Imbroglio – The Struggle in Pursuit

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There is an overpowering beauty in something which is intensively tormented and destructively passionate, equally a compelling attraction in the most vicious inner struggles of man and their corrosive shadows, and that beauteous temptation does not come any more irresistible than the new album from US metallers Imbroglio. Returning from an obviously potent hiatus, the band has unleashed the ravenous The Struggle in Pursuit, a breath-taking slab of creative savagery which will leave newcomers to the band reeling and bring existing fans their most richly absorbing and imaginatively consuming presence yet.

It was a surprise when the Ohio band announced it was going on a hiatus on the eve of the release of their previous acclaimed full-length Declared Self Hatred. It was something which was desperately needed as band founder and  guitarist /vocalist D.J. Gilbert revealed in an interview with Exclaim!, where he stated “I no longer felt a fire burning inside because with Declared Self Hatred I felt like I finally wrote my final piece, my suicide note. I knew I was on my way to the easy way out. I literally expelled every ounce of hate for myself on that record. So it was either put it on an indefinite hiatus for a while or just allows myself to self-destruct.

Initially with the intent of starting a new band when ready to return to creating music, Gilbert was persuaded by new band member Bret Newland (drums/vocals) that the project had to stay as Imbroglio; that whatever Gilbert wrote and performed it would sound like the band anyway. Original band member Josh Deeter (bass/vocals) returned to complete the line-up with the trio setting about making returning EP which they recorded with Bobby Leonard. Featuring the contribution of keys and synths on a couple of tracks by Devon Robillard, who had played bass in the band at the time of the Sleep Deprivation album, The Struggle in Pursuit takes little time in smothering the senses and imagination in aural causticity and lyrical ravages incited by the struggle in the pursuit of happiness in today’s social climate. The songs rage and stand defiant against the wrongs and obstacles in life but with a triumphant and provocative stance promoting a broad and personal freedom.

The inventive tempest of grind, sludge, and doom metal from the band is veined by their most exhilarating and rigorous experimental TSIP_Album_Coverexploration to date; exhaustive and captivating invention immediately paraded on opener Full Speed. As its title implies, the song races through ears from its first breath, rhythms thundering down upon the senses and riffs immediately abrasing and flailing everything before them. Vocals need little coaxing to sear the air with vitriolic suasion as the bass darkens the imposing and strenuous maelstrom further. It is a disorientating treat, sonic spirals of invention and searing toxicity enflaming the imagination and an already drooling appetite for song and release. The track continues to lurch over and rip through the senses with sabre flung sonic twists of sound and a rhythmic predation which intimidates and commands full submission to its inciting call simultaneously.

The outstanding start is matched by the thick intensity and equally rapacious antagonism of Approaching, the track soaked in a passionate rabidity and driven by an anthemic enticement within a maelstrom of noise and intrigue. The track roars and rages as it engages and recruits the passions, every second a ferocious protagonist and every twist a mouthwatering intrusion of cutting sonic endeavour and enterprise. There is little time to concentrate on a single moment, the voracious attack and invention of songs a turbulence which needs numerous exploits to  explore fully which this and the following Gravity are perfect thrilling examples of. The third song of the release barracks and engages thoughts and emotions from its first touch, riffs and rhythms tenderising the senses as the guitar spurts potent sonic toxicity throughout the provocative landscape. It is a riveting furnace of emotion and sound which reaches a new height when solemn darkly toned clean vocals duet with the coarse squalls of voice and sound beneath them.  It is a tremendous sprawling and suffocating embrace of harsh and invigorating endeavour leaving the body a broadly smiling wasted mess.

Day Break gives no time for a breather or respite as it leaps straight at the listener, drums puncturing every inch of the psyche into which the guitars and vocal lay their vicious irresistible bait whilst the bass looks on with a dark hearted yet seductive lure. There is a hardcore violence to the track also which only accentuates its almost visceral predation leaving emotions smouldering and senses bruised. Its primal insistence makes way for Desolation, another track where the title reveals all before any sniff of the suffocating ambience and emotional suffering can soak the ears. It is a glorious cloud of despair and intent; one speared and split apart by unpredictable sonic imagination and skilled melody inspired shafts of scorched light. A towering conclusion to a quite brilliant encounter, the return of Imbroglio has given metal a new proposition to wax lyrical over, The Struggle in Pursuit deserving all the acclaim destined to come its way.

The Struggle in Pursuit is out via The Path Less Traveled Records now!

10/10

RingMaster Review 16/04/2014

Copyright RingMaster: MyFreeCopyright

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

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Memories Of A Dead Man – Ashes Of Joy

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There is always something appetising about releases which make you work and really listen to their intensive offering before truly reaping the rewards their exploits offer. Ashes Of Joy the new album from French metallers Memories Of A Dead Man is one such impressive encounter. An exhausting venture into thick emotive climates and exhaustive imposing soundscapes, the twelve track journey challenges and intrudes upon senses and imagination respectively for a continually emerging and enriching experience. Certainly a release which needs extensive time to devour fully, though it makes a more than compelling first impression, Ashes Of Joy is a masterful confrontation which gets better and better across its length and to even greater effect over each traverse of its riveting body.

Formed in 2006, Memories Of A Dead Man has evolved their sound over time into a thoroughly absorbing and enveloping persuasion, their albums Beyond the Legend and V.I.T.R.I.O.L. drawing strong and acclaimed responses, but with Ashes of Joy the band has reached a new height in songwriting maturity, provocative presence, and intensive imagination. The melancholic breath which envelops from within the dark shadows and imposing structures of the songs borders on suffocation at times but only in their soaking of every twist and shift of the narratives, musically and lyrically, within the demanding and inciting provocation which in turn intensifies the oppressive intensity and emotive atmospheres brought to bear. Crafted by a new line-up which has been in place from 2012, Ashes Of Joy is an exacting and simultaneously compelling adventure, not one for the faint hearted but certainly one for all those who like to sink their teeth into an incendiary slab of extreme invention and passion.

The opening Prélude (Solemn Requiem) immediately encases ears in a fiery sonic embrace, the guitars of Ben Debrun and Tony Garcia memoriesofadeadman_covercasting a scorching initial smoulder of melodic enticement which calls on the imagination with its evocative lure straight away. Heavier stalking riffs follow thumping beats in joining the molten coaxing as the track increases its intensity and stature; all the time the irresistible grizzled tones of the bass and bear like vocals intimidating and taking thoughts into the  darkest menacing corners in preparation for the impending drama.

That dramatic experience is soon upon ears and emotions with the following Aurora, the track a tempestuous testing of the senses with rampaging rhythms from drummer Jef Ertle powerfully badgering the senses as the guitars squall imposingly around them as vocalist Pierre Duneau ravages syllables and air. With the bass of Herve Osmont similarly enslaving attention, the song evolves in gait and attack throughout, the demanding onslaught at the start drifting into an emotive and thickly atmospheric consumption driven by a more hardcore rapaciousness from Duneau. The twists never relent in their potent and aggressive immersion of the imagination, every second and note a new adventure to fear and equally devour. This variation and that of the vocals is a thrilling and increasingly addictive proposition in what is already a thoroughly intensive and demanding but excitingly rewarding entrance.

The following The Fall Of doG – Maelstrom Involution swoops in on a tide of voracious riffery and sonic enterprise around firm rhythms to instantly seduce the appetite. The again diverse and expressive vocals add to the already captivating and savage sounds throwing their creative and passionate weight against ears. It is a more immediate track than its predecessor but no less involving and steeled in startling textures, and with once more that hardcore causticity to the two toned vocal delivery, it simply ignites senses and passions. The turbulent antagonism and contagiously enterprising confrontation of the track makes way for the shadow grasping emotional beauty of Melancholia. The song floats in on a dark poetic breeze of melodies and a shimmering resonance which drifts from the classically structured and emotively sculpted canvas of the encounter. Two minutes in and the song erupts with a fire of passion and angst coated hunger which drives both music and vocals across the senses like a ferociously lapping tide. Not far short of ten minutes in length, the track is a tumultuous toxin raging and surging through the veins of itself and the thoughts of it’s intended.

The raw and assertively vociferous Touched With Pensiveness steps in next to inflame the passions, inventiveness and unpredictable rabidity to the evolving intent of the track exhilarating. The track did not impress as others first time around but as with the whole album given plenty of time and attention emerges as one intriguing and impossibly enthralling pleasure, the soaring sirenesque female vocal lures just some of the clawing rocks to get willingly snagged upon. Its rich glory though is small in comparison to the triumph of Wounded Knee, a blistering tsunami of crippling rhythms and bestial riffs led by the animalistic predation of the bass. If that was not enough to fire up the passions, a virulently seducing groove ensures the track catches every passing thought and emotion, taking them on a towering severe ride to which ardour is the willingly given price. It is hard to pick out any predominate specifics which make the songs so successful across the album, but certainly here the mix of vocals, the barbarous stride of the rhythms, and that ever belligerent bass sound stirs up a lustful attention.

The short evocative instrumental From Mud To Heaven leads into the acidically flavoured and sonically crusading La Nausée, its breathless emotional pressure and dramatically powered presence holding a strong essence of bands such as Tool and Porcupine Tree to its throbbing breast. The track is a transfixing furnace of emotion and oppressive strength which enthrals with its adventure and ideation, the same that can be said of the distinctly different yet similarly sculpted Draft Of The Second and Going Out With The Whore’s Saliva. Though the first never manages to reach the heights of those before, its grunge/Nirvana like impassioned fervour and coarse imaginative temptation still leaves a greedy appetite in place to be fed by its outstanding successor. Leaden stomping rhythms and scarring riffs steer the menacing intensity and vocal demands of the track whilst caustic flames of melodic abrasiveness and scathing vocals incite thoughts and emotions for another continually gripping peak within the album.

    Ashes Of Joy is concluded by stoner fleshed uncompromising intimidation of The Fall of doG – Erase My Eyes and the extensive explosive landscape of The Swan’s March, both tracks employing scything melodic swipes within primal turbulent atmospheres and permeating ambient causticity respectively. They are both immense provocations to match the exhausting and scintillating weighty persuasion of the album. Ashes Of Joy takes no prisoners but feeds them with the most scintillating and potently demanding emotional investigations. As said Memories Of A Dead Man make you work with their album but pays you back with one of the best encounters this year so far.

Ashes of Joy is out on April 14 via Send The Wood Music/Season Of Mist

http://www.facebook.com/memoriesofadeadman

9/10

RingMaster 13/04/2014

Copyright RingMaster: MyFreeCopyright

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Sunsmasher – Hell/Noise/Church

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A sonic suffocation and intrusive adventure which smothers the senses whilst igniting the imagination, Hell/Noise/Church the new EP from Scottish metallers Sunsmasher, is one of those exhaustive violations you can only welcome hungrily.  The three track release is not a comfortable listen but certainly a compelling ravaging to which addiction is an easy option. A merger of doom, crust, sludge, noise and plenty more, the Glasgow trio’s sound takes no prisoners and shows no mercy ensuring that their new EP is an inescapable predator, one fuelled by a thrillingly corruptive toxicity.

The Glasgow quartet was formed in 2010 with the intent to create ‘claustrophobic, intense, and violent music’ with essences bred in the member’s background in the Scottish grind, crust, and hardcore scenes. Debut release, the Mammothian/Loud/Cult demo a year later drew good attention and helped the band to a potent following which was accelerated as Sunsmasher exhausted stages alongside bands such as Conan, Dragged Into Sunlight, Monarch, and Wormrot. The last couple of years saw a few line-up changes in the band and a stronger crust and noise inspired sound emerging through their original doom seeded invention, the result as evidenced by Hell/Noise/Church, a not exactly unique but certainly a hellacious proposition individual to the band. Mastered by James Plotkin (Khanate/O.L.D.) and recorded with Kevin Hare (Black Sun), the new release easily pushes Sunsmasher into a greater spotlight, one deserving to reward as much as the band thrills.

Axe To Grind emerges from an increasingly intensifying and swirling sonic incitement, though the emergence is more a vicious launch at Sunsmasher - Hell-Noise-Church - coverthe ears with guitars and drums carving chunks from the senses and synapses whilst vocals squall with a razor sharp edge and malicious savagery. It is a brutal abrasion of hardcore and noise voracity which within seconds has ears ringing and emotions cowering. The band soon teaches though that they are unafraid to experiment and wrong foot as the track suddenly stops and drops into the thick embrace of an oppressive sludge prowl. Bass and drums find a restraint to their onslaught, though not their bestial intimidation, whilst the guitars merge a melodically hinting sonic tempting with a deeper guttural growl. It is a riveting enticement which consumes and invigorates simultaneously; a droning bait veining it all to captivate infectiously as a stalking low slung groove seduces. With vocal and atmospheric torments searing the air, the track is hypnotic slavery which grows stronger and more compelling over time.

The following Redeemer is just as rapacious but uses a ‘lighter’ sonic toxin to master senses and passions early on. There is a discordant lilt to the guitar call which immediately adds a tempting edge to the opening crawl whilst the lumbering rhythms and heavy throat of the bass provide a formidable canvas for the evolving stature and incitement to ravage. The best track of the three, the song worms its way into the psyche for a long term and intensely lingering chastisement.

Final song Perdition lets a great bass line draw in the imagination first, guitars soon joining it’s tempting with magnetic riffery. The initial premise of the song is almost gentle in comparison to that of the previous tracks, a caustic yet embracing abrading. It is not for long though as the weighty intensity of the track smothers all to enclose and consume the senses. Confirming the invention and exploratory heart of the band, the new thick doom clad swamp of sound is speared by a heavy swaggering groove right out of the Pantera songbook before merging all essences into a choking and enlivening strangling. As all the songs, it twists and turns with enterprise and malevolence, employing all the flavours announced at the start of the review into a mouthwatering and contagious destruction.

Obviously Sunsmasher and Hell/Noise/Church are not going to be for everyone but for noise corruption and feral sonic sculpting within a sludge/doom landscape it is hard to recommend much better.

https://www.facebook.com/sunsmashermlc

http://sunsmasher.bandcamp.com/album/hell-noise-church

9/10

RingMaster 26/03/2014

Copyright RingMaster: MyFreeCopyright

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

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Conan – Blood Eagle

 

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    Conan’s second album Blood Eagle parades all the musculature and primal intensity you would expect from their literary namesake, its body a rippling drone tempest of doom dressed metal. The new six track leviathan from the band sculpts the heaviest ravenous riffs and ruggedly intimidatingly rhythms, aspects expected from the band after the casting of their debut album back in 2012, but brings it under a swamp of brutal oppressiveness and voracious atmospheres which sees the band at its most destructively creative yet. It is an album which tests and seduces the listener simultaneously, leaving emotions exhausted and satisfaction bloated.

     Formed in 2006 as a duo, Conan has seen numerous line-up changes across the subsequent years but it is fair to say that the trio of guitarist/vocalist Jon Davis, bassist/vocalist Phil Coumbe, and drummer Paul O’Neil has driven the band to its most impacting and vicious adventures as evidenced upon Blood Eagle. The band has persistently barged and demanded attention through their releases, the Horseback Battle Hammer EP of 2010 and that first album Monnos two years later notable onslaughts, whilst splits with Slomatics and Bongripper in 2011 and 2013 respectively, has only increased the presence, and certainly in the latter, the expectations of their second full-length. Released via Napalm Records and as their previous album Chris Fielding produced, Blood Eagle certainly feeds those needs and more, its battle field of sludge tarred monolithic riffs and threateningly captivating rhythms aligned to an exceptional dual vocal provocation, dangerously irresistible and ruinously enthralling.

    The initial breath of first track Crown of Talons instantly offers an intimidating presence, the near on ten minute journey NPR527 Conanthrough cavernous climes and thick textures not exactly laboured in its emergence but certainly taking its menacing time to envelop the senses. Riffs slowly entwine around the ears securing a ready submission to their bait before darkening and intensifying their immersive swamp of sound with firm rhythms punctuating every evolving twist and corner of the journey. As leaden and bulky as a mountain bred avalanche but with the centuries worth of patience within any kind of erosion, the track is a mesmeric pestilential consumption, an insidious rapture which simply seduces from start to finish.

    Its successor Total Conquest brings an even greater intimidating predation to its structure and touch, an almost visceral essence coating its every moment whether again smothering the senses with a steady trudge or raising its energy to scavenge with forceful voracity. The gruff vocals equally gain a richer growl and seeming impatience to accentuate the threat whilst rhythmically the track deceives with a hypnotically irresistible contagion which leads the listener further into the jaws of the ravaging.

    Foehammer is next to abrase and snarl against the ears, its excellent vocal offering an anthemic call within the less welcoming barbarous scourge of sound, both elements insatiably magnetic even with the bestially harsh and intensively weighted squall of the track around them. The shortest slab of ferocity on the release it leaves just as many lingering agreeable scars before the excellent Gravity Chasm unleashes its particular venomous waltz of exhaustive severity and vehemence. There is a swing and groove to the provocation which simply traps the passions, taking them on a hellacious dance of primal intensity aligned to captivating vocal rapacity, before throwing them to the always waiting carnivorous appetite of the behemoth sound. The best track on the album is followed by the masterful and enthralling heavy hum of Horns for Teeth, the track another to skilfully merge a catchy swagger and infection into a suffocating drone sculpted canvas of doom incitement. It is a glorious sonic dreadnought with a tempestuous suasion rivalling its predecessor for that top beast honour.

     The album is completed by the transfixing Altar of Grief; an almost shamanic rhythmic coaxing setting things off whilst being courted by a distorted nagging sonic drone. The entrance of the track infests and infects with impossible ease paving the way for the corrosive squall of sound that washes over and permeates every thought and emotion. Like the first song it is a demanding and unrelenting pillaging of the body, content to strip the senses layer by layer with its slow sandblast as it brings Blood Eagle to an immense conclusion. Conan makes you suffer and face multiple trials to get to the heart of its releases but as here the rewards are constantly worth every wound and scar.

Upcoming Conan Tour Dates:

14.03.14 UK – Nottingham / Stuck On A Name Studio

15.03.14 UK – Bournemouth / The Anvil

16.03.14 UK – Birmingham / The Asylum 2

17.03.14 UK – Glasgow / Audio

19.03.14 UK – Manchester / Kraak Gallery

20.03.14 UK – Cardiff / Full Moon

21.03.14 UK – Brighton / The Prince Albert

22.03.14 UK – London / Electrowerkz

09.04.14 BE – Liège / le Hangar

10.04.14 NL – Tilburg / Roadburn Festival

11.04.14 DE – Würzburg / Cafe Cairo

12.04.14 DE – Leipzig / Doom Over Leipzig

13.04.14 DK – Copenhagen / KB18

14.04.14 NO – Oslo / Revolver

16.04.14 FI – Jÿvaskÿla / Lutakko

17.04.14 FI – Helsinki / Kuudes Linja

18.04.14 FI – Tampere / Klubi

19.04.14 FI – Oulu / Nuclear NightClub

21.04.14 SE – Stockholm / tba

22.04.14 SE – Lund / Hemgarden

23.04.14 DE – Berlin / Jaegerklause

24.04.14 DE – Wiesbaden / Kulturpalast

25.04.14 NL – Groningen / Vera

26.04.14 DE – Hamburg / Droneburg Festival

27.04.14 DE – Cologne / Underground

21.06.14 FR – Clisson / Hellfest

http://www.hailconan.com/

9/10

RingMaster 04/03/2014

 Copyright RingMaster: MyFreeCopyright

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

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MORASS OF MOLASSES RELEASE VIDEO WITH NEWS OF A NEW SONG.

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In the five short months since Morass of Molasses erupted onto the scene in Reading, they have been busy cramming in gigs aplenty, persistently wowing audiences with their unique and ever evolving brand of Sludgy Stoner Rock every time they hit the stage. Their first track ‘Rotten Teeth’ seemed to take everyone by surprise, with fans and critics alike clamouring to sing its praises.

In recognition of this, the band decided to produce a video to accompany the track. As by way of saying thanks to for the support they have received so far, and as a gift before the next track ‘Ashtabula’ which is released on Wednesday 19th March at the BBC Introducing night at The Oakford Social Club in Reading.

Frontman Bones commented on the response up until now, saying ” The chemistry was there right from the first note, but you never know if it will truly connect with people. In truth, it has been better than we could have ever imagined, and this is just the beginning” As for what to expect next, he says “With regards to the video; expect a visceral visual treat for all the senses. Gently preparing you for the onslaught of Ashtabula
The video for ‘Rotten Teeth’ is immediately available to watch through the band’s Youtube page:
https://www.youtube.com/morassofmolasses
Morass of Molasses next track ‘Ashtabula’ will receive its first exclusive play on Linda Serck’s BBC Introducing show and will be released for FREE download on Wednesday 19th March.

To find out more about the video, upcomng  single and all things Morass of Molasses check out their various links below.
facebook : www.facebook.com/morassofmolasses
Twitter: @morassmolasses
Youtube: youtube.com/morassofmolasses
Bandcamp: morassofmolasses.bandcamp.com
email: morassofmolasses@icloud.com for more details

Rotten Teeth Video Still 1

Monstre – Self Titled LP

 

Monstre @ Fête de la musique 2012

    With more flavours than a Cornish ice cream parlour and twists than a snow boarder on an Olympic half pipe, the debut album from French rock band Monstre is a startling and scintillating beast of a release. The self-titled ten track encounter challenges and treats the senses from the first second, a constantly evolving mix of metal and rock in numerous guises all colluding to infest the imagination and passions. With a suggested depth of potential that is still to be fully untapped by the band as their album thoroughly captivates and thrills from start to finish, Monstre is one of the most exciting propositions to tantalise the ears in recent years.

     The creation of Toulouse duo King Pilo (vocals/guitar/bass) and Seb (drums/backing vocals); the album was recorded in November of 2013 at the Meskine Records Studio with its release at the start of this year. List your favourite metal and rock styles and most likely Monstre will be employing their essences in the multi-faceted and voraciously inventive release. More unpredictable than an orgy in the dark and just as rabidly enterprising, the album works on the primal and creative wants of all with a rhythmic alchemy which leaves you exhausted and drooling alongside a sonic kaleidoscope of ingenuity which simply dazzles and enthrals.

    The album opens with Obey, the jaws of bass an instant intimidation on thoughts as the guitar lays a slow glaze of causticity coverover the senses. With vocal harmonies grazing air as expressively as the stalking sounds, the track subsequently expels a sludge toned weight and intensity on its recipient. Whilst circling and probing emotions with its lumbering and incisive predation, the track’s lyrical incitement as across most songs is a minimal but equally imposing and effective lure helping create a towering entrance for the release.

    The following Green Fish not only builds on its predecessor’s presence but thrusts the album to new heights with its fusion of noise and psyche rock aligned to menacing alternative metal. As in the first the bass has an irresistible savagery which immediately sets the passions beaming, but it is just part of the wonderfully toxic bait building a web of virulence. There is an early Killing Joke potency to the song but also slithers of invention which suggest bands like Melvins and Faith No More has added spice to the band’s artistically informative years. The track is a glorious slice of intrigue and adventure for the imagination, a tantalising and chilled enticement soon matched by the instrumental Mother. Revisiting a sludgy textured prowl with that metallic snarl of the bass and equally ravenous riffery amidst a sonic voracity, the track is an epidemic of rhythmic seduction and inventive endeavour.

    Both Prick and Less taunt and light up the ears, the first coating everything from rhythms and riffs to vocals and sonic weaves in a rapacious breath. The guitars scythe and sculpt a riveting maze of provocative ideas and textures whilst the bass scowls and leans heavily on the senses as the drums pummel their tender flesh. It is an absorbing and incendiary mix offering a Gang Of Four compulsion and Fugazi liking attitude and combativeness. Its successor provides eight minutes of cantering sonic hostility and rampant incessant rhythmic incitement, the track’s first half an instrumental taking of the imagination and its latter stretch providing a great vocal enticement and grunge bred expression to the relentlessly anthemic charge of rhythms. Both songs are formidably imposing and irrepressibly magnetic upon thoughts and emotions continuing the impressive stance of the album.

     Drunk blends a grunge and stoner persuasion into its hungry design, a Nirvana kiss smooching in some of the song’s punkier moments whilst the following What U Say takes that same punk essence and immerses it in a more hard rock brawl with again a Gang of Four post punk tempting. Without strolling along the same plateaus as set by previous songs, both tracks providing a healthy feeding for a greedy appetite before Song One thrusts its muscular and sonic grunge/rock swagger through the ear for another contagious trap for the passions.

    The album is brought to a close by firstly the niggling pressure and charm of Nothing, a track with a provoking adventure and inventive voracity which reminds of Wire at their most transfixing, and lastly by the persistently shifting Welcome, a song which between a top and tailing Middle Eastern seduction which is very similar to that of The Cure’s Killing An Arab, immerses the ears in every essence of sound it can conjure for a fluid and inspiring soundscape of incisive metal and heavily boned rock ‘n’ roll. The pair of tracks impressively concludes a tremendous album and introduction to Monstre, a band with all the imagination and flare to rise into the strongest spotlight. The anticipation of that is full and sure whilst pleasure now is fat and bloated on the excellence of Monstre.

https://www.facebook.com/pages/MONSTRE/285147271524380

https://monstremusic.bandcamp.com/

9/10

RingMaster 19/02/2014

 Copyright RingMaster: MyFreeCopyright

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

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Colossus Of Destiny – In Lesser Brightness EP

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We have a tasty little treat to bring to your attention as the year opens up its arms in the towering form of the In Lesser Brightness EP. Six tracks of multi-flavoured metal veined by some mouthwatering fusions of heavy rock, the release from French band Colossus Of Destiny is a rigorously impressive encounter. Released last October but seemingly finding greater deserved attention over recent weeks, the EP is a riveting slab of enterprise and accomplished persuasion which should see the Paris band stepping into a wider intensive spotlight.

The 2009 formed Colossus Of Destiny consists of vocalist Adrien Guilmoteau, guitarists Julien Laville and Mathieu Miquel, bassist Guillaume Taliercio, and drummer Jérémie Le Formal. Taking influences from the earlier presences of bands such as Baroness, Tool, Kylesa, Unsane, and Taint into their distinctive sound the band has released two previous EPs, their self-titled debut of 2010 and Eden the following year. There is little more background info to be found but when a record like the Hellbound Records released In Lesser Brightness does the potent talking for them you do not have the want to know more. Bulging with rock muscles which flatten the senses and a metal bred intensity that shapes the imagination with predacious intent, the EP is an immense introduction for us and probably plenty more to a band which has over the past four years honed their persuasion into something quite irresistible.

Dismay In Empty Eyes sets things in motion, its emergence from a brief stormy ambience marked by thumping rhythms and a spiralling sonic coaxing from the guitars. The drums instantly impress as does the moody basslines and excellent vocal growls of Guilmoteau and as the track rises from its lumbering stretch without ever exploding into life, just continually loading layers of intensive textures upon the ears, the song becomes a compelling temptation to which the guitar casts rich spicery. A sludge borne weight wraps itself around the imposing track adding to its heavy potency whilst elsewhere vocally and musically, the song reaps varied flavours such as post hardcore and melodic metalcore to hard and post rock to make a striking start to the album.

Unleashed takes things to another level right away and with its successors takes In Lesser Brightness to a much higher plateau. Crushing rhythms and air scoring riffs spears the ears first, both soon ridden by scowling vocals as the song makes its impressive opening declaration. There is right away a much more aggressive urgency and force to the track compared to its predecessor, guitars niggling and combative whilst the bass holds a predatory gait and voice which urges on the bone splintering rhythmic attack. The song is pure contagion throughout, addictive without offering easy lightweight hooks and commanding without bludgeoning to achieve its success. With a punk breath to its metal/rock persuasion which not for the last time on the EP sparks thoughts of Fuckshovel and Gruntruck, the confrontation is a thrilling blast soon matched as the release strikes home its advantage on the passions.

The next up Get Lost also fuses stirring elements of punk, metal, and hardcore to sculpt another major pinnacle upon the EP. Snarling from vocals to riffs as rhythms slam with eager rapaciousness, the track is a voracious brawl on the imagination but one unafraid to slow its assault to merge strong melodic tempting and inventive twists into the creative raging. As soon as the song departs Heavy Loads leaps forward with ravenous riffs and sonic tantalising coaxing the senses to secure an early hunger for its potential offering which the track rewards with more distinctive and varied adventure in songwriting and sound. It is fair to say that some elements of song and release are bred from familiar territory but it is hard to think of anyone which sculpts and delivers those essences in the same dramatic way as Colossus Of Destiny.

The title track shifts things again, slowing the gait but adding some progressive invention to the imagination invading suasion superbly crafted by band and song. An absorbing merger of intensity and melodic expression it is an evocative and mouth-watering incitement, as the whole release, to devour greedily whilst the closing Naked & Unbound provides a final thrilling union of muscle, infectious grooving, and melodic fire to reinforce the impressive stature of In Lesser Brightness.

It is hard to imagine on the evidence of In Lesser Brightness and a retrospective look at their previous EPs that Colossus Of Destiny will not become a potent name and presence in forceful music so joining their certain rise right now makes the only sense. A stunning release from an outstanding band, you read it here!

https://www.facebook.com/colossusofdestiny

http://colossusofdestiny.bandcamp.com/

9/10

RingMaster 07/01/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.audioburger.com

Hysterix And His T-Rex – Changes – or, when love becomes misery EP

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Looking for a slab of senses stomping intrigue? Then try plunging into the promise drenched tempest of Changes – or, when love becomes misery, the new EP from German rockers Hysterix And His T-Rex. The three track release is an eclectic fury of dirty rock ‘n’ roll with progressive and metal tendencies which captivate and seize the imagination. The Dortmund quartet has already pricked strong interest with previous releases but now stalk a new level of craft and invention which makes the band one needing close attention now and in the future.

Formed in 2010 by brothers Sandro (drums) and Dino (bass) as a side-project, Hysterix And His T-Rex creates a sound which merges a sludge thick breath and stoner heat to metallic sinews and experimental adventure.  Debut single A Clowns Tragedy of the same year was followed in 2011 by Nils (vocals) and Sebi (guitar) joining the line-up. Last year saw the band’s first EP The Wayfare released, a four track piece of compelling if patchy invention, but a strong base from which Changes… has sculpted the band’s finest moment yet.

Changes opens up the encounter, a sonic call soon dismissed by a bulging bassline and prowling riffs framed by magnetic beats. 1463106_648494221839765_1529272345_nAs a groove opens its throat the song has already found a contagious grip which leads into a hardcore bred ferociousness with a viscous sludge antagonism. The track presses on the ears with skill and predatory intent, its body simple but wholly riveting especially as clean vocals replace the previous scowling roar, with both switching from here on in. With an additional grunge lilt and a metal spawned hunger to the rhythms and riffery, the song twists and lurches across the senses with pleasing craft. The song as the release has to fight the raw production a little but it cannot stop the qualities of band and track from making a strong persuasion.

The following Ring takes the sturdy start to another plateau of impressiveness, the track easily the best thing on the potent confrontation. From its first second the track chews the ear and rampages with fiery belligerence, squalling vocals raging over merciless beats and a delicious swarming niggle of a groove. The intensive start is dropped into a vat of doom leaden labour soon after but takes little time in re-emerging into that virulent addictive opening scourge of waspish temptation. A taunting rapacious enticement with vicious aggravation and scintillating uncompromising coaxing, it is an outstanding blaze of instinctive noise abuse and without doubt the pinnacle of the band’s invention so far, and hopefully an area where they will stride forth in direction in the future.

The closing Beyond The Waterfall opens like Wire meets Beehoover, a wall of muscle and intensity seizing command before opening its arms for a grunge/stoner melodic suasion to stretch the offering further. Merging with the harsher elements, the inventiveness continues to press home its advantage as a jazz/avant-garde venture steps into view, it again a moment which is soon evolved as band and song twists and flexes an imagination which only increases the intrigue and its riveting presence. Arguably there is too much going on to flow easily throughout and the cleaner vocals are weaker compared to the inhospitable delivery elsewhere but it does little to diminish the lure and pleasing argumentative conspiracy making a strong persuasion on thoughts and emotions.

Released as a buy now name your price on Bandcamp, the Changes – or, when love becomes misery EP shows the leap Hysterix And His T-Rex has made since the previous release, in songwriting and bold adventure to ignite a definite anticipation and hunger for what they conjure up next.

http://hysterixandhistrex.bandcamp.com/

https://www.facebook.com/hysterixandhistrex

8/10

RingMaster 04/12/2013

Copyright RingMaster: MyFreeCopyright

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30,000 Monkies – Somewhere Over The Painbow

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Launching itself at the senses with a web of sonic confrontation, rhythmic predation, and noise locked seduction, Somewhere Over The Painbow emerges as another of the year’s essential treats. The new EP from Belgium band 30,000 Monkies is a four track fusion of noise and psyche rock with stoner/sludge persuasion which leaves senses and thoughts exhausted but basking in an adventure which is striving to create its own unique corner of aggressive invention. Tagged as experimental which can be a false descript at any time, the quartet from Beringen arguably explore previously discovered dark corners but it is in a way no other has yet thought of to create new and unique sonic bruisings. With no regard to expected structures and well-trodden avenues, band and EP is a thrilling uncompromising endeavour with raptor bred hunger and pestilence seeded intent.

The ConSouling Agency released Somewhere Over The Painbow follows the band’s debut EP Womb Eater Wife Beater of 2011.The release was a heavier intensive sludge fuelled release in comparison to the new EP but one rife with various exploratory sounds and ideas. It set in motion the evolution which sees the new release certainly not miles away from that oppressive temptation but shearing it into a leaner, more caustic provocation with seemingly extra freedom to push its edges and limitations, which it does with delicious results.

Opener Imperial Staches from a few thumping beats unleashes a quarrelsome sonic grazing from the guitars of Michiel De Naegel and Ruben Savelkoul to instantly crowd and consume the ear, their scathing touch working its way down to put everything on red eager alert. With the bass of Igor Vuch feverishly roaming the blaze whilst the rhythms of Ward Beerten enslave and capture the passions, the track is a ferocious merciless scowl upon the senses which finds extra malevolence once the brief but pungent vocal squalls of Savelkoul make their appearance. The song is a short fury but takes a greedy grip on the imagination with ease whilst igniting a rapacious hunger for the rest of the release.

The following Amazones soon raises the ante and temperature with its opening Devo like sonic tendrils amongst muscular mountainous beats; its presence an instant lure and entrapment for which full submission is a given and fully cemented by the hardcore like vocals and melodically coaxed intensive rock striding. There is a certain Melvins/Sonic Youth like air to the harsher antagonism but also a hint of quirkiness which is Pere Ubu like. With a rampant finale the track is a commanding and demanding highlight soon matched by Czarring. Erupting with coarsely grained vocals and carnivorous bass tones, the track is a garage punk spawned snarl which at its start and in latter moments smack of UK band The St Pierre Snake Invasion whilst its sonic manipulation and violating noise craft has essences of fellow Limburg residents Kabul Golf Club. As always though, these are passing winds in something wholly individual to 30,000 Monkies, added tasty spices to an already riveting expanse of uncompromising imagination.

The closing thirteen epic Batteram is the true pinnacle of the EP, a constantly imposing and enthralling dark hymn which from its organic vocal and funereal expanse unveils slowly contagious limited grooves and anthemic low ‘chanting’ which is almost sinisterly meditative. Probably the only funeral march to recruit lustful followers, the track eventually drops into a cavernous doom filled suffocation, bedlamic suggestions preying on the imagination within the intensive swamp of insidious malevolence and exhausting weight. It is a striking fear mongering treat which maybe outstays its time though at no point do you wish to flee its acrimonious sufferance and pungent stifling.

     Somewhere Over The Painbow is sonic alchemy and pained imagination at its best, a predator and inspirer of the senses and emotions. 30,000 Monkies has basically carved out one of the big gems of the year, a release which gives noise a massive shot in the arm.

www.facebook.com/30000monkies

9/10

RingMaster 11/10/2013

Copyright RingMaster: MyFreeCopyright

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