Project Silence – Infinity

It has not proved too hard for us at The RR to be hooked on the creative animus of Finnish industrialists Project Silence these past years ever since the release of their debut album 424 in 2012. Even as their electro-metal based sound has evolved and embraced a host of extreme and raw metal textures across subsequent encounters, each encounter has accentuated our fascination come addiction with their music. It is fair to say that the blackened death hued adventure of the band’s last album, Slave To The Machine, did not quite hit the personal spot but still had more than a few moments of irresistible and striking adventure. Now two years on, the Kuopio quintet has returned with a seven track scourge in the shape of Infinity; a release which quite simply is their finest moment.

Infinity sees the Kuopio hailing quintet of Delacroix (vocals, programming, keyboards), S (guitar), J (guitar), Silve R (drums), and Sturmpanzerjäger (bass) in many ways returning to the industrial breeding of their roots whilst still exploring the variation of flavours involved in the creative weave of its predecessor. From its first breath there is a sense of fresh maturity and boldness to the sound, the initial trespass of opener We Will Rise a contagion loaded tide of muscular riffs. It is a fierce yet infectious nagging with a touch of Fear Factory to it which ebbs and flows as the guttural growl of Delacroix entices. As heavy as it is portentously dark, an insurgent sound tempered by the melodic tease of keys, the sonic incitement just stirred ears and imagination; a result only escalated across its successors.

The equally outstanding From Beyond follows, its initial lure new wave-esque amidst swift gothic hued intimation before its black hearted dance emerges. Even then it is a prowling venture of threat and magnetic suggestion; technical death metal dexterity merging with industrial rapacity to increasingly fascinate as its electro instincts escape sonic darklands before the tantalising drama and ungodly seduction of No More envelops and devours the senses. Soaked in malevolence, the track subsequently swings from its sinful crawl into a just as nefarious canter, Crowley-esque hues lining the increasingly transfixing and ravenous encounter.

Forgotten shares its own diabolical instincts and adventure next, its gait and character as volatile as it is sonically and melodically imaginative; again a weave of flavours mingled and worked with compelling enterprise while Pulse swings and stomps straight after with tenacious endeavour and a mercurial breath seeming not sure whether it wants to dance with or ravish its victim; for the main simultaneously doing both.

The final pair of Anthropophagite and Day Of Reckoning brings Infinity to a mighty close; the first is just superb as it feasts on the flesh and senses of the listener whilst nagging increasing attention and lust with its repetitious riffs and grooves. As keys spread their melodic toxins and vocals their taunting malevolence, the track simply escalates its lures before leaving its successor to infest body and spirit with its Rammstein spiced death soaked craft and immorality. As all tracks, it offers an invasive but captivating web of styles and flavours within its industrial metal nurtured adventure leaving the listener bouncing in deed and thought.

In many ways Project Silence has taken the strongest and most adventurous ingredients from their previous releases to breed the rousing exploits of Infinity but there are just as plenty fresh and new elements which keep the band as one of the most exciting proposals within industrial and indeed extreme metal.

Infinity is out now via Sliptrick Records across most stores and available @ https://projectsilence.bandcamp.com/album/infinity

http://www.projectsilence.info/   https://www.facebook.com/projectsilenceband/   https://sliptrickrecords.com/project-silence/

Pete RingMaster 06/10/2018

Copyright RingMaster: MyFreeCopyright

The Blacktones – The Day We Shut Down The Sun

If a band name was ever perfect for the music it represents, The Blacktones is at the head of the field. The Italian outfit create a fusion of alternative/melodic metal and sludge thick stoner rock awash with the heaviest darkest shadows and emotions. It is invasive yet inescapably infectious as it snarls and ruggedly seduces in equal measure and especially magnetic within the band’s latest album, The Day We Shut Down The Sun.

Though in some ways feeling like a concept album, the band says The Day We Shut Down The Sun is “not a true concept, but every song represents a step by step journey to the losing of all the qualities of a human being. Following the tarots (starting with the pope, the fifth card) we represent the losing of faith, wisdom, genius, knowledge and finally, trough the Mage, we become the Fool, embracing the primordial chaos.” It is an alluring feel across the release bound in a thick collusion of hungry riffs, muscular rhythms, and melodic and vocal dexterity. Not always boldly unique, it is perpetually a proposition with individual character and enterprise which grabbed keen attention.

The band itself hails from Cagliari, formed in 2011 as an instrumental encounter by guitarist Sergio Boi and bassist Gianni Farci. Subsequently the line-up and creative intent evolved with the addition of drummer Maurizio Mura and vocalist Simone Utzeri, debut EP Distorted Reality arriving in 2012 before Aaron Tolu replaced Utzeri as frontman two years later. Their well-received self-titled debut album with guitarist Paolo Mulas bringing the band to a quintet drew potent interest with its release, as now its successor, via Sliptrick Records in 2015.It sowed the seeds for the richer and more rounded proposition of The Day We Shut Down The Sun and its more individual escapades.

Throughout the album, there are experimental darkly atmospheric intros, each counting down to the end of existence; the first in V – The Pope drawing ears and imagination into the waiting jaws of The Upside Down. Immediately a tide of sonic and vocal ferocity launches at ears, an instincts sparking groove infesting body and appetite within as rhythms pounce. Tolu’s vocals are just as rousing as the sounds around him, riffs adding a swing to their rapacity to match the tenacious endeavour of the increasingly contagious groove. Adventure and unpredictability blossoms as the song continues, bold sound and voice shaping one striking incendiary slab of metal.

The following Ghosts unveils a less imposing introduction but just as compelling with its suggestive intrigue and musical temptation. Down like grooves spread their lures from within the growing incitement, more aggressive traits emerging in all aspects but equally a tantalising melodic suggestiveness in guitar and harmonics which lures the imagination deeper into the ever present shadows.

The album’s title track makes an equally ear grabbing entrance, a predacious one as it prowls the senses with doom loaded rhythms amidst a slow tenebrific groove. Deep in its clutches you feel the lack of light, its thick weave a suffocating enveloping of the senses yet everything about it is contagious starting with Tolu’s ever enticing vocals. There is something certainly familiar about the excellent track yet plenty more fresh aspects in its trespass to demand praise carrying attention before Not The End backs its power up with its own pleasure brewing tempest. With a tinge of One Minutes Silence to it at times, the song twists and turns with an irritability in tone and sound as much a threat as it is a tempestuous seduction with stoner bred grooves and carnivorous basslines entwining for an even bigger lure.

Alone Together crawls over the senses, lumbering grooves and primal riffs enticing before dissipating for the melodic heart of the track to coax even closer attention. When they return with even greater weight and intensity as well as imagination, a lustful appetite was reeled in and only increased by the expressive and inventive journey taken while I.D.I.O.T.S. creates a web of stoner veins around metal antipathy to keep enjoyment just as intensive. Infectious and corrosive, the track is a great blend resembling Corrosion of Conformity meets Clutch and another highlight of the increasingly enjoyable album.

The Day We Shut Down The Sun is brought to a just as potent and mercurial conclusion by Nowhere Man and Broken Dove, the first a scorched and searing proposition as virulent in its calm predacious stroll as in its senses broiling blaze with its successor a more restrained but no less volatile collusion of sonic and emotional dissonance aligned to its own sonic furies. Both songs leave ears and pleasure entangled in their creative roars and each reinforces greater keenness in The Blacktones growth.

With a final pair of cards leaving the listener lost in the void, The Day We Shut Down The Sun is a release which should be checked out. It certainly grabbed attention first time around but really blossomed as an experience and pleasure thereon in.

The Day We Shut Down The Sun is available now through Sliptrick Records and @ https://theblacktonesband.bandcamp.com/album/the-day-we-shut-down-the-sun

https://www.facebook.com/TheBlacktonesBand   https://www.twitter.com/BlacktonesBand   https://www.instagram.com/theblacktonesband/

Pete RingMaster 14/03/2018

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

The Kreoles – Psycho

the_kreoles_RingMasterReview

Psycho is the new album from Italian melodic metal/ alternative rock quartet The Kreoles, a release which makes a highly enjoyable first impression but continues to sneak up on the imagination as each track passes with diversity and inventive fun; the result an encounter very easy to get rather excited about.

The Kreoles emerged in 2011, the realisation of an idea by founder Ivan McSimon, a Como-based producer, songwriter, and guitar player who previously played with Dyve. The new project was born from the intent to explore new creative paths and subsequently saw McSimon linking up with vocalist Valentina Merlo, bassist Marco Francesco D’Elia, and drummer Davide Piccolo. 2014 saw the release of their well-received debut album Touch The Sun, the potent base from which Psycho now blossoms from with even greater adventures.

Released through Sliptrick Records, Psycho makes a strong and steady start with opener The Last Man. Coaxing attention with its initial country scented melodic jangle, the track soon breaks into a muscular stride with swinging rhythms, an irritably steely bassline, and the fiery roar of guitar. In the midst of it all, the instantly engaging and impressive voice of Merlo lures with siren-esque quality drawing ears even deeper into the rousing heart of the song. Slips into melody rich emotively calmer passages only adds to the alluring drama of the encounter, McSimon scorching the senses with his volcanic melodic tapestry as the album roars into life.

Disease takes over with the same kind of imposing but welcoming intensity to its body, more classic metal hues colluding with the band’s enterprising canvas of textures and sounds. Again there is an instinctive nagging snarl to the underbelly of the song driving the melodic fire consuming and pleasing the senses; Merlo enticing and the open individual prowess of the band uniting in a similarly explosive and anthemic proposal.

With exotic keys to the fore, Empty steps forward next, that early charm soon entwined and vocal in a web of sonic and rhythmic rapacity embraced by an Animal Alpha like character of song. Infectiously irresistible and a fierce flame of melody and tenacious energy, the track stirs the spirit before making way for the equally creatively hungry and energetically dynamic Too Fast To Live, Too Young To Die. Breeding a great punk pop essence recalling seventies bands like The Photos and The Adult Net whilst infusing it in a tapestry of heavy rock/melodic metal enterprise, the song similarly catches attention with swift ease and potency, only increasing its hold minute by minute.

Though just as heated, a calmer climate embraces next up Don’t You Know, a Pretenders spiced offering with more of the southern hues which the band skilfully infuse in many of their songs. With the vocal beauty and expression of Merlo sheer magnetism, the song boisterously smoulders, its touch a burning seduction as catchy as anything upon the album.

Through Obsession with its rhythmic irritability and melodically metallic confrontation and the tempestuous confrontation of Like A Scream, The Kreoles keep enjoyment high even if neither song ignites the appetite as imposingly as their predecessors. Both tracks are missing the same kind of surprises lighting up those around them but ensure there is no wandering of attention before Dolomites installs itself as our favourite moment. A rolling contagion of country punk pop as inescapably infectious as the flu but a hell of lot more fun, the song just cannot fail to place a smile on the face and in the heart with its virulent exploits.

Black Star’s Night is another which weaves familiar essences into its own creative domain to forcibly satisfy without turning emotions lusty before the album’s title track brings things to a thrilling close. There is cantankerousness to the rhythmic enticement of the song, a predatory edge lining riffs too as among them Merlo beckons with every syllable shared. Its eventful presence though is also a haven for melodic imagination and an evolving intensity as unpredictable as it is scintillating.

Psycho, song and album, is a masterful enslavement of ears and imagination from a band destined to real and eager recognition ahead and if their new enticement has its deserved way, beginning right now.

Psycho is out now through Sliptrick Records across most online stores.

http://thekreoles.com/    https://www.facebook.com/TheKreoles/    https://twitter.com/thekreoles

Pete RingMaster22/11/2016

Copyright RingMaster: MyFreeCopyright

Love Frame – Forgiveness

love_frame_RingMasterReview

Creating a fiery and rousing alternative rock roar, Love Frame is a quartet from Milan beginning to whip up some eager attention for themselves. They have provided a potent persuasion in sound and craft for a while with their debut album Forgiveness self-released back in 2014, but a success recently given a bigger vehicle to tempt from with its global release via the excellent Italian label Sliptrick Records. Offering eleven varied and dynamically arousing songs, the seriously accomplished release has constantly picked up new recruits to its melodic adventure and shows no hint of slowing down as band and album continue to reach new ears.

Love Frame began in 2008, releasing a mini EP the following year which soon brought the band to the attention of the Italian underground scene. The single/video Night drew stronger attention with its release in 2010 while its successor Run With Us two years later, only confirmed the strength of the band in sound and resulting support. Live too, they have continued to grow and earn increasing praise in Italy and Europe. Beginning to record their first album in the December of 2013, Forgiveness was released in the October of 2014, the band consisting of vocalist Giulia Lupica, guitarist Laerte Ungaro, and drummer Giuseppe La Gala at this point with the trio assisted by bassist Giuseppe Greco, who became a permanent member post album, on the recording.

Influences for Love Frame include the likes of HIM, Placebo, Billy Idol, Alter Bridge, and Hardcore Superstar; flavours which in varying degrees show their inspirations across Forgiveness, starting with opener Halo. From its first second riffs spicily crowd ears as the harmonic tones of Lupica flame up, her voice a swiftly impressive and suggestive proposal. As rhythms find a firmer touch and the bass grumbles, the song opens up its virulent temptation with those early riffs still enjoyably nagging the senses. They never do relent in their great persuasion across the song, just changing their sonic hues as each twist and turn arrives within the striking Forever Still meets Djerv like triumph.

The following Mine has an even more fiery air and character to its presence; the bass again an appealing throaty temper to tenacious riffs and grooves as well as the rhythmic agitation cast by La Gala. Strolling along with a catchy swing to its gait, the song is an ear grabbing flame with Lupica’s vocals hanging emotive tones from every lively incident within its creative drama; an enthralling quality backed by the delicious imagination of guitar and bass.

coveralbum_RingMasterReviewA Stevie Nicks air accompanies the vocals as the melodic caress of Real Love Exhibition simmers and boils next; its initial lure a tender charm which flows across the song with moments of greater intensity and volatility providing sweeping crescendos across its magnetic landscape. It is a bewitching offering then eclipsed by the outstanding Lie To Lie. An early burst of vocal tempting sets up an eager appetite for the infectious blaze of voice and melodic dexterity, the song in many ways epitomises the album itself; easily accessible whilst being anthemically rousing and bursting with adventurous twists and imaginatively skilful turns.

Through the emotive and rhythmic drama of Heart Box and the melodically snarling Maybe, ears continue to be offered forceful captivation. The first of the pair is as charming as it is imposing, dark rhythms and emotionally charged melodies colluding with vocal flames and stirring enterprise, whilst the second also brings contrasting textures together for its own thrilling and galvanic incitement. There is grouchiness to the riffs and equally the basslines skirting their bait and a sizzling surface to Lupica’s ever impressing and enthralling vocals yet it is all woven into a melodic waltz as elegant as it is fierce.

Lupica offers a vocal kiss on the senses as she opens up Blue next, her emotively reflective caress a mesmeric coaxing into the slightly more feisty body of the song With her delivery rising in intensity to match the blossoming sounds, the song is pure seduction, one of the album’s major highlights and instant evidence of Love Frame’s tremendous ability to blend warm and tender textures with livelier and more imposing incitement.

Escape has band and listener lured into a much more tempestuous moment next, its opening rub of riffs alone enough to whet the appetite before the song expands into another memorable escapade which might not quite match up to its predecessors but leaves a want for more the only wish before Save Me provides a commanding serenade which again has a strong and enjoyable air of Danish rock band Forever Still to it.

Completed by the resourceful adventure and sounds of Start Looking For and finally the acoustic romancing of ears and imagination that is Rakkaus On Ikuista, Lupica as beguiling as ever, Forgiveness is a real treat which only increases the enjoyment felt and impressive thoughts nurtured in its company.  It may not be a strictly new release to ponder but it is one all melodic and alternative rock fans should really consider introducing themselves to.

Forgiveness is out now via Sliptrick Records through most online stores.

https://www.facebook.com/loveframepage    http://www.loveframe.net/   https://twitter.com/loveframeband

Pete RingMaster 04/05/2016

Copyright RingMaster: MyFreeCopyright

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

Dominance – XX: The Rising Vengeance

Dominance_RingMasterReview

With two already keenly praised albums under their belts, Italian death metallers Dominance are poised to release third full-length XX: The Rising Vengeance and make their biggest impact yet. Uncaging ten ravenous slices of creative animosity and enterprise; the album is an ear grabbing declaration of a band finding a new striking plateau as its sound in many ways comes of inventive age. XX: The Rising Vengeance is not a ground breaking proposal it is probably fair to say yet each track within its creative animus offers something fiercely fresh and imaginatively compelling.

Hailing from Rolo in the Province of Reggio Emilia, Dominance emerged in the early nineties swiftly making a local impact which stretched as their live presence explored the Italian metal scene and the band released debut album Ancient Splendour in 1999. It was another ten years before its successor Echoes of Human Decay was unveiled, the 2009 encounter soon drawing acclaim across the Italian and European metal press.  With a new line-up in place, Dominance are now looking to whip up an even bigger storm with XX: The Rising Vengeance, with a potent degree of success easy to envisage.

XX opens up the release, its instrumental invitation a swiftly magnetic affair as mystique hued guitars tempt and seduce the imagination. Their exotic spices are soon joined by a portentous wall of building sonic intrigue, a merger which blossoms and evolves further as the song casts a melodically suggestive portrait of emotion and imagination. The track eventually leads ears and thoughts straight into the waiting jaws of Journey to a New Life. Within its first breath, as guitars strike and beats batter, the raw throated tones of Massimiliano Marri scowl and trespass the senses; initial seconds where the song already has ears and thoughts gripped. The cosmopolitan hue of the opener also lines its successor’s melodies while rhythms prowl as grooves enjoyably wind around ears and song.

It is a mighty insurgence into ears matched by that of This Is War, another caging of the psyche by rabid riffs and acidic grooves as the swinging beats of Davide Tognoni hungrily descend on the senses. Every note has a certain animosity yet persuasive edge to it, adding to the building intensity and the brewing inventive collage of sound led by the imagination cast by guitarists Gabriel Cavazzini and Luca Alzapiedi. A predator from start to finish, the excellent confrontation is replaced by the equally challenging and pleasing Into the Fog. Once more an individual web of grooves and riffs surrounds bruising rhythms and caustic vocals, the bass of Saverio Rossi a stalking presence in the midst of it all. As in its predecessors, a great mix of attacks in the vocals also emerges to further flavour song and narrative.

art_RingMasterReviewTwisted lives up to its name next ; its body of sound and invention bordering on the deranged and incessantly vicious to whip up a new greed in an already established appetite for the album, while Dear Next Victim dances on the ear initially with flirtatious tendrils of guitar and spicy hooks. That early coaxing only intensifies as the song erupts into a more volcanic proposal though and also when it explores a less intensive adventure of groove metal ingenuity. There is a touch of Down meets Sepultura to the song in certain moments, a compelling and thrilling twist which is matched in imagination throughout by a series of bold twists and dramatically imaginative turns. The track is superb, taking best on album honours with ease.

The savaging of ears by Breathless is no less an exhilarating and galvanic offering, riffs and rhythms uniting in a hellacious assault with a riveting maze of melodic dexterity from Cavazzini involved whilst Just a Reflection is a festival of engaging enterprise  which just gets more volatile and rancorous with each passing invasive minute. Though neither quite matchup to some of the earlier triumphs, each fascinates with their eventful designs whilst exciting ears with their imagination driven prowess, certain success found in the senses badgering, ear nagging tempest of Time to Pay. Again, it feels like ears and being stalked by a hungrily bestial protagonist for a challenging and rousing incitement to become seriously involved in.

Completed by Rise Again, a more classic and heavy metal embracing ferocity, XX: The Rising Vengeance is the wake-up call to the sound and growing creative force of Dominance. It is maybe not a release to turn the European metal scene on its head but easy to expect it help make the Italians a far wider known and devoured proposition. More importantly it leaves thick pleasure in its turbulent wake, that alone more than enough to warrant checking band and album out.

XX: The Rising Vengeance will be released worldwide by Sliptrick Records 0n 8th July across all digital stores and many physical shops.

http://www.dominancemetal.com   https://www.facebook.com/DominanceMetalBand   https://twitter.com/DominanceMetal

Pete RingMaster 04/05/2016

Copyright RingMaster: MyFreeCopyright

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

Carnac – The Frail Sight

carnac_band_RingMasterReview

There is little we can tell you about Turkish death metal band Carnac, except and most importantly that their recently released debut EP is well worth a concentrated moment of your time. Consisting of four highly accomplished tracks, The Frail Sight is a proposition which may not bowl you over as it treads the line of established genre traits over major originality but it is a release which instils a keen want to come back for more.

Hailing from Ankara, Carnac emerged in 2014 with a sound spawned from the inspirations of bands such as Gojira, Opeth, At the Gates, and Enslaved. As shown by their Bahadэr Sarp engineered, self-produced debut, they have come up with a refreshing incitement unafraid to entangle invasively enticing snake like grooves and uncage a feisty rhythmic agitation within a ravenous death metal landscape. We suggested it was not bereft of familiar flavours and textures yet there is no hiding away that the quartet of tracks also reveals real freshness of craft and character.

The Frail Sight opens with Hericide and a sonic breeze quickly speared by robust rhythms which in turn sparks a heavy footed and invitingly swinging canter. With the hoarse vocals of Burak Yenitepe leading the way, the track proceeds to mix up the weight of its intensity and the charge of its energy without ever relenting in its ravenous impact on ears. Throughout, the guitars of Ozan Turakine and Nurhacı Çeri unleash torrents of riffs and winding tendrils of fiercely spiced grooves to magnetic effect, wrapping round the irresistible virulence fuelling the track and driven by the rapier strikes of drummer Baybora Topaloğlu and the brooding tones of Ünal Akünal’s bass.

Carnac_RingMasterReviewIt is a superb start to the EP, a swift impact maker as predatory as it is rousing and matched in success by the following Menhirs Of Enmity. Its entrance is a kinder melodic coaxing, though it takes little time for a tempest to descend on ears again with a thrash spiced contagion of hostility and infectiousness. By this point the want and ability of the band to keep predictability at bay is forceful. It was a potent part of the first track and reveals more boisterous intent here as the band take the listener on a roller coaster of a perpetually changeable landscape of energy powered flavours and ear devouring textures.

Debaser is the next to challenge and please, it too a wall of confrontation as it builds pressure on ears. Once more the guitars cast a net of hooks and roaming grooves, all skilfully and keenly spun around brutish rhythms and the rasping vocals squalls of Yenitepe. Its body is an attention grabbing cauldron of eager activity and almost sultry invention within merciless death metal stock, and fiercely appealing even though it does lack the same incendiary spark as its predecessors.

Closing track Servant To The Void is the same, missing an indefinable but noticeable element to really stir ears and emotions yet provides a thoroughly satisfying and adventurous challenge to spend plenty of time with. The guitars just about steal the show though bass and drums provide the kind of rousing badgering you just do not want to resist whilst Yenitepe offers his own pleasing incitement of the senses, though a touch more diversity to his delivery for personal tastes would add another potent dynamic.

Carnac introduces themselves in strong style with The Frail Sight with the potential of bigger moments to come openly brewing within its increasingly enjoyable presence. This is a band to keep a close eye on we think.

The Frail Sight EP is out now via Sliptrick Records with its digital outing @ https://carnac.bandcamp.com/album/the-frail-sight

https://www.facebook.com/carnacband

Pete RingMaster 02/03/2016

Copyright RingMaster: MyFreeCopyright

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