Furyborn – Dawn Of Leviathan

Since emerging in 2010, UK outfit Furyborn seem to make a potent statement with every move they make within the British metal scene. From their live debut in 2011, they have earned support and a reputation which has only gathered momentum and is sure to again with the release of their debut album, Dawn Of Leviathan. It is a ferociously imposing and compelling affair that arouses the same senses it trespasses with the band’s increasingly distinct and adventurous style of melodic death metal.

That live side of the Poole hailing quintet has seen them become one of the most potent forces across the South of England, win the regional Metal 2 The Masses competition and play Bloodstock Open Air for only their seventh live outing. Since then they have shared stages with the likes of Napalm Death, Threat Signal, Mors Principium Est, Sylosis, The Agonist, Malefice, The Defiled, Evile, (Hed) P.E. and Ted Maul as well as release their first acclaimed EP, The Reaping Of Our Days released in 2012 through Bored Stiff Records. Fair to say the band has been nagging at national and broader attention since day one, increasingly growing both which the highly anticipated Dawn Of Leviathan can only escalate.

The album quickly shows a new strength in intensity, craft, and imagination within Furyborn; a growth in all aspects infused into a maturity which is maybe unexpected within a first full-length, even from a band in its seventh year. Dawn of Leviathan opens with the atmospheric trespass of Second Sun, a brief harass of raw sonic dissonance which leads into the album’s title track where instantly a barrage of intrusive beats from drummer Tim Coulson and ravenous riffs from rhythm guitarist Rob Walker devour ears. Just as forceful are the raw throated roars of vocalist Jut Tabor who quickly seizes attention with his grudging tones, their causticity leading to a great flame of clean endeavour; the frontman, as the sounds around him showing a new dexterity and range which only impresses. It takes little time for band and song to reveal a new lofty plateau to that of the first EP, the melodic suggestiveness of lead guitarist Nick Richardson alone a striking new adventure equipped with the broader imagination and uniqueness that flows through the veins of the track.

The Reckoning follows with the same striking creative tenacity and character, the track a tirade of biting rhythms and corrosive riffs leading the listener into a web of melodic and cleanly delivered temptation. Within the burly, ravenous tempest of bitter sonic and vocal inhospitality, it makes for a compelling mix which only intensifies its lures as the song evolves and broadens its inventive landscape before Exult in Extinction uncages its own rabid assault again led by the uncompromising swings of Coulson. Stalking the senses, the bass of Timmy Hodgson is predatory if sometimes overwhelmed by the storm of riffs and beats while again Richardson veins the cauldron of sound with tendrils of skilful melodic lava. Contrasts flare and meet within the encounter, each colluding with and countering the other in a twisting tempest matched by vocal resourcefulness across the band.

The industrial opening of A Fault in Our Design brings a bold hint of Fear Factory like hues before the track turns to stalking and intimidating the senses. There is a swing to its core presence with breeds the infectiousness soon seeping into every element, the result a blistering yet controlled incitement as predatory as it is melodically tenacious while Life Begins uncages its own mercurial invasion of sound and emotion. Though swiftly persuasive and increasingly compelling, the song does not quite reach the inventive and  gripping heights of its predecessors for these ears though individual flair is as open as the track’s animosity and melodic assurance.

The raw rabidity of I Am Heresy has the imagination and appetite magnetically hooked again straight after with its ravenous and invitingly inhospitable assault of the senses while Deep Rising provides an enthralling lure of Tabor’s striking clean side courted by a laid back but fully suggestive climate of electronically led sound. With the irresistible carnivorous tone of Hodgson’s bass to the fore, the track is superb, another stirring magnet within the release adding further aspects to the bold adventure and evolving imagination of Furyborn.

The album concludes with firstly the varied metal symphony of Wraith, an array of flavours swarming with each other before a writhing death metal causticity bursts from within their midst, and finally with the symphonically laced As We Burn. The closer revels in all the new attributes of the band’s sound and writing, its proposal as invasively seductive as it is rancorous and transfixing. Again Fear Factory-esque hues entice as more Sepultura/Gojira like elements challenge, each woven into the individual character of Furyborn’s own sound. One of its major highlights, the song ensures that Dawn of Leviathan ends on a fascinating high.

Throughout, the album tightly holds attention and fiercely pleases, increasingly so with every subsequent listen. The fact that you still feel we are listening in on one step in a journey still to unfold only adds to the impressive nature of a release which is as much about potential as it is ear exciting craft and adventure.

Dawn of Leviathan is out now through most online stores and @ http://furyborn.bigcartel.com/

https://www.facebook.com/furyborn/

Pete RingMaster 11/07/2017

Copyright RingMaster: MyFreeCopyright

Embracing the sickness: exploring Caustic Method with Matt Caustic

CMPic_RingMaster Review

   It has been a far time coming with US metallers Caustic Method first emerging in 2003, but debut album The Virus is an infectious scourge of sound and invention which more than lives up to its title. For many it has been the first taster of the band and its virulent of tapestry raw and contagious animosity bred from a fusion of flavours and diversity, an introduction breeding, certainly for us here, a hungry appetite for the Syracuse roar. With big thanks to vocalist and band founder Matt Caustic we dig into the heart of Caustic Method, The Virus, and the passion fuelling all…

Hi Matt and many thanks for sparing time to talk with us.

Can we start with looking at the beginnings of the band; what was the spark to its creation and how did you all come together to be Caustic Method?

Thank you for this opportunity. I think the real spark to the band’s inception was mostly an opportunity to put our message out there and to lyrically speak my mind, and work out some demons and issues I might not have normally addressed otherwise. Eventually I found myself writing about several life issues that a lot of our fans seemed to really relate to. As we grew they grew with us and the walls really began to fall where I found myself less worried about opening myself up lyrically and it became my means of therapy. We were all in very established bands in New York State and at one point I was revamping the line-up and an opportunity presented itself to be able to play with some amazingly talented people who I always had a great amount of respect and admiration for. From that point on the planets aligned and we really began to get a head of steam rolling to propel the EP to get us to where we are today. Everything happens for a reason they say and I am very honored to be amongst the best people I now call family

Was there any specific intent for the band and sound as it escaped your imaginations and does that prime idea still drive the band twelve or so years on or has it evolved?

Our real intent was to just stay true to ourselves and make the art that just naturally creates itself. Through time we have kept that mentality of just letting things happen and even more so now, as on the new record half the songs were written from intuitively responding to the music and improvising my vocal lines and lyrics on the spot to the point I actually kept 90 percent of what was written in the session. That gave me the best possible snapshot of what inspired me at that moment in time.

Is there a specific story behind the band name?

Originally called Caustic from a past co-worker with a very “caustic” sarcastic and biting attitude, with an alternate definition of something that can eat through flesh, it seemed perfect for the music we were creating. As we branched out and began travelling we found other Caustics out there and made a decision to separate and define ourselves with no confusion or mistaken identity. The Caustic Method is the means of applying stress on something to effectively find its breaking point, so to speak. Combined with the previous definition it was a very fitting change. Keeping the familiarity with fans and separating ourselves at the same time. The change also helped us shed our skin a bit for the next level we were trying to reach.

virus_RingMaster ReviewYou have just released your album The Virus, a thrilling incitement whose qualities and addictive potency certainly lives up to its title. For fans it has felt a long timing coming so how is it for you guys on the inside. A relief to finally have your first album out or is it more that this is the exact right time to unleash its?

I think timing and chemistry are behind all great achievements and for us and the style of music we create, the timing couldn’t be any better. There is a void in modern metal today we are trying to fill by keeping the attitude and message as the defining attribute of what we create. We have also for years lovingly referred to our fan-base as The Virus because word of mouth has been this band’s best friend over the years. After hearing about us and then finally seeing a live show we hope that’s the point where we win people over and they continue the whole process for us by spreading the word about the band. We pride ourselves on our live performances whether for one hundred or ten thousand fans and we always strive to go above and beyond anything on the album. In an effort to thank our fans for putting us where we are today, the album was given the title The Virus. We love and value the fact that we are fortunate enough to have such a broad fan-base. Fans of Caustic Method are exceptionally supportive and really are the fifth member of the band when it comes to promoting and spreading the Virus. They are one of our greatest sources of pride and confidence knowing they are always behind us.

How long was the album in the making?

The sessions for this record were incredible and unique to any other sessions I’ve been involved with. We were literally chomping at the bit to get these songs down. We just went in and hammered every song with confidence and attitude from beginning to end, we are super proud of what we have created on The Virus. It retains the energy and live vibe of our shows with the precision we were looking to capture. We recorded the sessions at an incredible studio in Syracuse called Subcat. It’s world class all the way and just being really prepared made the process a memory I will cherish my whole career.

Alongside its adventurous exploits and gripping imagination there is a live energy and feel to the album which you touched on there. We described it as stirring “up the blood and putting a fire in the belly.” Give us some more insight into its recording.

We took each song as its own entity and tried to really focus on the subject matter at hand to enhance the message and passion of each performance. I feel we really accomplished this well and for the first time I am really proud of all of us. I wrote a lot of the lyrics for this album during one of the darkest periods of my life. I didn’t think twice about what I was writing or how i was saying it. I just let it out knowing that it was necessary to go through the dark to get to the light. Coming out the other side I can’t say I have any regrets or would have done anything differently. It was all part of the process; a healing process and a growing process, some of which is hard to listen to, but I can and will stand behind it forever because it is honest and real.

Did you approach its creation with any particular intent and set idea or was it more an exploration of its emerging depths and boundaries in the studio environment?

I think we came at it from a very open minded perspective. We were prepared on the playing side but knew we wanted to convey all the attitude you’d find at one of our shows. Combined with some healthy exploration I’d have to say it was the combo that made it extra special for us.

Can you give us an idea of how the songwriting process works within the band?

It differs a lot, which I love. Some days I will just have a vocal hook like The Virus. I presented it as just a dry acapella vocal line and the band just painted with me instead of after me and boom it’s done before it began. Other songs are conceived from just instrumental experimentation with an improvised vocal line written in real time as they play. My gut reaction to what I hear is usually my best guide in writing vocal lines and melodies. It’s like opening up a channel and letting the energy flow. Decoding my lyrics can be frightening at times but it’s a new way of writing I have really embraced as well as the band. These guys are exceptional players and it is like the possibilities for this band are endless. They know how to use the gas pedal and the brake very well. Knowing when to play and when not to play can be just as important for the message to be heard effectively. Being the heaviest or fastest band on earth doesn’t ensure the listener can relate to your message. We really tried and found the balance we were most comfortable with.

Were there any major surprises or unexpected moments which merged whilst recording the album which either enhanced or provided an unexpected obstacle in its emergence? CM_RingMaster Review

Actually the song Bottle of Scotch only existed as a voice recording on my phone from one of my acapella vocal lines we worked on briefly one night at rehearsal. As we were finishing up our session, our friend Ron Keck and owner of Subcat was like before we break down the drums is there anything else we can get on tape. Angel remembered the shell of the song on my phone and we ran through it twice in ten minutes and then hit record. The band nailed it immediately and I literally improvised the verses as he hit record and the tune has become one of our favorites. To me THAT is the Caustic Method!

The Virus has been released through Pavement Entertainment how did that link-up come about?

A friend of ours Michael Trumble was helping us with some PR work and sending the video of The Virus around to some mutual industry friends when Mark Nawara from Pavement saw the video and thought we would be a good candidate for the label. I was a huge fan of a lot of the bands on Pavements roster and I knew in my heart instantly that this would be a great fit and a good home for us. After talking with Tim King our A&R rep and bassist of Soil for a couple weeks we worked out the scope of what we were trying to accomplish and we signed our deal right around New Years. I knew then that 2015 was going to be an epic year in the growth of this band. With distribution through Sony RED it’s available all over the world. The main objective was never to be famous or a rock star but to get our music out to a larger audience because if it works in the Northeast we were confident it would work elsewhere. With Pavement’s amazing network and support we have definitely reached a much larger audience and the response has been overwhelming.

With their stable and history of potent releases, the environment they offer for your music must give you an extra spring in the step to match those sparked by the album itself and the acclaim it is earning?

Without a doubt! After years in the trenches we are no strangers to hard work and not much has changed. We knew coming into this we would have to work harder than ever but knowing we are in good hands gives us the confidence to meet all challenges as they come. And of course we are also looking forward to hopefully touring with some of our label mates soon! We are all still huge music fans first and foremost and there is so much talent on the Pavement roster it is just amazing…Such huge fans of all of them.

Looking at your history as a live presence, it is fair to say since forming you have ignited stages with a Who’s Who of modern metal including Hatebreed, American Head Charge, Ten Years, Candlelight Red, Otep , Korn, Mushroomhead, (Hed) P.E., Cypress Hill, Threat Signal, Skindred, Toxic Holocaust, Nashville Pussy… well the list goes on. Noticeable is the diversity of bands and sounds you guys fit in with. Fair to say your fan base is impressively eclectic?

We have been really blessed in our region to have played with many of our heroes and literally dozens of amazing bands we were able to learn from and grow with. Growing our fan-base through the diversity of these bands has given us a uniquely eclectic fan-base for sure. I do feel we crossover well from hardcore to metal to old school punk and commercial hard rock audiences and that has only reinforced our main objective of just doing what WE do and never emulating anyone.

It is easy to assume that Caustic Method are in their element on stage, tearing up audiences and venues?

The stage is where it really all comes together for us. We can roar like a lion or purr like a kitten. Mostly though we roar like a tornado and sweep you up and drop you on your head,

Fair to say your music on the album take no prisoners, the band has to be the same on stage?

Confidence and attitude are what we emit most onstage. We not only take no prisoners we take no shit! It’s what we all live for and everything else in life is on hold for the next hour because our show is what it’s all about. I relive every inspiration good or bad every time I deliver my lyrics. I flashback in my head to the very minute the words came to me and like a tidal wave all those emotions and attitude that created that song just pour out of me like the wound is still brand new; like ripping open your stitches just to see your beating heart. Not a great idea but you will see a noticeable and real reaction. We transform right in front of you. Forget the people you may have spoken to before the show. We leave them on the stairs to the stage.

Any hope we will see you across Europe and the UK in the near future?

We would love nothing more than to tour Europe immediately. I am fascinated by how different the music fans are there. They seem to have way more diverse tastes and a lot more tolerance of stuff that is different from each other. In America we compartmentalize our music and god forbid you cross compartments. Not true of everyone but we have these boxes and categories of metal everyone lives within where it seems over there people are just fans of any metal that is credible and simply put just GOOD. We all can really respect that and hope to be able to have the honor to tour there in the very near future. Definitely on the high priority list!

So what is next for Caustic Method?

The response to the album has been amazing and for us the real next step is to get out and tour to support this record, see the world and spread the Virus as far and wide as possible!

Once again thanks for chatting with us, any last words for the readers?

Thank you so much for giving me the opportunity to tell our story and If you truly like what you hear….YOU ARE THE VIRUS! Spread the word about Caustic Method! You are our fifth member and we thank you all! SEE YOU AT A SHOW NEAR YOU!

http://causticmethod.com/

www.facebook.com/causticmethod

Read our review of The Virus @ https://ringmasterreviewintroduces.wordpress.com/2015/06/05/caustic-method-the-virus/

Pete RingMaster

The RingMaster Review 12/08/2015

Copyright RingMaster: MyFreeCopyright

Where Giants Once Stood – Live Above EP

WhereGiantsOnceStood-Promo-LoganLights-1-HiRes

The word in the ear before making our introduction with Canadian metallers Where Giants Once Stood through their new Live Above EP was that this is a band striding the lip of major things. Having been buffeted and captivated by their new four track proposition it is easy to see why the keen buzz around the Toronto quartet. The release brawls and seduces with equal success and potency, its tracks each an unpredictable and exhaustive adventure which lingers to inspire swift and regular returns to their persuasion. The band merges a wealth of styles and flavours into their imagination igniting metal and though some tracks excel with the passions stronger than others, there is no escaping the constant magnetism and voracious enterprise of the band.

Drawing ever increasing attention and acclaim through their live shows, which has seen them share stages with bands such as Born of Osiris, Veil of Maya, Chelsea Grin, Iwrestledabearonce, and Beartooth, Where Giants Once Stood made a powerful mark with The Changing EP. It set the band out as having the potential to ignite major fires within metal and Live Above does nothing to deter that suggestion, instead pushing the band’s sound and presence to even richer heights. Produced by Jon Howard from Threat Signal, the EP roars with passion and invention from its first breath, driven by metal which is as transfixing as it is aggressively bruising.

New single Living in Security opens up the fury, its heart soon raging from within the initial sonic coaxing which starts the track off. Riffs swiftly create an imposing wall of vicious stabs aligned to the hostile beats of drummer Austin EP COVER - Where Giants Once Stood - Live Above 2014Hamilton, before exploding into a magnetic stride with a swing to the grooves and rhythms and raw passion to the vocals of Reshaun Page. It is a blistering persuasion which continues to twist and evolve with every passing stretch of chords and sonic endeavour, and increase in temptation as the impressive angst soaked squalls of Page pass over parts of the song to the outstanding clean vocal tones of guitarist Jordan Turnbull backed as potently by those of rhythm guitarist Scott Major. Entwining melodic and progressive bred metal with metalcore ferocity and antagonism, the song is as resourcefully contagious as it is dramatically sculpted, Turnball igniting its air and canvas with some delicious and exceptional creative string skills.

Every second of the track is an imaginative and startling emprise, never allowing thoughts and expectations to settle. It is as much an impressive part of the song as the sounds themselves; that ingenuity continued with Illuminate and subsequently the rest of the release. The second track makes a less hostile entrance, mellow croons casting the first tempting before Page rages impressively from within the swirling warm maelstrom of sound. Expanding with tempestuous animosity and seduction combined, the song squalls and seduces with its emotive and physical turbulence whilst engrossing ears and thoughts with the tenacious skills of each member. Maybe without the final spark which makes its predecessor so incendiary, the track still sparks another vein of hunger in appetite and emotions before drifting off for The Damaged to begin releasing its sonic lures and voracious narrative. A virulent infectiousness roams the chorus whilst a spiteful but riveting toxicity soaks every scarring riff and syllable of the vocal malevolence. As by now expected, the song moves through more revolutions and curves of sound and ideation than a swing door, again thoughts bewitched by the entwining strands of widely varied metal weaved into the masterful and irrepressible incitement.

The release ends with the exceptional Myths Lies And Crimes, a track which is mouth-watering in its tapestry of sound and invention. At its core, the track is like a meeting of August Burns Red and Trivium under the influential potency of My Chemical Romance at their early best. It is as fascinating as it is dominating, a sensational encounter which like the EP as a whole, leaves ears ringing, thoughts full, and emotions greedy for more.

Whether the Live Above EP is your introduction to Where Giants Once Stood or the next instalment on the journey already embraced, it thrusts the band to a new dramatic and impressive status within metal. Canada’s creative sons could and should be devoured by the wide metal world thanks to the EP and if it is not now, certainly it is easy to expect it at some point in the near future.

The self-released Live Above EP is available now @ https://itunes.apple.com/us/album/live-above-ep/id907144882

https://www.facebook.com/wheregiantsoncestood

9/10

RingMaster 04/09/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

The Great Sabatini – Dog Years

Sabatini-promo-pic

It was with their album Matterhorn that Canadian noise metallers The Great Sabatini infected and infested our psyche, the release an introduction to the virulently destructive and invasive sonic devilry which exudes from the distorted imagination of the band. It was ‘a crippling, desensitising, and cruel intrusion’ which was exhilarating and riveting. Now the band returns with third album Dog Years, an evolution of its predecessor whilst thrusting the band into a new warped field of diverse sonic hostility and intensive imagination. The new ten track release is not as cruel and destructive as its predecessor in many ways but instead a more concentrated examination and manipulation of the senses and psyche casting a diversity in its venomous acts which is absolutely enthralling. It is a masterful tempest from a band which just gets more dangerous and impressive.

Formed in 2007, The Great Sabatini consisting of Steve, Sean, Rob, and Joey has been an uncompromising and creatively destructive force from day one, debut EP Burning Wilderness in their first year an attention grabbing notice of intent. Finding the darkest toxic seeds within doom metal, progressive rock, grindcore and much more to infuse into their unique sound, the Montreal quartet were soon recruiting feverish responses live too whilst first album Sad Parade of Yesterdays in 2009 put a wider focus on guard to the band. Live The Great Sabatini has left audience gasping alongside bands such as KEN Mode, Coliseum, Today is the Day, Fuck the Facts, Threat Signal, Psyopus, and Bionic. The No List Records released Matterhorn in 2012 drew even more eager souls towards their maelstrom of sound but even its success should pale once the Solar Flare Records unleashed Dog Years begins savaging the world.

Recorded with and mixed/ mastered by Sean Pearson (Cursed, Shallow North Dakota), the album is as raw and caustic as anything the the_great_sabatini_dog_yearsband has done, though as mentioned earlier it is not as grievously nasty as its predecessor. That might be simply because there is an element of knowing what is going to corrode the senses this time around if not in the design it will come in. Dog Years certainly leaps out with starter The Royal We, its insidiously addictive rhythmic coaxing and snarling riffs at the start primal bait before which defences have their hands up within seconds. It is a spiteful virulence which even as it is expands its intensity and weight never relinquishes its grip. Eventually the lure has a more merciful intent though the heated vocal squalls more than make up for any drop in antagonism. It is a vindictive number which just as hungrily relishes charging with nostrils flaring or crawling over nerve ends with a predation glee, and a stunning start to the album.

The following Guest Of Honor is just as voracious and twisted in its sixty seven second long web of sonic enterprise and vitriol. Bestial in its rampage and serpentine in its enslaving grooves, the track is a blistering assault of noise and hardcore intensity which makes way for the mischievous swagger and pungent sonic binding of Nursing Home. The track whips around ears and senses with a dervish like energy but takes sludge bred breaks in between each outburst to further impose and encroach on the psyche. With disorientating rhythms, nagging riffs, and abrasing venom to its veins, the track is a bewitching protagonist which seduces as its lashes the imagination, a structure employed again in its own unique way by Periwinkle War Hammer. The new song is initially sinister in its breath and stalking but the sheltered intimidation is soon open as rhythms launch a thumping upon ears and vocals a grazing squall upon senses. There is a slight stoner-esque twang to the stride of the song which with a portentous dark breath to its climate makes for another distinct and appetite igniting foraging of the mind.

Next Reach comes with a rapacious sludge metal suasion to its lumbering, riffs a primal animalistic bait along with rhythms whilst grooves and vocals bring a lighter yet no less ruinous colour to the sonic swamp. It is a heavy handed consumption but one with a magnetic radiance which tempers some of the pressure conjured by the band and its intensity, something certainly not an issue with the following Akela. To completely wrong foot thoughts and emotions the track is a countrified croon, a bluegrass like caress which tantalises as much as it, in a good way bemuses. Whether a respite, a smile inducer, or a slice of madness, the song is an absorbing twist to the album which is soon back in full rabidity with the excellent Munera. It is another track where the heat of its passion and fury burns with every sonic note and searing groove, whilst hostility is represented by animosity fuelled rhythms and vocal friction. Contagion though seeps from its every pore and feuding note to create a fury you just want to be savaged persistently by.

Pitchfork Pete is much the same, though again it is an individual in the schizophrenic beauty of the album. Almost satanic in its vocal narrative and pestilential in it’s even paced and tempered gait, the track growls and prowls with a doom clad hunger which once more is part seduction and part malignancy. Transfixing from start to finish, it sinks down to a crawl and subsequently a sonic piercing before the wonderfully deranged intricacies of Ditch Diggers Unlimited jumble up ears and imagination. It is only the appetiser though to a darker manipulative sonic toxicant which worms under skin and psyche to chain the passions before infusing a crushing weight of riffs and intensity into its slow seducing.

The album is completed by the unforgettable Life During Wartime, a track with the quaintness of forties melodies and the predatory ferocity of a thousand conflicts. Its initial presence is raw and uncomfortable but respectful in its evocative presence yet as the track grows its narrative and descriptive resentment, it fuels a fierce and compelling landscape. It is an immense end to an outstanding release, without doubt the finest ravaging from The Great Sabatini yet and you still feel there is more to come from the band, scary!

Dog Years is available digitally and on vinyl via Solar Flare Records @ http://solarflarerds.bigcartel.com now!

http://www.thegreatsabatini.com

9/10

RingMaster 02/06/2014

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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Ferium – Reflections

Ferium1.lo

Parading a roaring muscular sound built from numerous metallic essences around a death metal spine, Israeli metallers Ferium more than lives up to the brewing buzz around them with debut album Reflections. Twelve slabs of creative brutality and imaginatively skilled endeavour, the release is a formidable and striking big step into the wider metal world, one which hits hard and impressively initially but only truly reveals its depths and strengths and those of the band across numerous exploits with its intrusive presence. The quintet delves into the rich wells of groove, technical, general extreme metal and more to enhance their core viciousness and persuasion, a fusion as proven by their first full-length which is something not exactly unique but definitely seizing attention and a hungry appetite as it starts setting its own path now and for the future.

Ferium was formed in 2006 taking initial inspirations of Pantera and Lamb Of God into their intent though that expanded over the years with influences from the likes of Textures, Gojira, and Death adding to the fuel driving their invention. Equally growing up in Haifa and the situation in their country has added depth to the lyrical and musical side of their emergence. The band does not directly or openly explore any aspect of the conflict and climate they grew within and felt personally but it is scenery which has brought a raw and uncompromising breath to their sound and presence. Their first release, The New Law EP in 2009 took the band into a strong spotlight at home and further afield, helping to lead Ferium to appearances at big home events such as Summer Carnage and Hallejujahas well as those abroad like Wacken 2009. Last year saw a more intensive time for the band, tours supporting The Agonist, Threat Signal, Mors Principium Est, and Dawn Heist around Europe and the UK following a show opening for Gojira in Israel. The end of 2013 was marked by the band signing a deal with Transcend Music and the worldwide distribution for the 2012 recorded Reflections, a release you sense could open up a highly receptive hunger for their presence.

Opening track By The Book lays an initial abrasive guitar coaxing upon the ears, a sonic wind brewing alongside it before being punctured Reflections Coverby the heavy probing rhythms of drummer Ron Amar. It is an intriguing start, one offering various options of where the song and album might go without revealing anything too soon. It is not long though before the drums increase their pressure, the bass of Yoni Biton closes in with dark intensive shadows, and the guitars of Elram Boxer and Guy Goldenberg sculpt a weave of tight grooves and searing riffs to transfix thoughts and emotions. With the harsh yet welcoming vocal abrasion of Tiran Ezra unleashing the first narrative, the track wakes up eager attention early, leading it into a magnetic fascination which in turn ignites the imagination. The thrilling song does not really explode at any point but is a constant blaze of invention and technical prowess which is stretched to more dramatic adventures across the album, in fact right away with DownHill From Nothing.

The second song entwines the ears in an infection fuelled groove from its first breath, the guitars seducing with full potency as bass and drums badger the senses into another swift submission. Again the vocals graze and roar with an unbridled causticity but only to accentuate the virulent lure of the song. The bass of Biton prowls and growls with understated but open ingenuity throughout the tempestuous offering yet it is the work of Boxer and Goldenberg which more often than not steals the focus upon the song, the melodies and emotive designs from their strings richly colouring song and imagination. Like the first it has an inescapable contagion to its enterprise and especially its grooved bait, and like its successor draws a greedy appetite for its invention.

Both The Very Existence and Mirror exploit an already eager attention with their individual persuasions, the first creating a weave of djent seeded technical manipulation with an almost thrash spawned antagonistic fury of death metal with metalcore bred essences. It is heavier and more intense than its predecessors without dismissing any of the melodically nurtured sonic exploration which marked their success. With a strong evocative ambience also washing the canvas of the song it is a thought provoking and longer to convince encounter, as is its successor though both refuse to relinquish the grip already seized by the release. The second of these two squall over and ravage the senses with again a stronger rabidity; vocally and rhythmically the track an abusive suasion whilst sonically it sears air and flesh, the combination another offering to feed the hunger inside.

The entrance of Side Effects is exceptional, an intimidating but irresistible gentle tempting from the guitars and the perfect lure into the spiteful aggression to follow. Its gait is almost stalking the ears whilst the outstanding bass hook and acidic guitar toxicity steals the passions below an unreserved rhythmic provocation. Its masterful adventure is replaced by the instrumental The Black Eyes, a piece ripe with classical keys elegance and scuzz surfaced energy. It is music which builds its size and intensity across its skilful narrative, inviting the imagination to cast its own tale though it is less successful with the passions especially with the bestial Lust Fool bursting in right away. It is a bear of a song, muscles holding sway within the black density and throat of the onslaught whilst the guitars lash and rhythms pummel the senses around the ever malicious vocals. It is a drama fuelled, adrenaline driven monstrosity of an encounter and thoroughly scintillating.

After the similarly predacious Caustic Value, an intrusion which easily feeds wants without lighting fires, the album takes another upturn with the brilliant Change Of Winds soon matched by Business On Demand. The first of the two romps with and dancing over ears and senses with grooves and jagged riffery from its first second, the track gnawing, jarring, and disorientating senses magnificently whilst Ezra riles syllables and tones for an equally malevolently textured assault, his variety in delivery a constant pleasure. The track twists and lurches wonderfully, all the time depleting energy and scything slices from the synapses until an exhausted pleasure lies in its wake, one soon re-energised by its successor. An open and familiar groove leads the way under the persistent cosh of rhythms and barracking riffs, the temptation recruiting full allegiance for the subsequent savagery vocally and musically which envelops the still dominant groove cast toxins.  Both tracks provide the pinnacle of the album and the band’s songwriting in brutality and epidemic seduction.

The album is concluded by Blood and its title track, the pair insatiable trespasses bringing an outstanding release to a mighty end, the first of the two an insidiously nasty demonic capture of ears and beyond whilst the last song simply churns up and suffocates emotions with mouthwatering invention and crippling intensity respectively. Wrapped in excellent artwork from Eliran Kantor (Hatebreed, Sodom, Atheist), Reflections is extreme metal of the highest order and shows Ferium as having the potential of forging truly major horizons ahead whilst giving a rather breath-taking treat for the now.

http://www.feriumband.com/

9/10

RingMaster 07/04/2014

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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Seizing time and opportunities: an interview with Enfeeble

enfeeble

German metallers Enfeeble might still be a bit of a secret to the wider metal world but with new album Encapsulate This Moment they have made a potent statement which should grip a stronger attention. It is an album which arguably does not quite fulfil the open potential of the band and their blend of melodic and heavy metal with metalcore predaciousness, but certainly makes a potent impact and in hindsight a lingering lure which brings you back to its compelling confrontation time and time again. Wanting to find out more about the band we had the pleasure to ask guitarist Pascal (Baal) Stafflage and the band about the origins of Enfeeble, their new album, life for a metal band in their hometown, and much more…

Hi and many thanks for taking time out to talk with us.

Firstly can you tell us how the band and its members came together?

It was a few years ago in 2005…Luke was the singer of the school band and I was looking for a singer and guitarist for a new band. I asked Luke if he wants to start a band with me and he was excited directly. A drummer and bassist were found quickly and so we started as a small punk rock band. In the coming years we’ve had many changes on bass and drums. Since the beginning of 2013 we are the current cast.

Did you have any deliberate idea or direction for Enfeeble from the start?

Absolutely no…We started as a punk rock band (like Sum 41, Blink 182…) in 2005 and somehow we grew old and became some sort of metalheads with a little bit of punk rock influence. With the fast and harder music, we feel more comfortable.

You come from the Lingen in Germany. What is it like in the town and surrounding areas for a band trying to emerge?

Really bad to be honest…This whole area has a couple of metalheads but unfortunately most of them retain to a special kind of genre and it´s not our genre. Maybe it’s the country life here. We have no idea what it is. Therefore, we travel a lot around the country.

coverYou have just released your second album Encapsulate This Moment; how do you see the evolution of your sound to it from your debut full-length Too Ugly to Show it!?

We never really see the evolution ´cause we are right now in this process of evolving. But when you compare Too Ugly To Show It and Encapsulate This Moment you can hear that we have become more “metal” and try to improve our skills at our instruments all the time.

Did you approach the new release any differently to the previous album, whether through simply the experience of previously recording something or to achieve something specific?

We have changed the bass player, drummer, studio and attitude. So you can see…almost everything. The result is Encapsulate This Moment…A significant improvement.

With its strong blend of aggression and grooved endeavour, did you find yourself developing a broader bravery in your songwriting for the new album than ever before?

Of course… Almost every month we find new bands and therefore new influences. The songwriting is affected by this as well. And we try to sound unique as every other band to.

What were the biggest inspirations for the album musically and lyrically?

Musically it´s some bands like Killswitch Engage, Protest The Hero, Dream Theater or Threat Signal.

The lyrics were also created by experiences of everyday life.

How does the songwriting process work within Enfeeble?enfeeble3

We got some different ways. Either we play all together and discuss every part and the arrangement. Or Baal writes a song and we refine just a few parts or Baal and Luke sit together on a weekend locked up from the world only surviving with pizza, beer and energy drinks.

Did you find the tracks developing new characters during the studio process or stayed pretty much as intended going into the situation?

We worked together with Jörg from Soundlodge studios and he gave us some of his advice and we rewrote some parts. It was a very inspiring and enjoyable time with Jörg. We learned a lot and had good experiences.

The album has an invigorating rawness to its breath; did you do anything in particular to encourage this aspect?

Luke has a raw natural voice. No fake – All original. Maybe if he starts with smoking and whisky drinking, he becomes the new Lemmy. Just a little big joke 🙂 Honestly we would not change much on the vocals. Only improve, not change.

Was anything learnt during recording Encapsulate This Moment which surprised you and will be taken into your next release?

Less is more! Some parts, where we have had some double bass and blastbeats are now a standard rock beats. But in the mix it sounds a lot heavier. That was an important experience for us.

For us it is the title track to the album which gives us thrilling chills, is there any moment or essence of the album which gives you extra satisfaction?

Maybe it´s A Million Voices, because the song is really complex in itself and it’s always fun to play it. But also As We Were Like Shadows ´cause it has a personal story and Luke has sung it so fucking beautifully that Baal was crying in the studio. (Beautiful bastard).

You have a strong reputation for your live performances, a different proposition to the studio of course but do you think you captured that same intensity and honest raw quality on the album also this time around?

We guess not. We are always a bit nervous on stage but we believe that we also therefore play with so much energy.

Talking of shows how is 2014 planning out so far for the band ahead?

We already have some confirmed dates. However, we continue to search for new performances… Also internationally. Current dates are always on our website http://www.enfeeble.de

Back to Encapsulate This Moment; tell us about the striking artwork for the album.

We had the luck, to work together with Björn Goosses of Killustration. We had an artwork in our minds but his suggestion (what he thought when he thinks of Encapsulate This Moment) was just perfect for us.

enfeeble 2What comes next for Enfeeble other than shows?

We are working on new songs for the third album. We want to hit the studio in the beginning of 2015. Maybe by then we have found a label who wants to work with us. That would be a dream come true.

Thanks once again for chatting with us, any last thoughts or words you would like to finish with?

Encapsulate all your moments! And thanks a lot for the interview.

https://www.facebook.com/EnfeebleOfficial

Read the review of Encapsulate This Moment @ https://ringmasterreviewintroduces.wordpress.com/2014/03/07/enfeeble-encapsulate-this-moment/

Pete Ringmaster

The Ringmaster Review 27/03/2014

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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Magoa – Topsy Turvydom

PRESS-PIC-MAGOA-2013

    Topsy Turvydom might not be setting new standards and adventures for the metal world but with ten tracks of bruising and invigorating craft it makes for one sizeable and feisty encounter, a confrontation which leaves satisfaction and enjoyment lively responses. Created by French band Magoa, the album is a multi-flavoured rampage employing an expanse of styles and invention within its explosive body and though it maybe is not the most original fury of modern metal it does provide a very easy to devour and return to exploit.

The album from the Ermont hailing quintet is the successor to the band’s well-received debut Swallow the Earth, a superbly sculpted and delivered blaze of metal which builds on the strong base of its predecessor to push the band to greater depths in their songwriting and aural manipulations. Released via Klonosphere and produced by Charles “Kallaghan” Massabo, Topsy Turvydom initially engages the ear with a rich suggestive ambience, its brewing mass and intensity punctuated by electronic beats. It soon unveils the entrance to opener Ailleurs where the guitars of Vincent Alvarez and David Teixeira are instantly carving the air with concise sinew clad invention and the rhythms of drummer Martin Montergnole punching as forcibly as the riffs beside them. It is a magnetic introduction where the squalling vocals of Cyd Chassagne sit perfectly upon the djent/metalcore filtered enterprise The already impacting encounter lures the passions further as an electronic teasing and the bass of Vincent Blondel add extra contrasting yet wholly persuasive tempting. The song is an immense start which provides the core knowledge of the album, a storm of slightly familiar attributes unleashed in a resourceful and contagious tempest.

The following Wall of the Damned is a sturdy confirmation of the strong start, cleaner heavy rock vocals and grooves the opening Pochette_cartoninvitation within another rapacious cage of hungry riffery and rhythmic provocation. The song twists and turns in its presentation, fusing a mix of John Bush fronted Anthrax and TesseracT which slowly burns its way into the senses and imagination, moving from initially a pleasing encounter into one of the highlights of the album, its emotive keys caressing and melancholic atmosphere an endearing and lasting suasion.

As the likes of the commanding Max Bet, with its infectious blend of lethal intent and melodic swaggering, and the intriguing Betraying Grace next play upon the ears, the album continues to enthral and breed a strong hunger for its presence. The second of the two swings from a Pantera like snarl to a pop metal coated harmonic embrace, its structure imaginative and impressively crafted as it entwines the extremes into an appealing and ultimately convincing assault. Another track which takes time to fully persuade and to ignite the energy of pleasure others reap with ease, the track only leaves attention and appetite engrossed in what Topsy Turvydom next has to offer.

     Party Time brings an electro metal bred suggestiveness to its encounter which without lighting the fires and an appreciation like its predecessors still makes a worthy incitement for the album and emotions, if not a long term one, the same which can be said of the classic metal seeded Eat You Alive and the Estamos Locos. The first of these two is less potent in its merging of styles, the song shaking the throat gently rather than ripping out its flesh like other tracks on the album, whilst its successor even in providing a brutal and ravenous predation on the senses fails to find that spark or fuse to a lingering and deep thrill, though both in craft and skill leave no one wanting.

     Broken Record is a different story; featuring Threat Signal’s vocalist Jon Howard, the track is a ravishment of the senses with an intensive rabidity soaking every riff and rhythmic strike whilst vocally Chassagne, backed strongly by the band, chews every syllable of his narrative before sharing its aggressiveness. Infusing rap vocals in to the antagonistic rage works well as do the harmonies which caress the ears in the latter part of the song even if neither delivery escapes the shade provided by the great lead attack, but it is the imagination and adventurous experimentation of the song and its structure which makes the richest convincing; and certainly the virulent grooves and Korn like breath which breaks out at times does it no harm either.

Completed by the strenuous and inventive might of Forgotten Saints and the excellent closing insidious fury of the thrash lit There Is No Tomorrow, the album is an impressive and convincing slab of accomplished and thrilling metal. Magoa might not be stretching limits but undoubtedly creates a tempest of enterprise and skill which feeds the needs of any metal release. Intelligently carved invention, exhausting passionate energy, and the eagerness to push themselves, the album has it all and more.

http://magoamusic.com

8/10

RingMaster 06/11/2013

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