King Satan – King Fucking Satan

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In a world bent on self-destruction from the intimacy of relationships through to the broader intolerance of religion and the greed of those governing it up front and behind the scenes, never has there been a more suitable and insidiously compelling soundtrack to it all than the new album from King Satan. Recently released by the  Finnish outfit, King Fucking Satan is a ten track devouring of the senses and an insatiable trespass of the psyche as flirtatious and contagious as it is emotionally pestilential.

Originally a solo project for vocalist, multi-instrumentalist, and producer King Aleister Satan (aka fra. Zetekh, the frontman of Saturnian Mist) when it emerged in 2015, the band has subsequently expanded due to live show demands with Kate Boss (vocals, synths, piano), John Oscar Dee (guitars, bass), Martin Shemhamforash (synths, bass), and Magister Demaniac (beats, additional instruments, programming) completing the current line-up. Musically King Satan creates and fester a senses consuming, body inciting fusion of black and death metal with dark electro, EBM, aggrotech and more besides whilst lyrically and emotionally, nothing is left out from being invaded and violated; the album exploring themes “found within occult philosophy, psychological mind-fuck and even sociological satire hand in hand with renegade rock ’n’ roll spirit that surely bows to nothing and no one!”

Dance With the Devil pretty much sums up the experience of listening to the album as well as providing the title for its opener. As a dark atmosphere crowds around ears, a vocal trigger brings hungry beats and synth cast temptation upon the senses. Equally predacious and alluring, with increasing addictiveness and virulence as melodies and hooks play, King Aleister Satan’s vocal trespass bullies and harries, every syllable explored and sharing primal instruction. Like a mix of God Destruction, Skinny Puppy, and label mates Barathrum, the track infests and incites, its infectiousness and inviting hooks as loaded with viciousness as its boldly direct animosity.

It is a great manipulative start soon matched and overshadowed by As Above So Below, a song managing to be even more primordial and catchy as nagging rhythms pound and synths cast their toxic melodies and hooks; an infectious trait matched in the swing of the punk/black metal scarred vocals. Within moments bodies are bouncing and hips swinging, something we have seen in close attention, as thoughts are twisted and stretched by the corrosive vocal and lyrical intrusion. Addiction appears inevitable so be warned as indeed in regard to Enter Black Fire which though not quite having the body as firmly in its puppeteer grip keeps things feverishly pulsing as thoughts are taken on a tour of ascending oppressive power and its escape.

Psygnosis has everything lustfully involved and enslaved next too, its musical psychosis the fuel for more unstoppable infectiousness and lyrical humour honed drama. Physically exhaustive and imaginatively tenacious refusing to leave the listener alone with its creative bordering psychotic enterprise, the track is superb, a new major highlight though instantly eclipsed by Sex Magick. Stomping over the senses with every beat a haymaker and each synth nurtured sortie of ears a rebelliously sexual coaxing, the outstanding track grows into a relentless and licentious tide of industrial/ EBM contamination adding J-Pop like ingenuity with the vocals of Boss glorious and a devilry akin to something Mindless Self Indulgence might expel.

The predatory instincts of Satanized course ears next, its infectious electro canter a bold niggling of the senses around the raw air and tone of vocals and word before Of Internal, Eternal & Spiritual War, with its haunting Cimmerian crawl through an ominous atmosphere woven around darkly whispered vocals and harmonic siren cries, envelops the senses.

Recalcitrant causticity gets its head in the electro punk epidemic of Spiritual Anarchy straight after; defiance and vocal antagonism a potent contrast to the quenchless dance and devious endeavour of synths and guitars while Destroy the World is a calmer but cancerous embrace of the senses. Suggestive melodies vein an invasive smog of sound and intent which dowses the listener in emotional and sonic malignancy.

The album closes with a similarly toxic climate and reflection, though Kali Yuga Algorithm has a thicker sinuous texture to its layers and black industrial, rancor coated wake-up call. The track leaves a lingering imprint on the senses as pretty much all within King Fucking Satan, a release which enthrals on the verge of rapture and provokes to the point of brutality for seriously one of the most rousing and enjoyable stomps this year so far.

King Fucking Satan is out now via Saturnal Records and available @ https://saturnalrecs.bandcamp.com/album/king-fucking-satan

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Pete RingMaster 20/06/2017

Copyright RingMaster: MyFreeCopyright

One Last Shot – Even Cowboys Have Sundays

Pretty much three years after impressing with their debut EP, French rockers One Last Shot have unleashed their first album to once again have ears and plaudits aroused by their dirt encrusted sound. Even Cowboys Have Sundays is a roar of thrash nurtured ferocity and sonic southern rock liquor but an incitement as punk as it is metal as it is unbridled rock ‘n’ roll.

With their musical instincts and passions raised on nineties thrash metal, the Paris quintet soon stirred local support after emerging with a sound soon drawing comparisons to the likes of Lynyrd Skynyrd, Motörhead, and Guns N’ Roses. It was the First Gear EP in 2014 which sparked broader attention at home and further afield; its bold character and bruising sound as contagious as it was aggressive. Even Cowboys Have Sundays follows in the same vein; bringing a host of flavours, familiar yet forcibly fresh, in a strain of rock ‘n’ roll self-termed as dust metal. Equally though, the album reveals a richer vein of individualism in sound and imaginative songwriting as maturity and adventure collude in a clutch of tracks which feel like old friends in some ways but a voracious new adventure in many more aspects.

Opening with The Gambler, One Last Shot swiftly has appetite and imagination caught, its opening sultry lure of guitar an intoxication soon swallowed by a wall of wiry riffs and robust rhythms. Yet there is a control to the assault which seamlessly embraces more of a prowling than demanding gait as vocals add their own raw but captivating texture to the mix. An unpredictable nature to its overall attack is just as appetising though the song never releases its full aggressive venom, preferring to seduce with melodic and sonic enterprise with its own persuasive toxicity.

One Last Shot – Even Cowboys Have Sundays

A great start is quickly matched and pushed on by One Night Stand, a blaze of classic rock and punk ‘n’ roll with a touch of UK band The Senton Bombs to its irritable contagion. As with its predecessor, and indeed most tracks, involving the listener in body and voice is swift; the encounter another lustfully catchy proposal with a slew of rapacious hooks and swinging energy across its dirty holler before Embrace The Fire draws on old school rock ‘n’ roll for its particular rousing romp. Like a blend of Volbeat and Grumpynators, the song harasses and seduces the instincts to beat one’s rock ‘n’ roll chest; the senses entangled in the melodic rapacity of the guitars as bass and drums drive things with matching zeal. The track is superb, rock from the fifties through to modern day seemingly bullied into one compelling stomp.

The variety of sound and ideation within the album is already apparent by the fourth song and continued as Thou Shall Be Drunk creates a proposition part melodic metal and part grunge punk, all with a nineties toning while Join The Club offers a merger of punk metal and sinuous heavy rock. Both songs are twisted and moulded into seriously enticing temptations with the first especially anthemic and irresistible.

The excellent Hell Mariachi (A Mexican Interlude) takes the imagination into the heart of the desert heat, the two sides of The Bronx mixed with East Coast trash for another mouth-watering and seriously compelling exploit within Even Cowboys Have Sundays; that new maturity and bold imagination within One Last Shot united in an eager charge.

That thrash breeding within the band is in full voracity within Live Fast And Die Young and indeed It’s All About Speed straight after. The first of the two is a chug fest of nagging riffs bound in lustful grooves as vocals, single and mob handed, arouse the spirit even further with an anthemic roar as lustful and unapologetic as the sounds around them. With the guitars weaving a glorious web of melodic dexterity, the song simply rocks before its successor uncages its grubby rock ‘n’ roll to continue the manipulation of the listener’s body and spirit; the track a potent persuasion  even if missing some of the vital and unique sparks of earlier tracks.

Closing up with the fiery fusion of predatory metal and imposing heavy rock of We Don’t Call 911 and lastly the groove entangled bellow of I Feel Alright, the song a tenacious web of resourceful and eventful enterprise, Even Cowboys Have Sundays leaves the spirit alive and just a little over excited. The album is a charge of commanding adventure built with recognisable and original textures and bound in a fresh and striking imagination. Their First Gear EP, stirred up a form appetite for their sound, now the album has unlocked a lust which will surely infest many others and deservedly install One Last Shot as someone to heartily recommend to all.

Even Cowboys Have Sundays is out now via JFF Records and available @ https://onelastshotofficial.bandcamp.com/album/even-cowboys-have-sundays

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Pete RingMaster 20/06/2017

Copyright RingMaster: MyFreeCopyright

Three Way Plane – Your Kingdom, My Life

Way back in 2013, Greek outfit Three Way Plane got in touch and introduced us to themselves and their new EP Fire. It was a potential loaded indie/post punk infused proposition which was bitingly eclectic and imaginatively rampant suggesting that the 2004 formed band was ready to tap into attention far beyond their local success. They have not quite found that breakthrough since in a period which was assumedly busy for them but appearing quiet on the outside. Things might just be about to change though as the Athens outfit release their second album Your Kingdom, My Life and another collusion of sonic diversity and creative adventure.

Two years after forming the band released their first EP, Bright Days the first clue to the growing invention in their punk nurtured sound though it was their well-received debut album, give us something new to shout, which really stoked attention and eager support four years later; its success subsequently eclipsed by Fire. 2015 saw the band release a collection of remixes from songs out of their previous two offerings and the striking 7″inch single A Waltz For Unity & Love / New Destination. In hindsight, the latter was a definite tease of the new growth in sound and songwriting of vocalist/guitarist Stratos, bassist Giannis, and drummer Geo, who has left the band since the album’s recording; hints now impressively realised in Your Kingdom, My Life.

In some ways, the Three Way Plane sound has actually slimmed down its rich array of textures and flavours into something less overwhelming but more concentrated on its qualities, a sign of maturity easy to embrace. As opener Inner Warfare shows though it is still a web of styles and imagination which leaves predictability looking elsewhere for a home. The track initially waves a sonic lure in front of the listener, the guitar almost taunting before a couple more breaths sees rhythms strolling through ears with a knowing swagger as riffs sculpt their dance.  That first slither of post punk bait returns to tempt as the song slows a touch to welcome the expression shaped vocals of Stratos. Simultaneously Giannis’ bass grumbles with a throaty growl, riffs again casting an eager scrubbing of the senses as Geo’s beats tenaciously swing at a body and imagination swiftly hooked by the song’s mix of indie rock and punk at times reminding of UK band Houdini.

It is a superb start soon matched by the more crazed and caustic exploits of No, I’m Not Sober. Again the bass is an irresistible lure, showing more mischief than attitude this time, a matching hue directing riffs and vocals as the track swings between revelry and hostility. There is a definite feel of The Cure and their Three Imaginary Boys entrance upon the world, an additional off-kilter and magnetic discordance in tone and touch which lights ears and personal instincts. With the guest manipulation of Kostis Maloutas on the Theremin extra pleasure, the track eventually makes way for the matching excellence of A Waltz For Unity & Love. Straight away guitars entice ears, courting attention with their weave of wiry hooks and flirtatious melodies. Darker hues come into play soon after as the track hits its vigorous stride as vocals share lyrical suggestion though it is the snare of flirtatious hooks and energy which rubber stamps an already done deal between song and pleasure.

Guitars and bass again make the first flirtation with ears as Get Off Your Hands steps forward, its more shadowy nature and physical trespasses infested with fiery melodies and infectious rhythms which respectively wind through and steer the enjoyable ship. There is that post punk essence again at play but more vocal within the following Xepiasakos Theme, an instrumental cruising in on a great Gang Of Four like dexterity in its rhythmic prowess which immediately has body and spirit dancing. The piece is a touch more reserved than its predecessors but a livelier persistence impossible to refuse or let physical reactions leave alone. Musically the song also reminds of eighties bands like Leitmotiv and French outfit Modèle Martial, an array of essences cast into a sonic Three Way Plane kaleidoscope which certainly has a great spicing of nostalgia.

With a similar eighties spicing to its seduction of catchiness and challenges, Checkmate is simply infection from start to finish; guitar hooks and brooding bass lures a devious incitement infesting limb and imagination with viral expertise while the following Silent embraces the senses in a more atmospheric wash of sound though it too does not skimp on addictive snares and seriously catchy twists. That raw ethereal climate solely takes over midway though, a sonic drifting across the imagination with an underlying tempestuousness which grows as shadows blossom. Once more The Cure come to minds at certain moments, the song more reflective of their second and third album period while again creating a proposal individual to the Greek outfit.

The more caustic and volatile essences of other songs has its head for Your Life ’08, the track an abrasive slice of hardcore shaped punk but with a rhythmic agitation and tenacity which ensures an infectious bullying of ears and lively thoughts is welcomed.

The album closes with Psychic Changes, a rich trespass of vocal dissent and sonic intrigue spun with a tide of gripping hooks and predacious rhythms into a melodic labyrinth growing darker and more ravenous with every layer spun. As the previous track, it is more of a challenge than earlier propositions, more of a slow burner but ultimately emerges as one of the most striking quests from the imagination and craft of Three Way Plane.

There are times when the body really feels like a puppet to Your Kingdom, My Life, unable to escape its infection carrying incitements, and never a moment when pleasure is not the fuel of the day. Whether the album will see Three Way Plane break into international attention time will tell, it has all the attributes, but it will certainly establish the band as one of most exciting adventures waiting their moment.

Your Kingdom, My Life is out now and available @ https://threewayplane.bandcamp.com/album/your-kingdom-my-life

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Pete RingMaster 31/05/2017

Copyright RingMaster: MyFreeCopyright

Insanity – Toss a Coin

If there is brawl you really want to be at the heart of, it is Toss a Coin the new album from Swiss hardcore outfit Insanity. It brings eleven insatiable confrontations to the ear; a clutch of spirit raising, defiance driven roars which refuse to take not today sir for an answer.

With a sound bred in the New York hardcore scene at its height, Insanity has sonically bullied and physically roared their way to a potent reputation and presence within the European punk scene over the past five years, one now sure to be re-ignited again by Toss a Coin. Since emerging, the Lucerne quintet has surged from their homeland across Europe into international waters, sharing stages with the likes of Hatebreed, Agnostic Front, Madball, Sick Of It All, Terror and many more along the way as well as headlining their own successful tours. Their debut album, No Limit, set down a certain marker in their ascent, its well-received presence matched by that in success by the Ready To Row EP. Released through Bastardized Recordings is a new powerful statement from the band, in sound and political/social quarrel as well as simply rousing punk ‘n’ roll.

With gang shouts, body manipulating grooves, and addiction forging hooks as prevalent as raw antagonism and instinctive antipathy to the world’s ills, Toss a Coin snarls and harasses from its initial second and opening breath of first up No Tolerance For Intolerance. The gnarly tone of Pery Zemp’s bass instantly has ears lured, riffs a great dirty backing before both collude with the rapier like swings of drummer Raphael Renggli and the first of involvement enticing band shouts. Vocalist Tobias Küng is soon to the fore directing middle finger reply to prejudice, the guitars of Yannick Balmer and Michael Portmann casting a mesh of grouchy riffs and animated grooves. There is no escaping the swift influence of its attitude and body, a submission subsequently given to song after song in varying but certain degrees thereon in.

The excellent start is matched by the caustic stomp of Find A Way, its intensive assault a furious charge compared to the swagger of the previous protagonist but veined with melodic tendrils and scythes and twisting spirals of noise. For all the rage, already an inbred infectiousness is as powerfully commandeering reactions, Insanity entangling both with imagination and zeal. It is a quality as rich within the album’s title track and indeed What I See after that. The first of the pair points and challenges with every syllable and note, band cries and neck muscle testing catchiness a particular trespassing incitement within nothing but while the second flows from its predecessor upon another deliciously grouchy bassline into a web of seriously grooved and rapacious punk rock with the instincts to rock ‘n’ roll.

Four tracks down and we would have forgiven any upcoming slip-ups such the potency of the quartet but no second is wasted in allowing ears and attitude a moment to relax, With My Friends an immediate air punching, hip guiding announcement of kinship stoking the fires. Again pleasure is ignited by Zemp’s bass, its metallic grievance manna for personal taste more than matched by the rest of the band within the inflammatory holler.

Down consumes ears in a cantankerous bawl next but one delivered with deliberate restraint carrying a perfect level of volatility; a blend lifting the body to its feet and vocal chords to their highest decibel throughout. Such success is an easy finding for All I Need too; its badgering riffs and probing rhythms herded into greater feistiness by Küng and listener by the ever persuasive and addictive gang clamours.

Through the mercurial but persistently wilful and stormy climate of One Day and the surly belligerence of $laves, there is no let-up in disdain and disobedience or imagination lit invention which may at times take a while to reveal it’s surprises within the tempests but hungrily makes each track distinct and riveting incitement; What’s Hardcore just as eager to prove the point with its punk ‘n’ roll revelry. Like a vipers nest, the song writhes with grooves, their snaky lures even flirting away when the song is running headlong with punk predation.

The final ignition of defiance and unbridled pleasure is provided by Die For, a body stomping charge riding thrash nurtured riffs like a surfer as melodies flare and rhythms prowl. Musically, the senses feel like they are being stalked by the track, vocally being willingly drawn with the spirit into mobilisation, both whilst rocking like a hound in heat to their combined militancy.

It is a glorious end to an outstanding encounter entwining the familiar with instinctive contumacy and enterprise resulting in one of, if not, the most enjoyable and manipulative treats heard so far this year.

Toss a Coin is out now through Bastardized Recordings @ https://bastardizedrecordings.bandcamp.com/album/toss-a-coin  or http://insanity.ch/store/

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Pete RingMaster 26/05/2017

Copyright RingMaster: MyFreeCopyright

Ghouls – RUN

Though it is hard to exactly pin down the precise reason, it is very easy to find a connection with the music of UK outfit Ghouls. Whether it is the fusion of familiar essences with something fresh and individual, the lyrical themes drawn from being on the outside of the assumed norm, or the refusal to be pigeonholed in life and style, probably all three, the London based sextet make for an instinctive pleasure in ears and imagination.

The release of new album RUN epitomises that union; a dozen tracks bred in a fusion of pop and core punk, alternative rock, and numerous other flavours which has the body dancing, ears pleasured, and spirit defiant. The successor to debut album Ten Thousand Words On released a year after the band’s emergence in 2013, RUN is a band relaxed in its musical skin and bold in its creative ambition. Since their first album, a release striking the spark for the band to sell-out The Monarch in Camden and earn the continuing praise of Frank Turner, Ghouls have become a potent lure on the UK and European live scene and at festivals such as 2000Trees, Jera On Air, The Secret Garden Party, Mighty Sounds, Hit The Deck and many more. Last year alone saw them undertake a two week tour of the USA, play THE FEST in Gainesville, Florida, and successfully light up Brixton Academy as part of the Fireball Fuelling The Fire Tour.

Now it is RUN ready to push the band and its reputation on again and does a fine job of both from its very first moments courtesy of opener Seasonal Affective. Infectious from its first breath with strolling riffs and keen beats, the track soon blossoms again with fuzzy squirts of guitar and the potent voice of guitarist Benedict Goold. With emotion and energetic expression in his strong delivery, his presence makes an early focal point backed by heated melodies and the swinging jabs of drummer Jay Swinstead. The track never erupts as it suggests it might but rather lets its lining of grumbling shadows led by Sam Mussell’s growling bass add rich intrigue as hooks and catchy exploits engage.

It is a great start to the album which Autophobia continues with its fiery bounce. Quickly revealing the inviting flames of Ben Maz’s sax and Russell Spencer’s trombone, the song rumbles along with a pop punk eagerness. Like a mix of The Hostiles and Neck Deep, it grabs ears and appetite with ease though it is still eclipsed by the rousing revelry of Better Places straight after. With an initial blast of brass stirring the spirit, the encounter soon reveals a great landscape of instinctively catchy bait whether the song relaxes into a thoughtful calm or leaps to its toes and grabs hips and feet in a tenacious bounce. That earlier mentioned familiarity is already open across the three songs and like an old inspiring friend within the third before helping fuel the contagion of next up Facebook Friend. With a hip hop lilt to his delivery, Goold acts like a ringmaster to the confident mischief and subsequent boisterous swagger and aggression of the outstanding song.

The pair of Salt with its sultry brass infusions and rhythmic rumble especially alluring and The Difference through its impassioned heart keeps things bubbling nicely even if neither quite scales the heights of those before them for personal tastes. The first of the two though is as memorable as anything upon RUN and equalled in that attribute by the reflective voice and tenacious canter of Home. Another proposition drawing on the “daily grind of real life and the struggles faced in the modern day” for its spark, it has the body a lively blur in no time.

Antagonist has funkiness in its swing as it forges another moment within the album firmly sticking in thoughts; its body a tapestry of controlled and volatile enterprise which never leaves a dull moment before Hard Days captivates with its lively croon and infectious pop fuelled romp and in turn Disavowal prowls and catches alight with emotive intensity. More of a slow burner than other tracks around it, it similarly grows into one of the hearty episodes returning at will in the imagination.

Completed by firstly the acoustic caress of voice and guitar of Expect Greater Things, a song which just grabs the passions from the off, gripping even tighter as the track eventually ignites into a full fire of sound and infection and finally Oxytocin which closes things with melodic flaring in an excitably catchy escapade. The pair provides a fine end to a release which has enjoyment bubbling over from start to finish.

RUN carries the potential of even greater adventures ahead with Ghouls where an appetite for the bite which this album hints at but never quite delivers may be satisfied. The album though ticks all the right boxes for forty odd minutes of rich pleasure and physical animation, its new maturity in songwriting and sound declaring Ghouls ready for big attention.

RUN is available now through 1471 Records @ https://www.1471records.com/store and https://ghoulsuk.bandcamp.com/

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Pete RingMaster 10/05/2017

Copyright RingMaster: MyFreeCopyright

Cavaverman – Women, Monsters & Cazzottis

After the acclaim lured by their album Tales From Cavafistool around Europe, Italian horror punks Cavaverman release their new EP, Women, Monsters & Cazzottis. Offering three tracks as a name your own price download, their latest encounter is equally as irresistible with the band stretching their sound to embrace an even richer array of flavours in its rock ‘n’ roll stomp. It builds on the last album with relish and enterprise with suggestive hints of where the band is going next.

Hailing from Monza, the trio of guitarist/vocalist Sal Champion, bassist Apocalypse Giò, and drummer Doktor Hell draw on the inspiration of bands such as The Ramones, Misfits, Alkaline Trio, and Entombed for their own enjoyably raw yet adventurous sound. A trio of albums in Dead Brains For Brain Dead, James Dead, and the aforementioned Tales From Cavafistool have more than marked Cavaverman out from the crowd and the Undead Artists released Women, Monsters & Cazzottis is no different.

It opens with Deadly Touch, a track featuring the potent vocals of Irene from Milan punks Viboras. The song itself is the punks inside Cavaverman coming to the fore; its horror punk ’n’ roll mixing with punk metal tendencies to unleash something akin to UK’s Trioxin Cherry meeting US bands Mongrel and Calabrese. From its first breath, the track stomps with attitude and an infectious lilt, the vocal union of Sal and Irene ear grabbing with the latter just as potent when tempting alone. Instinctive grooves and nagging hooks only add to the thick lure of the antagonism soaked song before Jamie Sommers steps forward.

The second song has a calmer persona, its psychobilly nurtured stroll and hearty croon showing a new maturity in the Cavaverman songwriting. Of course there is a snarl in the belly but one restrained as guitars weave their sultry serenade within a coarser tide of riffs and swinging rhythms. As the first, it is a richly magnetic affair captivating ears and imagination with swift ease before King of Cazzottis concludes the EP with its hard rock meets horror punk stomp. There is a healthy spice of pop punk to the chorus of the song too, another flavour in its bold mix needing little time to have body and vocal involvement from the listener on board.

Women, Monsters & Cazzottis is a band doing what they do best, unleashing instinctive rock ‘n’ roll whilst involving sound and creativity in new textures and explorations. There are surprises and plenty of familiar essences colluding in a slice of Cavaverman goodness which gets better and more tempting with every listen.

Women, Monsters & Cazzottis is out now through Undead Artists as a name your price download @ https://undeadartists.bandcamp.com/album/women-monsters-cazzottis  or https://cavaverman.bandcamp.com/album/women-monsters-and-cazzottis

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Pete RingMaster 09/05/2017

Copyright RingMaster: MyFreeCopyright

Show Of Bedlam –Transfiguration

They may not be the most prolific of bands recording wise but without doubt when Canadians doomsters Show Of Bedlam uncage their creative imaginations and sonic dexterity it results in something truly irresistible and memorable. That claim is richly confirmed yet again with the band’s new seven track EP/mini album, the quite stunning and unnerving Transfiguration.

The Show Of Bedlam sound has never been solely confined by that doom tagging, their fusion of sludge, post hardcore and punk, and atmospheric malevolence a cauldron of raw and transfixing invention and suggestion but never has it been so mesmeric, bone-chilling, and psychotically arcane as within Transfiguration. The release is a furnace of raw emotion and intensity soaked in a suffocating beauty; the band creating an evocation of macabre intrigue and corrosive psychosis which if the Witchfinder General was still a figure of ‘responsibility’ would have Show Of Bedlam burning at the stake.

From their debut release as one half of the split Autocannibalist with Jucifer in 2009 to first album Roont in 2012 and now Transfiguration, Montréal hailing Show Of Bedlam has kept ears and fears waiting and richly rewarded. The time between releases has seen the band continue to nurture and hone, push and experiment with a sound which is instinctively unique and dramatically imposing. For all their previous successes, Transfiguration is easily the band’s finest moment to date and the moment they surely blossom from a widely known secret to a fully-fledged inspiration within the metal scene.

Twelve minute opener Blue Lotus immediately engulfs the senses with its sonic smog of intrigue and melodic discord; enticing and intimidating in equal measure as it crowds the listener ready for the equally haunting and inescapable prowess of Paulina Richards’ presence and voice. There is virulence to all the dark thoughts and visceral imagery escaping the stifling atmospheric density; infectiousness as easily trespassing body and thoughts as the psychosis of sound carrying it. With a gothic wash equally blossoming and recalling Xmal Deutschland at times, the glorious predator of a track swallows the listener with its tapestry of creative spite and despair simultaneously disturbing and invigorating with its oppressive magnificence and intimate examination of the senses.

Latest single Taelus swiftly follows, teasing ears with its melodic beckoning as beats wait to lay an occasionally anthemic hand on an already eager appetite. As a sample lurks, the song simmers and bubbles, bursting from its confines as vocals and guitars entwine in another caustic wash of sonic tempting stalked by the hungry rumblings of bass. As its predecessor, the similarly deceitfully catchy track is as descriptive sonically as it is vocally, every fresh wave and adventure of intensity and cunning a new twist in the nightmarish landscape painted note by note, syllable by syllable.

At two minutes plus, the album’s title track is a short and powerful insight into a blossoming defiance and turning of the worm within a rhythmically entrancing and gripping affair, inciting the senses physically and  emotionally before Hall of Mirrors rises from its slumber with carnivorous breath and intent. It crawls over the listener, dragging its sludgy weight and doomy intensity with rapacious relentlessness as Richards roars with unbridled emotive intensity and persuasion. It too ebbs and flows with energy and greater volcanic urgency, consuming the senses with lava-esque ferocity lined with more of the band’s contagious groove spited toxicity; it all leading to a climax which simply consumes all before it.

Lamentation offers a respite of sorts, its twenty odd seconds a detour into a fresh fly infested charnel house from which the oppressive elegance and invasive almost cancerous  tempest of Easter Water broods and escapes. With every passing second it looms up and imposes its weight and immersive embrace, bullying whilst igniting ears and imagination. Subsequent slips into less intensive though no less spine-chilling and fearsome pastures as well as the darkest corners only adds to the theatre of sound and its realm of the portentously obscure, and to the imagery festering and conjuring in the imagination.

Closed by the brief sonic ruin of L’Appel Du Vide, quite simply Transfiguration is glorious; daunting and alarming for sure but a sonically and emotionally distressed alchemy of sound and invention which leaves the majority of releases this year so far and easy to suspect to come, looking bland and uneventful. As the world falls further into disaster and decay, so Show Of Bedlam rises, their sound and new offering the perfect soundtrack and antidote.

Transfiguration is released May 12th through PRC Music and Sentient Ruin Laboratories with pre-ordering available now @ http://www.prcmusic.com/store/index.php?route=product/product&product_id=1447 and https://sentientruin.bandcamp.com/album/transfiguration

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Pete RingMaster 18/04/2017

Copyright RingMaster: MyFreeCopyright