started as a side project in 2013 of the experimental psych progressive metallers Incoming Cerebral Overdrive, Dead Eyes proves itself to be a distinct and formidable entity in its own right with its self-titled debut album. Colliding eight tracks of intense and thunderous post metal with senses and imagination, the instrumental band lives up to its intent of exploring “obscure experimental sounds and atmospheres,” and “a monolithic approach to hard and heavy riffs with a “delayed research” of alternative vibes mixed in a psychedelic mood.” That is quite a wordy description of what consumes and seduces within their album but one realised within the leviathans of sound and textures which transfix and immerse the listener from start to finish. The album is a beast of a proposition but equally a rigorously sultry temptress journeying through exhausting landscapes as imposingly cinematic as they are carnally ravenous.

The Italian quartet begins their voracious seduction with Black Canvas, and in no time thoughts and emotions are engulfed in the drama and almost savage soundscape of the track. Carnivorous riffs and even more bestial bass predation swiftly overwhelm the senses, backed by the intense weight and hunger of the swiping rhythms. Just as the track is immensely intimidating it also impressively takes the imagination into an evolving and challenging climate of sonic and inventive suggestion, across a terrain of danger and intrigue which erupts and snarls with skilled rabidity and riveting ingenuity. It is a demanding and irresistible experience with a contagion which is toxic and inescapable.

Its dark realms are shadowed by those of the following Mirrors, its specific turbulence and antagonism expelled in a barely milder tempest but one with flickers of light and melodic charm to its hostility. The bass has a growl to reverse a tsunami of ravenous beasts whilst guitars wield a sonic enterprise which binds with venomous potency whilst its infestation of infectiousness is Deaf Eyes - Coverimpossible to fend off or resist. It dark corners and shadows are no less merciless than its outright tempestuous climate as the song unleashes a sound which holds essences of the likes of Neurosis and Russian Circles to its breast as well as those of Morkobot.

A more celestial jeopardy is investigated in Orbits, though with all tracks the adventure unfurling is as unique to the listener’s thoughts as the sounds casting the canvas and sonic emprise inspiring them. The track is one of the less intrusive on the album but still a provocative maelstrom of seriously confrontational invention and enterprise, a description suiting both the tantalising exotic and evocative scenery of The Eyes Of Regret and the agitated majesty of Draining Sun. The first of the two descends into a cavernous and melodically infused sonic haze which is as emotionally expansive as it is ferociously unpredictable and inventively coloured. Its exceptional sonic and innovatively perilous emprise is equalled by its successor, the track a hypnotic dance of repetitive riffery and preying rhythms within a psychedelically hued blaze of disturbed sonic revelry. The track is scintillating, a corrosive waltz physically and emotionally which bewitches with cultish persuasion. The accompanying press release listed Goblin as references and of all the songs this with its haunted shadows and demonic colouring is the prime reason.

Red Desert Lullaby keeps body and emotions just as eagerly busy, its thick smouldering climate a wrap to perilous escapades to envision and a sonic rapacity to bask in whilst next up The Withered drifts into a sinister province of crawling shadows and haunted emotions. Their dark secrets converge around a rugged spine of bass and rhythmic bullying of ears and emotions, an ensnaring and violation of the senses setting thoughts and passions aflame. It is a glorious predator and portrait of lost and turbulent emotions, another binding and ingenious traverse of places most fear to contemplate let alone traverse.

The album closes with the just as dark and Luciferian Commiserate, a primal senses ravishing beauty which scars as it seduces. The bracing incursion into psyche and emotions is an enthralling end to an exceptional release, an album which is a playground for the imagination and trial by sonic fire for the senses. It is quite exceptional and provides a new excursion into the unknown for thoughts and emotions with every violating listen.

Deaf Eyes is available now via Argonauta Records @ http://www.argonautarecords.com/shop/music-/41-deaf-eyes-deaf-eyes-cd.html

https://www.facebook.com/deafeyesband

RingMaster 12/11/2014

https://soundcloud.com/deaf-eyes

The Mezmerist – The Innocent, The Forsaken, The Guilty

Mezmerist-Forsaken-1500x

    The Mezmerist , a project which few have heard of and even less has music from, is the centre is attention from the newest release of Shadow Kingdom Records. A reissue of two EPs the band recorded back in the mid-eighties; The Innocent, The Forsaken, The Guilty is an intriguing and riveting insight to a band almost lost to time with a background as interesting as its engaging sounds.

The band was the project of Thomas Mezmercardo, a young guitarist taking influences from the likes of Van Halen, Black Sabbath, and Mahogany Rush into his own ideas and creativity. With a sound which merges psychedelic and classic/heavy metal driven with a strong mix of vocals highlighted at times with falsetto squalls and expression, The Mezmerist released The Innocent, The Forsaken, The Guilty in 1985, the ‘double EP’ release filled with tracks recorded over two sessions two years apart.

The first notable thing about the release is that the 1983 4 track EP section features Black Sabbath drummer Bill Ward alongside Mezmercardo and bassist Roger Abercrombie. As Ward was with Sabbath at the time his contribution was un-credited for legal reasons on the 500 copied pressing, which with the band holding on to a great many of the copies has become very collectable with those in the know and selling on eBay for extreme high prices. Mezmercardo himself has been a sought after and hard to find man since for many interested parties in re-releasing the EP, but finally tracked down and coming to an agreement with Shadow Kingdom for its reissue, which took five years to come to pass even from that point, the described as ‘ by far one of the best cult classic metal albums you’ll ever hear’, is finally available for all.

Whether the release does fit the label’s declaration is debatable but certainly it is an engrossing and enjoyable step back in decades which is very satisfying to have encountered. The first quartet of songs come from that previously mentioned 1983 session featuring Ward and starts with The Forsaken, a caustic atmospheric confrontation with the droning hum of destruction soaring its skies and stark chilling winds wrapping their cold intimidating tendrils around the spoken narrative of Mezmercardo. It is an excellent intro to the release though arguably what follows is an anti-climax to its ruinous suggestion as they seem to steer away musically from the menace and aggression laid down.

The following Dead Ones Cry No More is instantly expelling a scorched heat of guitar and sonic persuasion, a sizzling psychedelic haze on the wasteland of its predecessor. A Middle Eastern temptation lines the immediately skilful and entrancing guitar work framed by the appealing bass prowl and strong rhythmic craft of Ward, though neither of those steal the glory from the guitars or attention from the vocals of Mezmercardo whom when hitting those high levels takes a little getting to use to, his lower cleaner presence more preferable for personal tastes. The song is a sultry caress which opens up the appetite for the next up Arabian Nights, another song reaping those seductive eastern essences to fine effect.  There is a Led Zeppelin/Sabbath feel to the sound which draws in the emotions potently though this is tempered by the vocals which at this point has for these tastes, lost their flavour.

Victim of Environmental Change completes the first part in more than decent style though feels far more of a demo than the other tracks, before the three songs from the 1985 session take their place before the ear. With a line-up of Mezmercardo, bassist Steve Conrad, and drummer JR, as soon as Kingdom of the Dead steps forward there is a breeze of freshness and clarity over the previous songs. The bass has a swagger and mischief that has lips licked whilst the drums are easily an equal to what Ward offered previously. The vocals also have a greater control and persuasion with Mezmercardo staying to a less acidic delivery which with a raw and unfussy breath really works well with the great sounds around them. The track has a doom clad crawl and stalking to its presence whilst guitars and bass twist and turn with enterprise and invention.

No Family, No Friends has a definite punk stroll and snarl to its riffs, their hungry belligerent course seared and entwined in defined and potent sonic spirals of imagination and skill whilst the rhythms again cage it with eagerness and craft. Like the song before it is an excellent taunt for the passions and easily the pair steal the honours on the release.

Completed by the instrumental The Jam Song, a track which feels like it says, an improvised playtime for the musicians which flows and courts the imagination with ease, especially the underlying surf rock dance to its controlled charge, The Innocent, The Forsaken, The Guilty is a release all heavy metal fans should take a look at. A cult classic…maybe not, a thoroughly entertaining and flavoursome treat…undoubtedly.

www.shadowkingdomrecords.com

www.shadowkingdomrecords.bandcamp.com

7.5/10

RingMaster 04/09/2013

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