Ignotum – Larvas Mortal God

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Linking up with the Ronin Agency not so long ago, Italian black/death metallers Ignotum recently released debut album Larvas Mortal God and from a strong first impression, it is a release which grabs the imagination to impress more and more with every listen. On the surface the album is an enjoyable and accomplished proposition but it is with time that is reveals its own unique character of sound and creative textures to stand out from the crowd. Whether it will emerge as a major favourite is to be seen but already the album is a temptation enticing us back again and again.

The Como band was formed in 2011 by guitarist Fabio Guereschi and seemingly made swift and strong impressions on the local scene, widening that awareness and support with the release of a well-received self-titled EP in 2013. Recorded and released as last year closed its eyes, Larvas Mortal God is the first major nudge on the strongest spotlights from the band, and one easy to see making Ignotum a wider known and thought of incitement in the extreme metal scene.

The release starts with Through Madness Reminiscience and instantly is a sonic tirade on the senses, riffs and rhythms a merciless torrent but with that hostility tempered by spirally and instantly alluring grooves. The raw and coarsely expressive vocal squalls of Marco Capuzzo lay aggressively on ears but with just enough variety to make them adventurous and as magnetic as the tempestuous sounds brewing around him whilst the driving and evolving guitar enterprise of Guereschi and Luca Borghesi (no longer with the band), spins a captivating web matched by the formidable rhythmic collusion of bassist Stefano Zarantonello and drummer Federico Mascetti. As mentioned about the album, the song makes an appealing first touch on ears straight away but it is with time and attention that the nuances and at times less vocal invention reveals itself for greater reaction and pleasure.

COVER   The potent start continues with Soul’s Self Mutilation. Its atmospheric synth crafted opening is a stark contrast to the roar of its predecessor but it too it soon raging with aggression and passion. The repetitive nature of grooves and rhythms entice from within the sonic intensity swirling venomously around the landscape of the track, whilst again melodies and colourful creative hooks bring a refreshing and sparkling hue to the imposing storm. It is an inventive blend fuelling all the songs upon Larvas Mortal God but apart from at times a surface familiarity flowing over the release, it never smothers the individual definition and character of tracks like the following Inhale The Void and in turn The Circles’ Kiss. The first of the two immerses the senses in a blackened trespass and though it lacks the spark of its predecessors, imagination and craft ensures it is an evocative encounter before its successor uncages its own oppressive canvas of almost portentous sound and vocal snarling. It is the physical and emotive voracity which is missing in the first of the pair but back stoking the raging fire of the second and seemingly sparking greater toxicity in the sinew swung rhythms and scorching grooves veining the song.

Mary L. equally confronts the senses with a fiercer almost corrosive persuasion, one soaked in acidic sonic endeavour and provocative melodies. The song merges hostile and seductive scenery with a fluid and captivating prowess, flowing from one to the other and back again with ears enthralled. Despite its mighty offering though it is soon over shadowed by the outstanding Abyss, You Shine. The opening tangle of melodies and grooves around a contagious rhythmic tempting is enough to spark new hunger in the appetite. Again the band twist raw aggressive dexterity and intensity with mellow and entrancing seductions, one never overpowering the other and always creating a seamless passage of fascination and thorough enjoyment.

The album’s pinnacle is followed firstly by the more rabid but controlled turbulence and emotive mania of In Skinless Dream and then the atmospherically fiery and raucously trespassing Hecatomb Memories. The second of the pair is arguably the lightest on the album with an open progressive infectiousness which almost demands to be liked. Not quite carrying a poppy texture in its make-up but certainly, despite an increasing rhythmic and vocal ferocity to its climax, there is something more easily accessible to the track than in those before. Both songs ignite ears and thoughts masterfully before the closing Clown With Crown ensures the album leaves on another unhealthy and appealing slab of aural savagery and sonic venom, which you may not be blown away by but certainly will easily develop an increasing urge to explore more of, just as the album.

Produced by Luca Briccola, Larvas Mortal God is an impressive proper introduction to Ignotum, not a release to set a fire burning but easily potent enough to put the band on the map and given time to become a constant lure for repeat attention.

Larvas Mortal God is available now via Mentalchemy Records from most online stores

http://www.ignotum.it/   https://www.facebook.com/IgnotumItaly

RingMaster 12/04/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

 

 

 

 

Calico Jack – Panic In The Harbour

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If you are planning to take to the high seas in order to undertake devilish pursuits, a check list will include a sturdy vessel, lush beard, a potent weapon and of course a jolly roger. You might also need a suitable soundtrack too and that is what Italian metallers Calico Jack can offer in highly enjoyable fashion. Recently signed to the Ronin Agency and working on their debut album for a release later this year, we thought a retrospective look at their previous EP Panic In The Harbour was in order, especially as it is now getting another thrust into the broader world and inspires potent anticipation for the band’s first full-length.

Hailing from Milan, Calico Jack was formed in 2011 by brothers Toto (rhythm guitar) and Caps (drums), the pair taking the band name from Captain John Rackham’s nickname, a notorious English sea raider who sailed across the Caribbean Sea during the Golden Age of Piracy and famed for inventing the pirate flag, the Jolly Roger, and for having two notorious pirate women is his crew: Anne Bonny and Mary Read. Fusing classic eighties heavy metal with Scandinavian folk metal and creating exploits inspired by Anglo-Saxon sea shanties and folk songs, the band swiftly grew in personnel, releasing their first demo Scum of the Seas in 2012. Panic In The Harbour was unleashed a year later to great responses at home and around Europe. Now with fresh interest in release and band, and that impending full-length, the line-up of Toto, Caps, Giò (vocals), Melo (lead guitar), and Dave (violin), is ready to had a very potent year.

COVER - Front     As soon as opener Where Hath th’ Rum Gone? whips up attention with a lure of bow across strings you get a rich inkling of what is in store, and once thumping beats hit and riffs gallop with riotous devilment, the Calico Jack sound and its character is in full blaze. There is no escaping an Alestorm reference or of Running Wild but equally there is a healthy spice of a Korpiklaani in its revelry, a dirty Adam Ant essence within its colourful nature, and the punkier metal of Kvelertak to its roar. The grouchy guttural vocals bring the intimidation whilst swashbuckling exploits are driven by violin, hooks, and anthemic rhythms, not forgetting just as magnetic group shouts. The dark addictive tones of the bass also only add to the compelling adventure and though it is fair to say that there is a great familiarity to the band’s sound, equally it makes for a fresh and feisty proposition.

The opening enjoyable contagion of the ale sodden proposal is immediately matched by House of Jewelry. It makes a more imposing entrance, riffs and that increasingly captivating throaty bass colluding for a magnetic and aggressive coaxing. Vocals and the heavy drum swipes built a hostile environment but one coloured by the spicy flame of violin and the instinctive swagger and swing of the emerging encounter. Again you basically know what you are going to get but it does not stop the blend of classic and folk metal creating an infectiously captivating escapade for ears to devour and the imagination to eagerly run with.

Grog Jolly Grog is another drinking song you just instinctively raise your tankard to whilst rocking your body with the raucous sway and volatile attitude of the addictive festivity. It also brings a whiff of old school punk to its hooks and raw abrasive riffery, nothing dramatic but an appealing scent explored more in the closing Deadly Day in Bounty Bay. The final song is the most adventurous and inventive on the EP though that imagination is certainly beginning to show its flair and temptation towards the end of its predecessor.

     Deadly Day in Bounty Bay opens with lapping waves on a shore and a single tempting of guitar. The ever alluring bass soon adds its voice to the emerging narrative of raw riffs, salty violin seduction, and melodic winery. The start of the track has ears and imagination gripped but it is when it takes a breath and returns with a virulent bait of lively beats and contagion fuelled bassline that the incitement really comes alive. Everything from the gruff vocal delivery to coarse riffs, the jab of rhythms to teasing hooks has an irresistible infectiousness to them, one bred with a post/punk tenacity which is more Clash/ Damned bred than anything. In fact at times it is easy to suggest the song is the folk metal equivalent of The B52s’ Rock Lobster.

Ending with its best track but only thrilling ears from start to finish, Panic In The Harbour with its re-emergence to fresh attention is a recommended appetiser to the upcoming album from the band. If it can live up to the anticipation now inspired we will see, but we will bet no gold against it.

The Panic In The Harbour EP is available now from most online stores.

http://calicojacktheband.altervista.org/  https://www.facebook.com/pages/Calico-Jack/269653663086210

RingMaster 12/04/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

 

Red Sky – Solo Musica A Riempirmi Gli Occhi EP

 

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What can we tell you about Red Sky? Well he is a masked guitarist/rapper from Milan, creating a web of creative adventure and imaginative sound. From the founding of his solo project in 2011, he has released one album, one single, and three EPs, each earning increasing acclaim and attention. In the third of those latter propositions, the latest release, he has also revealed a simply fascinating and magnetic new direction in sound and intent. The Solo Musica A Riempirmi Gli Occhi EP is a transfixing and compelling exploration which embraces the artist’s broadest landscape of imagination and flavour yet.

Red Sky initially began as an instrumental rock proposal and swiftly drew close attention with the Tra l’ombra e l’anima EP in 2011, awareness increasing with the release of debut album Origami the following year. The Origami RMX EP in 2013 kept the growing buzz around Red Sky going but revealed little of the new adventure and shift of intent to emerge in forthcoming songs and music. Solo Musica A Riempirmi Gli Occhi is the witness to and evidence of the exciting evolution and change in the Red Sky’s invention. Its six adventurous incitements merge the instrumental rock essences which lit its predecessors with new stirring strands of electronic imagination and rap bred enterprise. It is a captivating union which offers an open familiarity in some ways but fresh invention throughout.

It all starts with Il Prezzo, a short and riveting piece of atmospheric sound and persuasion. The piece magnetically shimmers from its first endearing touch, stroking ears with increasing potency as electronic and guitar crafted radiance embrace the imagination with a sultry ambience. Spoken vocals add to the brewing drama, though being delivered in Italian leaves their narrative and emotion unknown for us less enabled linguists. It is an engrossing entrance though which is continued by the following tempting of Cadono Giù (Freestyle N.1). A symphonic whisper coats its start but swiftly the song is a lively romp of electronic revelry and feisty rock flames. Equipped with irresistible spicy hooks and flowing synth bred flights of warm enterprise, the track immediately has ears and feet involved, gripping the imagination just as potently with its subsequent agitated adventure. There is a feel of The Kennedy Soundtrack to parts of the song whilst its sonic weaves embrace rich melodic and gothic metal theatre and vivacity, and with the sparkling guitar imagination having a whisper of Squidhead to it, the track easily enthrals.

Front     Il Flauto floats in next, its opening flirty radiance skirted by darker shadows. It is a union which continues to court each other as the song develops, each aspect increasing in texture and depth as more instrumentation and creative intrigue gets involved. Vocals are also a prominent proposal within the track, their presence punchy and expressive within the thick melodic blaze around them. Rap and metal are no strangers in music and in the song they bring a recognisable offering yet within the maze of its fusion of imaginative symphonic and folk metal with classic and electro rock; everything takes on a whole new and invigorating adventure.

Next up is Neve which features the soaring tones of Ideogram vocalist Martina Ambruosi. It begins its rise with a sinister and cinematic melodic drama, keys providing a catchy and portentous coaxing that simply basks in emotion as a growing tapestry of sound and ideation blossoms around them. Red Sky and Ambruosi do not exactly duet in the song but entwine their vocal deliveries around that of the other, a highly flavoursome union matching the expressive and provocative music boiling up around them. Though not quite as gripping as its predecessor, the song is aural theatre impossible to tear away from.

A mellower croon of sound provides the mesmeric breath of Stelle, music and voice a warm hug on the senses as delicious strings and sparkling electronic endeavour provides visual colouring for the. The track entrances thoughts and appetite with sublime mastery before making way for the closing Finchè Morte Non Ci Separi, itself a fascination of diversely textured sound and exotic invention. Showing a worldly landscape which is constantly evolving through mysterious calms and raging symphonic blazes, the piece is as expansive as it is deeply intimate and an absorbing end to a thoroughly bewitching release.

Also featuring the scratching skills of Dj Zero Tx on certain songs, Solo Musica A Riempirmi Gli Occhi is one of those encounters which take you by surprise and easily breed a keen hunger for more. The new twists in sound and experimentation from Red Sky have created an impressive exploit loaded with the potential of even greater creative emprises ahead.

The Solo Musica A Riempirmi Gli Occhi EP is available now via Ronin Agency.

http://www.redsky.it/   http://www.facebook.com/redskyofficialpage

RingMaster 25/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/