Exploding Head Syndrome – Aristocratical Tendencies

If the recent release of the new Cockroach Clan album was not enough proof there is now the new EP from Exploding Head Syndrome to prove that the Norwegian punk scene is in fine fettle. Aristocratical Tendencies unleashes five slices of punk/hardcore incitement which raucously roar with voracious contagiousness.

Aristocratical Tendencies follows the Oslo based band’s acclaimed 2016 album World Crashes Down and comes just after the quintet have returned from a mini-tour covering Norway, Sweden, Austria, Slovenia, Czech Republic and Hungary and included playing Europe’s Number One punk festival Punk Rock Holiday in Slovenia, sharing stage with NOFX, Pennywise, Frank Turner, Propagandhi, Descendents, Anti-Lam Front and many more. With their live reputation already highly praised and established through their own headlining shows and gigs alongside bands such as Satyricon, Sham69, Honningbarna, The Good Bad and The Zugly and Blood Command, Exploding Head Syndrome only reinforce and push on a similar stature gained through their records with their latest offering.

Shades is first up on the EP, a stroke of guitar igniting a hungry lurch of rhythms and vocal incitement before it all comes together in a virulently voracious trespass of sound. Vocalist Eirik Ekholdt bellows from within the punk eruption, the guitars of Morten Rørvig and Jonas Andreassen casting ferocious yet greedily infectious encouragement around him as all the while rhythms bite and trespass. It is a glorious assault, ripe hooks sprung with keen devilment and sonic threads spun with imposing drama but a song unafraid to go for the jugular.

The following Hardcore Jesus makes a more considered approach, melodic wiring enticing attention as around them a brewing tempest of sound grows. In quick time, the track breaks into a rapacious stroll, the swinging beats of drummer Lars Kirkerud steering its feisty gait as Håvard Jacobsen’s bassline broods. Again it is a feral invitation impossible to ignore and soon resist with its contagion loaded chorus, a hardcore meets hard rock landscape doing nothing to diminish its insistently catchy punk instincts.

I Got Feelings provides two minutes of equally rousing punk confrontation where open irritability colludes with anthemic prowess in a climate of discontent, the result another infectious incursion upon welcoming senses before You Have Your Dreams (I Have My Nightmares) sinks its similarly belligerent and fractious claws into ears and appetite. Once more there is bassline to devour and a creative squall of guitar to swing with, vocals and rhythms only adding to the manipulation as it all heads towards a robust holler.

The EP is closed up by All Change Is Bad, the track springing from the sonic departure of its predecessor with heftily swung beats and an entanglement of wiry guitar enterprise. That alone proves enough to infest body and attitude but with the raw incitement of vocals and the swinging groove of the bass, things only become more insatiable and gripping.

It is a great end to a superb release from a band we only find ourselves becoming more addicted to by the listen.

Aristocratical Tendencies is out now via Big Day Records; available @ https://ehspunx.bandcamp.com/

Upcoming Live Dates:

18.10.19 Oslo Bloodbath X, Oslo

09.11.19 Checkpoint Charlie, Stavanger w/Kåte Klør

15.11.19 Verkstedet Bar, Oslo w/The Nika Riots

http://www.explodingheadsyndrome.net/   https://www.facebook.com/explodingheadsyndrome

https://www.instagram.com/exploding_head_syndrome/

Pete RingMaster 20/09/2019

Copyright RingMaster: MyFreeCopyright

Worselder – Paradigms Lost

As French metal continues to prove itself a hot bed for adventurous new bands and voraciously tempting sounds, quintet Worselder add their stock to the brew with new album Paradigms Lost. A web of flavours and styles fused into ear pleasing, imagination catching encounters, the ten track release is a quick and easy to devour proposition revelling in additional time offered to blossom into something even more impressive.

Hailing from the foothills of the Pyrénées mountains, Worselder emerged in 2008. Quickly they tempted local and in turn national attention with a sound drawing on each individual member’s influences and experiences in previous outfits alongside nineties inspired thrash and power metal; an instantly rich mix only blossoming in depth and adventure across the years and releases. Debut album Where we come from was released in 2010 to strong responses though it was the MMXIV EP four years later which especially sparked critical acclaim and led to the band sharing stages with the likes of Firewind, Dagoba, Black Bomb A, and Huntress among many. Recorded across 2016 with Elise Aranguren and mixed and mastered by Bruno Varea (Dagoba, Satyricon, Lenny Kravitz), Paradigms Lost sees the Worselder sound and invention at a new level of maturity and imagination. It is a release which as suggested makes a potent impact straight away but shows greater strength upon subsequent listens as its layers and less open complexities are increasingly revealed.

Infighting gets things going, the opener luring ears with a brooding bassline before rapacious riffs and bone rattling rhythms courted by toxic grooves erupt. Equally rapacious vocals from Guillaume Granier and the band soon join the surge before things settle down a touch with the vocalist quickly showing his potent range and dexterity. There is a whiff of industrial metal to the track initially, Society 1 coming to mind as the track jabs with spiky discontent, but soon its melodic and grooved instincts are entangling and stretching its thrash fuelled charge.

It is a great start hinting at the wealth of flavours ready to embrace ears across Paradigms Lost and its next up title track. From the crackle of fire and portentous rhythms within a similar atmosphere, the song strides forth with melodic vocals and harmonies lying keenly on more rapacious and aggressive sounds. The guitars of Yoric Oliveras and Jérémie Delattre cast another instinctive incitement, a mix of predacious trespass and sonic imagination to be hooked on whilst the scything beats of drummer Michel Marcq rousingly pierce the heavy prowl of Yannick Fernandez’s bass. The track’s twists and turns are as fluid as the array of sounds woven together within the excellent proposal but carry an unpredictability which has the imagination firmly enthralled within the first listen.

The instinctive rock ‘n’ roll prowess of next up Seeds of Rebellion has ears won just as quickly; the similarly striking and irresistible song proceeding to instil that core with anthemic dexterity and spicy grooves. All is delivered with lust but control amidst expectations spoiling imagination loaded with a bold unpredictability before Idols unveils its classic/heavy metal attributes within an aggressively tenacious air. Though the track does not quite ignite personal tastes as forcibly as its formidable predecessors, it only grows and pleases more and more with every listen.

Through the melodically calmer waters of The Sickening and the old school spiced Severed, the album has total attention. The first is a tantalising mix of warm melodic temptation and more bullish volatility as vocal and lyrical insight explores ears and thoughts. At times sultry and exotic, in other moments a more rapacious challenge, the track captivates from start to finish, giving neck muscles and hips a workout with its emerging thrash inspired grooving. Its successor similarly casts a net of ear entwining grooves this time fuelled and coloured by that power/classic metal essence with Granier’s croons and roars on melodic fire.

My Consuming Grief has a darker edge and deceitful volatility to its heart; a shadowy emotive power skirting and courting the drama and adventure of the melodic power metal seeded exploits. It too has ears and imagination swiftly gripped before Home of the Grave dances on the senses with its opening melodic flirtation. It is a glorious enticement only increasing its invitation as darker heavier hues from guitar and rhythms join in. Managing to become more primal and charming with each passing minute, the track provides another addictive highlight to the release.

Worselder toy with the imagination through The Haven next, a song exploring dark hues more akin to the likes of Dommin and Rise To Remain though its instinctive classic metal attributes shape the excellent encounter before the album closes with the shadow clouded, atmospherically apocalyptic Land of Plenty. In its imposing darkness there is hope and elegant melodies bring that light as the song rises from its solemn beginnings to challenge and inflame the senses. More of a slow burner than other tracks within Paradigms Lost, it almost festers in ears and imagination as it makes a potent impact and striking moment to eagerly point out.

Inspirations to the band apparently include the likes of Coroner, Testament, and Pantera; a trio which across the whole of an album but especially in the final song alone you can appreciate in a release which simply draws attention back time and time again as we can attest to. Paradigms Lost has all the qualities and impressiveness to push Worselder into global attention, now it is up to the world to embrace them.

Paradigms Lost is available now through Sliptrick Records on Amazon and other stores.

http://www.worselder.com/    https://www.facebook.com/worselder/    http://worselder.bandcamp.com/

Pete RingMaster 20/06/2017

Copyright RingMaster: MyFreeCopyright

Roxin Palace – Freaks Of Society

Taking a moment to catch up on highly enjoyable propositions a technology crash meant were missed, we suggest checking out Freaks Of Society, the second album from Italian rockers Roxin Palace. Offering up thirteen slices of contagious rock ‘n’ roll armed with wicked hooks, juicy grooves, and anthemic dexterity, the album is very easy to find an eager appetite for. Its rousing incitement fuses sleaze and hard rock with equally tasty metal and heavy rock essences. They are not always flavours which ignite our appetite generally but it is fair to say Freaks Of Society just hits the spot, barely losing its potency across its tenacious body.

Formed as Modern Middle Ages in 2011 by guitarist Crown, formerly of Revoltons, and drummer Hell, once of Elvenking, the subsequently named Roxin Palace completed its line-up the following year with the addition of rhythms guitarist Slaver, bassist Garret, and vocalist Axel. The band were soon working on their self-titled debut album, its 2013 release backed by a growing live presence with the band sharing stages with the likes of Phantom X, Salamandra, and Jettblack over time as well as make a highly successful appearance at Metal Days (Slovenia) where they lined up alongside bands such as Obituary, Satyricon, and Manilla Road.

2014 saw major changes as Axel, Slaver, and Garret departed with Al and Gian coming in on vocals and bass respectively. Attention then turned to the writing of the second Roxin Palace album, its release coming via Sleaszy Rider Records towards the end of 2016, an arrival still drawing keen praise and fresh hungry ears its way.

Freaks Of Society opens up with its title track, a carnival of theatre with increasing portentousness and threat to its air and presence. Its dissipation opens the way for Monsters Love to bound in, initial melodic mists quickly speared by driving riffs and crisp beats. Al’s vocals are just as eagerly enticing, becoming more excitable as energy boils within the eighties flavoured charger. There is also a thrash urgency and aggression which adds to the fun, the song a strong start though soon and regularly overshadowed as the album reveals its adventurous enterprise.

The insatiable drive of Gangs Eraser has ears instantly alert next, the wiry grouchy bassline especially thick bait as the song brews a melody rich and tempestuous proposal. At times it is a seductive croon and in others a snarl of discontent, a union of contrasts which becomes even more tempting as its drama unfolds and infests the psyche before Thai Of Mine lays its salacious rock ‘n roll upon the senses. Like a mix of Mötley Crüe and L.A. Guns, the song climbs over the body like a wanton temptress and though it does not quite meet the heights of those sandwiching, pleasure is full.

Postatomic Hotel similarly has that familiar eighties groove, their melodic rock hues luring ears with ease though it is the chorus which seals the deal; its catchiness and tone pure flirtation. It is a quality which also lines the contrasting croon of L.A. Mist, its melodic tapestry the seed to fiercer sonic flames and dramatic weaves of energy and emotion. Both tracks captivate but still pale a little against the out and out stomp of Monkey Junkie, a growling, air punching slab of pure rock ‘n’ roll which enslaves within its first horny groove.

Similarly Rockers Of The Eagle has the passions lusty; Gian’s carnal bassline alone instinctive kindling backed by wiry grooves and flirty melodies as beats pound.  The great group vocal backing to Al is a constant strength within Freaks Of Society, and again strong enticement to get involved here with the Crown’s guitar weaving compelling strands of imagination to entwine it all.

Through the southern rock liquored Neighbourhood Stars and Fading idol with its whiff of Thin Lizzy and punk rock raucousness keep pleasure at a high while Freak? backs up their success, if without quite matching their heights, with its flaming theatre and emotion. It only has ears in its melodic thrall though, Crown’s web especially bewitching as it completes a trio which alone shows the adventurous and varied nature of the release as well as further glimpses at inspirations easy to suggest the band draws upon; Skid Row and Shotgun Messiah coming to mind.

The album is completed by firstly F.A.N., an antagonistic rumble pouring attitude and heavyweight metal belligerence into every rhythmic swipe and steely groove. With the bas s again pure carnal pleasure, the track takes favourite status before Little Lizzy completes the release with its stirring dirty rock ‘n’ roll with Al a blaze of vocal dexterity.

Certainly Freaks Of Society is not the most unique thing you will get your claws on this year but in many ways that is not the aim; Roxin Palace creates fresh rock ‘n’ roll with existing ingredients, infusing them with their own adventure which Freaks Of Society proves its highly enjoyable.

Freaks Of Society is out now via Sleaszy Rider Records through most online stores.

Overunit Machine/Roxin Palace Tour Dates

01-04-BOSS GARAGE-KRAKOW

03-04-T.B.A

04-04-T.B.A

05-04-MIKE’S PUB-CLUJ-NAPOCA

06-04-ROCKNROLLA-IASI

07-04-PRESA PUB & GRILL-BUCHAREST

http://www.roxinpalace.com/   https://www.facebook.com/roxinpalace/

Pete RingMaster 27/03/2017

Copyright RingMaster: MyFreeCopyright

Expanding the Extreme: an interview with Giannis K of Dark Vision

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For over fifteen years Greek extreme metallers Dark Vision has earned themselves a strong reputation in the metal underground for their expansive death metal sounds. The recent release of their Ingrowth EP shows the band is stronger and more inventive than ever, their melodic death metal sound soaked in blackened overtones and stirring essences of classic metal and rock n roll a compelling encounter which stands out for band and extreme metal. Seizing the offer to find out more about band, its history, and the new release we set about drummer Giannis K with plenty of questions…

Hello Giannis and welcome to the site.

Firstly for those yet to discover your sounds please introduce the band and the entity that is Dark Vision.

Hello! First of all we would like to thank you for the opportunity to speak through your magazine. Dark Vision exists since 1996, we started playing atmospheric/heavy/black metal continuing these days into a straight forward death/black metal. Our influences lately covering many genres such as death/black metal, rock, classic heavy and all these under a rock’n’roll attitude…  If someone really needs to put a table about our genre, we can say that band’s like Satyricon, Behemoth, Black Sabbath, Voivod, etc. defined our nowadays style.

The band began in 1996, longevity many bands can only dream of. What has kept you inspired and passionate as a band?

The reason that this band started many years ago, was our love in this specific style and also for its subgenre. This made us to continue until now.  The magic moment when you creating a song or you are on stage, keeping you vigilance.  Another very important reason is that as a band we are not playing as professionals but at the same time we are trying to act as much a professional do.  In simple words, when a band is playing for the money there is a certain point that the musician will consider most of the time firstly the profit… In our case as we said because we are not playing for living we have the privilege to play whatever we want in our way.

How has your music and intent as a band evolved over the past 16 or so years?

We have definitely evolved all these years.  Apart of the several line-up changes we grow up as personalities, this made us think with more mature in every way from creating music to acting live. With the current line up the band continues the last years a specific way which evolving us.

Dark Vision is a band which has like so many survived numerous line-up changes, how has that impacted on the band generally and do you think and feel  certainly for Dark Vision, that this inevitable process actually benefits bands creatively for the main?

Following all these years we can say for sure that all these line-up changes firstly made us stronger and secondly helped the band to evolve as it is today. Of course this doesn’t mean that if a band having a standard line-up for years will not evolve, but in our case helped a lot. The only think that we can say was against us in every chance, is the time and the preparation until the band became ready to act again.

You have just released your excellent  Ingrowth EP through Bluntface Records though it had its first release as a vinyl exclusive last 113375year for your fifteen year anniversary. How has it been received so far and has this new unleashing from the independent US label brought a deserved energy and awareness to the EP?

Thanks for your good words! Bluntface Records definitely played a very important role in this release. From the very beginning we realized that with Otto from Bluntface Records we can work very smoothly and creatively together. We choose to release “Ingrowth” in vinyl. A part of the 15 years anniversary, it was a dream since the beginning of the band. We strongly believe that vinyl is more complete and at the same time nostalgic than the nowadays cd. The press worldwide hugged this release since the very beginning and we received very flattering words, we are thanking all of you for your support up to now.

How would you say the new release has evolved from and offers predominantly different to previous album Bestial Remedy?

We worked different this time. From creating the songs to the recording process everything was different. We worked at the recording sessions with more live feeling, which means that we didn’t use this time metronome, but we played all together in order to be closer to this live feeling.

Definitely! “Bestial Remedy” was the begging of a new era for the band and after all these years we can assure you that “Ingrowth” is a big step beyond for us, not only on the composing side but as an experience in the recording sessions.  This time with “Ingrowth” we focused more in the emotional, although our technical skills became better with results on this album.  The songs are approaching better death/black forms and all this under a “rock’n’roll” attitude.

There is a great melodic groove and breath to Ingrowth and its blackened death metal stance. Has this aspect naturally emerged or was something you wanted to intentionally explore?

Most of the things that we are doing are coming out naturally … after “Bestial Remedy” it was natural to continue and evolve this style under our way.

How are songs written within the band and what is more often than not the initial spark to an idea and song?

Composition process usually can be with 2 ways, sometimes our guitar player Mark is writing the song and presenting to the rest of the band in our rehearsals, and another way is to start in the studio working all together on an idea.

What are the strongest influences upon your writing musically and lyrically?

Many influences from daily matters up to religion (from a historical point of view), other times songs can describe personal situations or even our darkest thoughts…

Did you have set ideas and vision for songs before recording the EP in the studio or did they change and grow their own different character whilst bringing Ingrowth to life?

Most of the ideas in “Ingrowth” album were conceived in the preproduction. When the recording process started, we preferred to stay more close to technical matters (microphones set up, Amplifiers, etc), of course, in general if any last minute ideas arise and are worthwhile we are willing to try it.

IMG_4029Ingrowth investigates, as your previous releases, the deepest and richest of shadows, is there an underlying theme to the EP?

We were just felt free to do things without second thought. The result is what you are now hearing and we are proud for that.

Is there a particular moment on Ingrowth which leaves the proudest feeling inside and alternatively is there something on the release which you are now inspired to explore further in future songs?

Yes, definitely the rock n roll element affected us regarding our music and emotionally at the same time.

On a recent episode of The Bone Orchard podcast I featured your track Garden of Nuclear Mushrooms. Can you give some back ground to the track?

Thank you for this! Garden … is a song that refers to the Apocalypse from our point of view …

Across the years you have shared stages with the likes of Mayhem, Satyricon, Sodom, Rotting Christ, and Septic Flesh to name a small few, what have been the biggest moment live and any artists you would sell a kidney to play with? 😉

Hahahaha! … Nice question ….. ! Hmm… probably for a special worldwide tour with Satyricon, Rotting Christ, Dimmu Borgir, Behemoth…!

There have been quite a few very impressive metal and rock bands bursting out of Greece in the past couple of years. Is the scene there as vibrant and impressive as it seems from the outside?

Yes! Over the last years lot of bands are doing a good job holding high the Greek flag of our metal scene…

What is next on the agenda for Dark Vision?

Next thing will be a live concert in Athens at 6th of April with other local bands…. Also writing news song at the same time…IMG_4263

Thanks for taking time to talk with us any final thoughts you wish to share?

Thank you! Check our new album “Ingrowth”

Lastly which are the artists to have made the biggest impact on you as musicians?

Daily we hear a lot of things … we are always trying to expand our music  influences … of course musicians such as Frost from Satyricon, Inferno from Behemoth, Ihsahn from Emperor, Jon Nodtveidt, John Gallagher, we admire them and their influences guiding us , also lately Kvelertak from Norway is one of the bands that made something fresh in the scene …

The RingMaster Review 08/03/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

www.audioburger.com

Sonic Reign: Monument in Black

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    Though wrung through with not predictable but arguably sounds which you would almost expect from any accomplished black metal release, Monument in Black from German metallers Sonic Reign still has a swagger and presence about it which makes it stand out for a sure and richly pleasing encounter. It is an album which from start to finish firmly holds the attention with sounds that at times do feel familiar but laced with a tasty helping of imagination and energetic invention which is hard to dismiss. The term black n roll has been bandied around recently and it is a tag which fits this album perfectly.

Released on Apostasy Records, Monument in Black follows Raw Dark Pure of 2006, an album which gained further success upon its re-release via Metal Blade Records the following year. The album had enough to mark the band as a strong emerging force but now with the release of the new album though still without doubt a very decent album pales against the strides the band has taken with their new release. Consisting of Ben Borucki (vocals, guitars) and Sebastian Schneider (drums), the Trier and Mellrichstadt based duo has created a full blooded intensive confrontation which triggers a strong satisfaction. It is again like its predecessor seemingly heavily influenced by Satyricon, not a bad thing obviously, but it does cloud their own distinct voice for the only real niggle you can place upon the band and album, their own unique breath and presence still to step fully forward though there are of numerous signs on the release that it is coming.

It has to be said though that opening track Abhorrence Vs. Scum was all it took for the album to make the fullest persuasion thatcdarc009_sonicreign_mib_300dpi it was to be a lingering and quite magnetic pleasure, the immediate sizzling groove and thumping rhythms an instant contagion from which escape was futile. The track rampages as its muscles flay the ear and riffs alongside a sonic lashing welcomingly run riot over the senses. The vocals are as abrasive as the dark hooks are irresistible and though they never really change in delivery and expression throughout song and album, they bring a fine caustic wash of malice within the generally compelling and intriguing sounds.

From the outstanding start heavier malevolent shadows crowd in with the following Clouds Above The Desert and its successor The Whisperer In The Dark. The first again carves out an incisive addictive groove to vein the consuming ravenous intensity and malice of the track, its raging and insatiable sonic greed devouring the ear with a near desperate predatory hunger. The second of the two is equally spiteful and rapacious and also gleefully teases with an addiction forming wanton groove which flicks all the right switches for exhilaration. As said there is plenty which is familiar but it is hard to deny the band their persuasion when it sounds as enthralling and delicious as it does very often on the album.

Through the likes of the excellent title track and the intense furnace of sound and energy that is A Doctrine Unreachable, a song with a riff which you could almost accuse of being Metallica spawn, the album continues to please and leave one willing to devour more. The guitar invention and style of Borucki throughout is an emotive conspirator with the passions and equally often a hard task master on the ear with his synapse slicing flair and skill igniting the tracks constantly. The consistent and inventive assault and combative aggression from Schneider too leaves one laying down strong affirmation for his open skills throughout with arguably his finest moment on the album coming in the annihilatory corruption and anthemic call of the outstanding Daily Nightmare Injected, one of the biggest highlights of the album.

Completed by another satisfying fury in Soul Flagellation, Sonic Reign has produced an album which is easy to whole heartedly recommend with just the real absence of something unique to the band the only proviso. It is hard to imagine black and extreme metal fans not finding plenty to relish within Monument in Black though and all should certainly make its acquaintance at some point.

https://www.facebook.com/sonicreign

7.5

RingMaster 06/02/2013

Copyright RingMaster: MyFreeCopyright

Dark Vision: Ingrowth

Dark Visions

Greek extreme metallers Dark Vision has built a strong reputation in their homeland without truly finding a wider recognition worldwide since forming in 1996. Their new EP Ingrowth will not immediately put that right but with its impressive sounds could be the spark to start that deserved reward for the band. Released through Bluntface Records, it is a strong and compelling release built on a base of melodic death metal with blackened overtones which draws essences of classic metal and rock n roll into its stirring mix. It is not going to take you into a new unexplored venture musically but does easily satisfy any and every need required from a slab of devastation.

Starting off with a heavy/black metal sound the band released a series of demos in their first three years to strong reception. As their sound evolved their debut album came in 2000, though Full Moon Shines received its official release in 2002 through NMC Records. With line-up changes Dark Vision returned to full might in 2006 with the quartet’s self-financed Bestial Remedy EP unleashed two years later. With their live shows also drawing strong acclaim with the sharing of stages with the likes of Mayhem, Satyricon, Sodom, Rotting Christ, Septic Flesh and more coming across the years, the band has set themselves as a respected presence in the Greek underground metal scene. Ingrowth shows they are ready for wider acclaim and since its vinyl release last year has drawn a good response something the digital release now should one feels accelerate.

The atmospheric instrumental Thy Flesh Thy Bones opens up the encounter, its brief but dramatic presence and startling breath 113375immediately leaving one on tenterhooks for what is to follow. King of Emptiness at first stops thoughts in their tracks as it is not of the same breath of its ‘introduction’, a different type of beast which is slightly unexpected with this release our first encounter with the band. The song soon has control of ear and senses with its stalking riffs, tight melodic weaves, and growling insidious vocals though.  It prowls and stalks with a venomous heart and intense energy throughout whilst sending spikes of sonic craft and acidic melodic spears through the ear with appealing ease. It is a strong and compelling track which satisfies without lighting up the passions fully, something its successor soon remedies.

Pain Redirected fuses classic metal grooves with punk coated aggression whilst again the vocals squall with abrasive intent and pleasing malevolence. The drums cage the senses impressively so the guitars can score them with skilled violence and intrusive rewards whilst the bass though arguably not as openly obvious as one would wish, stomps over the ear with the hunger of a ravenous beast. It is a great and contagious track which confirms already that Dark Vision is a band to be known about.

The EP gets better the further you go into its muscular depths with Garden of Nuclear Mushrooms a pinnacle. The technical prowess of the band is an ever present throughout the release but here squeals and captivates within the brawling intensity magnificently, the discordant scything a delicious piercing within the ravenous consumption of the song. It is intelligently varied in sound and pace along is sinewy length to bring a thoroughly pleasing and compelling engagement.

The EP closes with firstly the thunderous assault of Amongst Dead Butterflies and lastly the title track. The first of the pair has a snarling hunger which transforms its destructive rhythms and merciless riffing into an overwhelming intensity speared by sharp melodic enterprise whilst the closer is a scarring tempest of incessant sonic niggling and corrupting black hearted energies. Both tracks are wholly infectious and an immense end to a great release.

Dark Visions is not a band to bring you something openly new but one which creates invigorating extreme music better than plenty of other artists. Ingrowth is a recommendation you should not ignore.

http://www.darkvision.info

RingMaster 07/01/2013

Copyright RingMaster: MyFreeCopyright