Pryapisme – Diabolicus Felinae Pandemonium

band-_RingMasterReview

The press release for Diabolicus Felinae Pandemonium, the third album from the creative diablerie that is avant-garde/experimental metallers Pryapisme, declares it is “definitely the album of immaturity”. In truth it is the most accomplished, dare one say inventively mature offering from the Clermont-Ferrand hailing outfit yet. That growth has not defused the rousing bedlamic imagination of the band, in fact it seems to have escalated its mischief but where previous releases might be called schizophrenic such the mayhem of their head spinning diversity, Diabolicus Felinae Pandemonium feels in control of its creative chicanery; the result importantly again, a hell of a lot of fun and another irresistible infestation of psyche and spirit by the French outfit.

Their latest release is the first recorded with the band’s actual live formation rather than the core trio, the full quintet of Benjamin Bardiaux (keyboards), Nils Cheville (guitar), Antony Miranda (bass, guitar, moog, vocals), Nicolas Sénac (guitar), and Aymeric Thomas (drums, clarinet, keyboards) revealing their off-kilter craft and imagination. The album itself reveals the “advent of the Era of the Cat, the one which will replace mankind. After the arrival of the lol-cats all over internet, which constitutes the last conspiracy, well after the one of Ancient Egypt where the cats were already ruling the highest spheres of power, the diabolical felines are now preparing the birth of Satan’s cat, the Chosen One which will tame humanity and in the end, conquer the whole galaxy with the help of its pentagram of cat food.” Further music to our ears as we always claimed they were the devil’s spawn.

It opens up with Un max de croco, coaxing Middle Eastern vines escaping the guitar as rhythms shuffle around, ready to dance in the subsequent blossoming of melodic frivolity. There is a restraint to it all though, a reserve which accentuates the glint in the eye of hooks and keyboard spun melodies. In saying that, the infectiousness of the track is rampant and only strengthened by the jazzy twist and throaty throb of the contrabass provided by guest Matthieu Halberstadt (Ogino, Please lose battle). Never predictable but as expected and welcomed, the band and song turn on a spin of notes through varied styles and flavours, each move enslaving body and imagination in active participation.

artwork_RingMasterReviewLa Boetie stochastic process follows, flowing with summery warmth and flirtatious catchiness through darker shadows and dirtier street corners, every crevice a well of human drama and devilish enterprise. As with every song, thoughts have a field day interpreting and playing with the suggestiveness offered and the melodic painting shared, hips swinging with zeal to funk infused turns as the sax of Adrien Daguzon (Zibeline) flames in the midst of it all. There is a touch of 6:33 to the track, a whiff of Trepalium in its rowdier twists but as ever expectantly unique to Pryapisme.

The tenacious stroll of 100 % babines, pur molossoïde! roams ears and imagination next, its wave of hookery and sonic theatre if not cinematic resembling themes of those old sixties detective/sci-fi shows around floral melodies and darker, almost sinister beauty. Its individual escapade and canvas of sound just confirms another release driven by unbridled diversity, A la Zheuleuleu backing its affirmation with its celestial, moon lit saunter into a hectic and aggressively boisterous romp while Tau Ceti Central immerses the listener in another jazz scented, smoky adventure.

The album is like a travelogue, glimpses at landscapes and intimate insights discovered and invaded by its theme’s protagonists though Tête de museau dans le boudoir (Intermezzo) is more of a captivating and increasingly weird caress allowing for mental refreshment though to be fair it engages with the imagination as much as any other proposal within the album such its loco array of styles.

Myxomatosis against architektür vol IV is equally a rich tapestry of styles, its psychotic nature a trespass of extreme and melodic metal bound in the virulent revelry of varied flavours and pure manna for body and soul before Carambolage fillette contre individu dragon non-décortiqué casts its Nintendo spun contagion, a lure becoming more tempestuous with time as guitars and rhythms add their cartoonish devilment.

The album is completed by firstly C++ and its mesh of cosmopolitan spicing and endeavour, not forgetting mewing cats, and lastly Totipotence d’un erg, an epic thirteen minutes of dawning power, imposing contagion, and majestic wickedness. Flying by such the consuming potency of its evolving drama and kaleidoscopic soundscape, the track alongside its predecessor provides a compelling end to another thrilling outing with the instinctive insanity of Pryapisme.

Diabolicus Felinae Pandemonium is arguably the band’s most fluid and persistently contagious release yet, certainly it is their most skilfully woven and a treat for the bold and the insane.

Diabolicus Felinae Pandemonium is out now through Apathia Records @ https://apathiarecords.bandcamp.com/album/diabolicus-felinae-pandemonium

https://www.facebook.com/pryapisme    https://twitter.com/Pryapisme

Pete RingMaster 08/02/2017

Copyright RingMaster: MyFreeCopyright

Ethmebb – La Quête du Saint Grind

ethmebbok_RingMasterReview

The band’s Facebook profile tags their sound as epicleptic power death / progressive metal; a description which pretty much does sum up the anarchic fun of the Ethmebb if still leaving their imagination short changed. Their music is crazed, it is drunk on almost schizophrenic adventure, and at times it certainly leaves the imagination intoxicated but as shown by new album La Quête du Saint Grind, it is also a myriad of flavours, skilfully sculpted, and downright fun.

Apart from emerging in 2012, apparently from “the still-smouldering ashes of Grindcore band Ethmeb”, there is little more we can tell you about the Paris hailing quartet but then again their debut album does all the talking. Wrapped in the fine artwork of Nicolas Dubuisson, the release swiftly makes a potent impression, first track Tathor, l’Echalote de ses Morts soon feeding and adding to the intrigue already sparked by its cover.

Opening up a tale of a mighty warrior and his adventures as he tries to get back his Grind stolen from him “so he can get laid again”, the starter is an atmospherically suggestive, melody caressed instrumental. It is ‘similar’ to many imagination stroking starts that metal and progressive releases seem to hold but a vibrantly pleasing one, its more straight forward body a deception to the mania to follow.

ethmebb-album-artwork_RingMasterReviewrvbThat creative ‘insanity’ is uncaged through Lost my Grind. Riffs rifle the senses immediately, their enjoyable invasion soon joined by the dawning of melodies and floating harmonies as wiry grooves entangle the progressively nurtured blossoming of the track. A tenacious blend of power and death metal with that progressive nature envelops ears though it is only part of the picture as symphonic elements merge with grouchily aggressive and subsequently blackened essences, not forgetting various other unpredictable twists of fun. The vocals of guitarist Rémi Molette are a guttural trespass enjoyably tempering and complimenting the melodic quest of his and Victor Tunidjah’s guitars, their sonic web radiant and evocative within the epic nature of the song.

It is an excellent start soon eclipsed by next up Orlango Blum. From caressing harmonies it surges through ears with cantankerous riffs and majestically flourishing keys. The bass of François Santenoff throbs provocatively in the midst of the enticing tempest as the rapier like swings of drummer Damien Baissile pierce the folkish lined melodic death canvas. There is a touch of Trepalium to the song, 6:33 too, but quickly it stretches its already riveting tapestry of sound and imagination into something irresistibly unique and compelling. Melody soaked passages are oases in the storm yet every imposing second is a conjuring of raw aggression, creative ferocity, and seductively bedlamic enterprise.

The warrior’s quest continues through GPS: Gobelin Par Satellite and A la recherche de la découverte de la quête pour trouver le Saint Grind, the first a thrilling mix of the raw folk ‘n’ roll of Ensiferum and the creative psychosis of Carnival in Coal involved with plenty of other strains of imagination while getting involved with a great array of clean and dirtier vocals. Its successor is just as eclectic, from an acoustic stroll weaving a colourful intrusion of extreme and melodic endeavour all bound in an unhinged devilry.

It is fair to say that the Ethmebb sound is not going to connect with those only hankering for straightforward metal but for an appetite for creative boldness bordering on the meshuga; it is manna for the ears as proven yet again by next up Pirates of the Caribou. Concussive in its touch, promiscuous in its flavours, the folk/power metal fusion roars with drama and prowls with venomous intent, guitars spinning another inventive web as vocals anthemically unite and melodies swagger with boozy spicing. Its ebb and flows in intensity are just as masterful and alluring, as too its aggressive invention and multifarious nature.

Bruce Lee mena l’Amour brings the release to a close, the track probably the most loco of the lot though smouldering in persuasion initially before growing into its inventive skin with every passing minute to heartily convince. With a growing theatre of sound it is a fine end, though listen out for the Pryapisme like hidden track, to a thoroughly enjoyable and impressive debut album from Ethmebb and the beginning here to a greedy appetite for their insanity kissed world.

La Quête du Saint Grind is out now and available through https://ethmebb.bandcamp.com/album/la-qu-te-du-saint-grind

https://www.facebook.com/ethmebb

Pete RingMaster 01/02/2017

 

Boss Keloid – Herb Your Enthusiasm

Boss Keloid_RingMasterReview

Big praise drenched words and claims have been shared in the build up to the release of the new album from British heavy rockers Boss Keloid, and we can quite eagerly say that Herb Your Enthusiasm more than lives up to every syllable of acclaim offered. The Wigan hailing quartet’s second album is simply superb, inescapably irresistible, and a ravenous incitement entangling the finest ravenous textures of sludge, doom, stoner, progressive rock and much more. For ten tracks it turns ears and imagination inside out with unpredictability and ferocious adventure that catches the breath as equally as the heavy predacious sounds and rabidly dark ideation terrorises the senses. The release is spellbindingly fascinating and destined to stalk the top places of end of year best album lists.

As in debut album The Calming Influence of Teeth of 2013, riffs carry a furious rabidity as rhythms probe and punish within Herb Your Enthusiasm. That alone provides a proposal demanding attention with the seduction of low-slung grooves only increasing the senses intimidating, imagination courting prowess at work. To this masterful palette of raw intensity and barbarous persuasion the band layers further temptations of melodic dissonance and glamour, progressive drama, and at times an avant-garde psychosis which just puts hex on album and listener. The result is a release which blows its impressive predecessor out of the water and announces Boss Keloid as a big creative predator in a large devouring pond.

Recorded and mixed by Chris Fielding at Skyhammer Studios and mastered by James Plotkin, Herb Your Enthusiasm opens up with Lung Mountain, a track swiftly providing the template for the heart of the album. Riffs badger and pounce on ears as the hefty swings of drummer Ste Arands resonate on the senses. It takes little time though for band and album to slip in something more sultrily comfortable as guitarist Paul Swarbrick shares flirtatious melodies cross a calmer landscape where the already rousing roar of vocalist Alex Hurst mellows into a more enticing growl. With Jon Davis of Conan guest and adding to the vocal web, the bass of Adam Swarbrick is all the while a predator, stalking the song and imagination with its swaying animus for a perfect temper to the kinder climate and the spark for more ravenous intent elsewhere. As shown time and time again, there is so much going on in songs only physically embracing them can reveal all with every listen perpetually revealing a new twist or texture to get hooked on.

Boss Keloid_HYE_Front_Artwork_RingMasterReviewThe progressive ingenuity in the latter stages of the song only adds to a theatre of sound and craft which continues in the imagination fuelled emprise of Haarlem Struggle. An exotic acoustic opening is soon a tempestuous wall of lumbering confrontation, though that early spicing still flavours the bracing proposal of primal intensity aflame with senses enveloping harmonies. Strains of death and groove metal among other bold spices are equally glimpsed in the brewing maelstrom, teasing and thrilling ears though not as much as the subsequent spiral into experimental adventure towards the track’s rear where Boss Keloid conjure an alchemy best described as a bedlam of Faith No More, Trepalium, 6:33, and Destrage.

Giving a final crushing of ears as it leaves, the excellent track makes way for the equally compelling Escapegoat where grunge/stoner toxicity quickly grips and excites whilst vocals and rhythms collude with more tenebrific riffs within an atmospheric trespass. There is no let-up of thick pressure and corrosive intensity across the song, its invigorating voracious intent single minded as its heads into the doom spawned jaws of Cone. Amongst resonating bass bait and dark fibrous grooves, Alex Hurst flirts with a Mike Patton like devilry for his early presence though he and song need little prompting to raise their antagonistic side as heavy rock and thunderous rhythms align for an invasive tsunami of sound and intent. For every assault offered there comes a flirtatious groove or virulent infectiousness that has the body and passions swinging, here it revealing a great Alice In Chains like hue to its tempting.

Axis of Green keeps the release and enjoyment on the same striking plateau, the rhythmic agility of Ste Arands and Adam Swarbrick catching ears in swift time as Paul Swarbrick’s sonic strands and venomous grooves weave in and out. Increasingly more eventful as it progresses, ending with a progressively tenacious and again expectations destroying climax, the song is followed by Highatus, a brief and fiery slice of instrumental sludge suggestiveness which is far more straight forward than the tracks around it but similarly enjoyable before being seriously outshone by Lung Valley. With psych rock keys and the increasingly impressing vocal variety and quality of Alex Hurst instantly sparking further lustful reactions, the track creates a tapestry of grouchily invasive textures and inviting grooves. Every element is as welcoming as they are imposing, and ultimately all addictively persuasive.

The fierce blaze and climactic toning of Elegant Odyssey enslaves next, every groove and slither of ingenuity infesting the psyche as the senses are bruised and body physically nagged by the track’s weight and aggressively shared intent. With its mercurial and spellbinding character, the track is simply outstanding, a ravenous triumph to bear and lustfully embrace, much as the final pairing of songs on the album. Chabal steps forward first, Davis again featuring as another array of textures and rock ‘n’ roll strains entangle and unite as the band forcibly push their songwriting and imagination whilst similarly imposing on the listener, trapping them in a web of contagious exploits and instinctively quarrelsome incitement.

Hot Priest closes up Herb Your Enthusiasm and is as exceptional as its two predecessors. Immediately it flirts with ears in an avant-garde rock shuffle with keys and rhythms sharing off-kilter imagination and enterprise too. Of course in no time, Boss Keloid has uncaged the pugnacious side of their invention with combative riffs and beats led by snarling vocals descending on the senses. From there the two contrasting sides continue to switch within and share the track’s glorious presence.

We have only hinted at the heart, body, and character of Herb Your Enthusiasm such its rich depths and imagination. Your job is to explore it, embrace, it, and be mercilessly buffeted and seduced by something surely few will manage to better this year.

Herb Your Enthusiasm is released April 8th via Black Bow Records and @ https://bosskeloid.bandcamp.com/album/herb-your-enthusiasm

https://www.facebook.com/bosskeloidband

Pete RingMaster 07/o4/2016

Copyright RingMaster: MyFreeCopyright

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

Law 18 – Self Titled

Law18_RingMasterReview

There is little we can tell you about Italians Law 18 beyond that they come from Milan, were formed in 2011, and are a quintet playing “hardcore groove /crossover stoner”. Actually there is one more thing, and that is that they recently released their self-titled debut album and it is one slab of deranged rock ‘n’ roll that we for one have become increasingly fond of.

That description of their sound is lifted from the band’s Facebook page and only tells part of the story, a small clue to the off-kilter fusion of styles the band weave into their compelling creative revelry. Across the album’s nine tracks, you will find everything from groove and nu metal to thrash and hardcore, stoner and punk through to funk and plenty of other bold strains of sound.  Its songs are raw and inventive, ranging from psychotic and quarrelsome to eccentric and tenacious, very often all at the same time, and for the main compelling fun.

The album opens with Dwarfs & Cowboys and an immediate mesh of rich grooves and punkish vocals led by Alessandro ‘Ale’ Mura. Bold rhythms align with Lorenzo ‘Pero’ Perin’s riffs to add thick aggression whilst lead guitarist Davide C springs sonic tendrils into the tempest, a mix which bullies and entices like a mix of Pantera and Suicidal Tendencies as the track develops. It is a relatively straight forward offering but prone to contagious thrash bred surges of intensity amidst sonic drama, each becoming more volatile and extreme with every passing second.

The following You Blind is similarly sculpted but with a swifter eagerness to show its instincts in pushing its boundaries and infusing broader textures of sound and flavours. Hardcore and metallic voracity unite as the initially band prowls before launching a torrent of rapacious grooves and rhythmic agitation upon the senses. It subsequently eclipses its strong predecessor before being outshone itself by Hollow Earth Society. From the initial grazing of guitar and the predacious beats of drummer Luca Ferrario, the song has ears and attention gripped, more so when it slips into an unpredictable web of warped sounds and imagination from its early bout of muscular rock ‘n’ roll. The new and riveting enterprise uncaged is unmistakably System Of A Down inspired and quite irresistible, even with its familiarity to the Californian band, as Law 18 infuse their peculiar strains of heavy and anthemic textures.

art_RingMasterReview The dramatic invention continues with Dominus Caeli, a track opening with a flirtatiously seductive bassline from Lorenzo ‘Tarzan’ Colucci which then incites further jazz/funk exploits from rhythms and guitar. Like an abrasive fusion of Toumaï and Trepalium, the track grumbles and rumbles with punk lined irritability whilst creating an unstoppable and virulent contagion of grooves and raucous aggression. Further building to a hungry prowl courted by unhinged vocal teasing, the song is a thrilling slice of rabid, in sound and invention, metal fired rock ‘n’ roll.

The bass of Colucci again provides a great start to the next track; its heavy pulsing growl the lure into Dirty of Blood and spark for another hellacious assault of hardcore fuelled raging before Leather’s Wreck shares its own expectations foiling landscape of creative bedlam. Both tracks in their contrasting lengths show more of the band’s striking imagination; the brief fury of the first slipping into a mischievous discord hued swagger for a great psyche twisting moment whilst the second provides a noise rock shaped avant-garde adventure. As raw and imposing as it is sonically and melodically seductive, the harmonica skills of Mura excelling with its bluesy expression against the similarly hued guitar resourcefulness of Davide C, the track offers seven minutes plus of ear pleasing and imagination stirring incitement.

An addictive swing and stroll spines the anthemic persuasion of the following Mirror Reflections; its boisterous and pushy antagonism an uncompromising brawl of forceful punk ‘n’ roll. In time, it too evolves as rhythms spring into a demandingly infectious shuffle within post punk like scenery before returning to its tempestuous and bruising rampage of punk metal loaded rock ‘n’ roll.

Rage Against Me roars with defiance from every blues rock pore next as intrigue surrounds each turn in its bracing funk ‘n’ punk stomp. Driven by a grouchy stamping of its rhythmic feet and mass vocal irritability, there is no escaping its instinctive catchiness and highly persuasive ire or from the avalanche of riffs and crushing rhythms which shape closing track 2010. Unleashing a host of heavily spiced grooves, barbarous hooks, and a contagious energy which has bodies as involved as ears and imagination by the parade of vocal provocation across the band, the track is a maze of sonic invention.

It is a great close to an album which grabs attention from the off but really blossoms as a whole and excels in its individual elements with each subsequent venture into its frenzied rebellious world. Law 18 has sculpted something very worthy chunk of anyone’s time but especially for those with a taste for bold yet organic blurring of genre walls but still simply want unbridled rock ‘n’ roll.

Some bands and releases just seem to be on the same wavelength as personal creative adventure;

The Law 18 album is out now @ https://law18.bandcamp.com/

https://www.facebook.com/Law18band/

Pete RingMaster 21/03/2016

Copyright RingMaster: MyFreeCopyright

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

Gloomy Hellium Bath – Sistema Solera

ARTWORK GHB_RingMaster Review

Always partial to some creative bedlam or a seemingly deranged adventure which, no matter how much you think you understand it, never fails to surprise and leave a vacant expression of pleasure on the face, Sistema Solera was destined to spark an eager appetite here for its sonic psychosis. It is easy to predict that the riveting debut album from French trio Gloomy Hellium Bath is not going to be for everyone but if the likes of Pryapisme, Mr Bungle, or 6:33 light the fires, then this unique fusion of industrial, electronic, and metal bred incitement is well worth exploring.

Gloomy Hellium Bath is the union of former guitarist Würm Edgard Chevallier (guitar/machine/samples) and Christophe Denhez (guitar /vocals), the latter no stranger to exciting ears through his work and releases with Nerv, Mur, and Område. Emerging in 2014, the Val d’Oise hailing project, with a line-up completed by bassist Neil, also previously of Würm, takes no prisoners with its infestation of the senses and emotions. Their sound is compelling aural violence and off-kilter enticement spun with black humoured mischief and realism caked antagonism; the result a cacophony of raw and intricate ideas honed into a roaring storm of gripping chaos and as shown by Sistema Solera, deviously captivating.

Fight is first, instantly throwing a melee of voices and fizzing sound at ears before leaping into a psychotic stomp with carnivorous walls, ravenous vocals, and warped electronic flirtation. Imagine Mindless Self Indulgence and Rabbit Junk in a dirty fusion with Young Gods and you get a whiff of the lunacy soaked enterprise, though from its ‘mid-season’ break it returns as another fresh industrial shaped punk of a proposal with the vocal alone insanely bewitching.

It is a great start continuing with Alcoholique Djerk, the track organically evolving from certain aspects of its predecessor to explore an even more industrial metal hued canter quickly working its way into the psyche. Equally it is unafraid to expose raw nerves with caustic eruptions and abrasing animosity, or indeed to throw one or two exotic or incendiary sonic slithers of surprise in to the mix too.

Fuck It swings in next, warm yet fuzzy air and sound coating ears as melodic rock with grunge lined edges colours the song’s sinister intent before hardened and rapacious provocation blends with funk urged enterprise and vocal revelry. Across its body, the track reveals a host of flavours, country rock and jazzy scented essences amongst the metallic turbulence again walling in varied endeavours within the song.

The album’s title track merges haunted and dark natured ambience with atmospheric volatility straight after, its Nine Inch Nails toned electronic grumble drawing in lighter exploits throughout to evocatively spark ears and imagination whilst setting up the tenaciously energetic and dynamic Lady Boy with its steely schizophrenic rock ‘n’ roll carrying elements of Trepalium and We All Die (Laughing) to it.

Across the sonic dissonance of Ouarchhh and the industrial neurosis of Bloody Mary, band and album wrong-foot, ignite, and twist body and thoughts inside and out. The first of the pair has a slight whiff of US band Pere Ubu to it in many ways as essential grooves and hooks lurk and spear an unpredictable landscape of dark intrigue and disorientating aural dementia with emotions to match whilst its successor scythes through and permeates the senses via a debilitating cyber invasion.

A melodic calm of sorts mellows things a degree or two through Fucking Mashine, its emotive and enveloping croon expectantly laced with provocatively disturbed and manipulative additives bringing light and dark, reserved and twisted elements in potent collusion. The track brings another open and striking variation to the album as too the CD version’s closer Dead Rising Horse, a drama of piston driven rhythms and scuzzy temptation aligned to melodic seduction and tempestuous extremes in sound and creative provocation. It is a rousing conclusion to a release which might need time to get fully under the skin but is ultimately very likely to if the kind of warped imagination it holds is the kind of pleasure which gets the senses and passions inflamed.

As suggested for some it might be an adventure too far, but Sistema Solera for the rest of us is as easy to greedily devour treat.

Sistema Solera is out now via Dooweet Records @ https://itunes.apple.com/fm/artist/gloomy-hellium-bath/id1057587349

https://www.facebook.com/gloomyhelliumbath

Pete RingMaster 17/12/2015

Copyright RingMaster: MyFreeCopyright

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

Markradonn – The Serpentine Deception

Markradonn Serpentine Deception EP cover_RingMaster Review

Whether calling the Markradonn sound experimental death metal, brass death metal, progressive death metal or any other variation of its invention you wish to describe it as, and all potently applicable terms, the broad brush is that it is one truly unique proposition igniting ears and the imagination. Real and bold originality is a relatively scarce commodity in the music world let alone metal scene right now it seems but the Florida hailing Markradonn is one of those creative protagonists wearing uniqueness as openly as craft and invention. The band’s acclaimed 2013 debut EP Final Dying Breath revealed the rich potential and fiercely imaginative songwriting/composing fuelling the conspicuous sound of the band and now its successor The Serpentine Deception takes it all to another striking and mouth-watering level.

Markradonn is a death/extreme metal band, that is their heart but with its live brass section and similarly bold timpani temptation to simplify the rich flavours and textures woven into their music, they create an emotively dramatic and creatively dynamic proposal unlike anything else out there. As suggested, The Serpentine Deception finds the band exploring their most imaginative work yet. The EP’s tracks reveal more intricacy in their design and sound, a fiercer roar in their bracing confrontation, and thicker intensity in their atmospheric lures, a new evolution in an already fluid sound making a thick impact straight away.

Initiation Through Torment opens up The Serpentine Deception; a cinematic/vocal sample coaxing ears and attention as a portentous whisper skirts the background. In a matter of a few more breaths, the stirring resonance of rhythms and warm swipes of brass unite as a similarly potent predation is uncaged by guitars and the dark rasping tones of vocalist/guitarist/songwriter Haniel Adhar. The blend instantly swamps ears in drama and intrigue, their contrasts colluding in an inviting yet ravenous consumption of the senses. It is a stirring and compelling incitement, the light and almost celebratory blaze of brass, as well as the timpani led rhythmic swing, merging with the dark predatory blackened death honed textures cast through guitar, bass, and voice. There is a feeling of coming of age in the tone of the track too, its protagonist journeying through the song’s title with celebration and tempestuousness around them.

Already hooked, body and imagination is swiftly and fully engaged again as the rhythmic entrance of NIN.GISH.ZI.DA God Of The Tree Of Life draws the listener into a jazzy web sculpted in the embrace of a primal and deviously tempestuous sound. The tapestry crafted is fascinating, a seamlessly and inspired fusion of conflicting elements which leave thoughts as bewildered as they are bewitched and ears eagerly trapped within the hellacious waltz.

The EP’s title track is equally spellbinding; the instrumental a shamanic visitation upon body and emotions as tribal rhythms and the raw tonal call of a didgeridoo magnetically involve the listener in atmospheric adventure. There is a great essence of shadow hued distortion to the track too which shows its ingenuity in brief but masterful glimpses. As meditative as it is evocatively invasive, the outstanding track makes way for The Veil Of Negative Existence Part 1- Ain, Nothingness; an instinctively infectious trespass with its own individual bedlam of resourcefulness and dramatic virulence. There is a touch of Trepalium to the track, a vague scent in the cosmopolitan yet melodically intimate weave conjured by Markradonn, which in turn is walled in by a blackened causticity soaked in rancorous imagination and veined by Adhar’s enticingly cancerous tones. The track is a labyrinth of simultaneous seductive and venom, an invigorating intrusion leaving bodies swinging and appetite inflamed.

Closing instrumental Stillness, Silence Of The Primal Mind is a gentler tantalising of the senses, a sonic travelogue of emotive scenery in an aural landscape painted by melodic guitar and melancholic brass. An immersive flight to which thoughts are given the freedom to cast their own poetic narrative, it brings the release to an enthralling end, well until pressing that play button again which is the instinctive next move.

Working towards the release of their debut album Ceremonial Abnegation Part 1: Excoriation Of The Flesh, Markradonn is one of the true fresh breaths in metal, from its underground to its broadest landscape. As for The Serpentine Deception, that is simply a must investigation for all with the heart for real and rewarding adventure.

The Serpentine Deception EP is available in association with Bluntface Records from December 15th through the band’s GoFundMe page where news of the album and details of a DVD, which will have a collection of performances, a full show with multiple camera angles, and clips from production videos and practices can also be found.

Recording Line-up for The Serpentine Deception:

Haniel Adhar: All Guitars; Vocals

Tim Carter: Drums and Percussion

Jonathan Gabriel Katz: Timani and Concert Percussion; Drums

Richard Blankenship: Principle Trombone and Brass

Dennis Bottaro: 6 string bass, Didgeridoo , Hand Percussion, Guitar

Drew Prichard: Cimbasso; Tuba

Robin Sisk: Tuba

Danny Rowland: Tuba; Euphonium

Austin Kinard: Trumpet and Brass

Gavin Pritchard: Hand Percussion

Nicholas Weaver: Fretless bass, French Horn, and Trumpet (Live)

Beka West: Euphonium, Trombone (Live)

Allen C Raia: Rhythm Guitar (Live)

Jesse Hudson: Vocals and Trombone (Live)

https://www.facebook.com/Markradonn  https://twitter.com/Markradonn

Pete RingMaster 15/12/2015

Copyright RingMaster: MyFreeCopyright

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

Hills N’ Pills – Delicious Nourriture

HNP_RingMaster Review

Some bands breed their sound on one style of music adding their own twists and tweaks, others by crossing over genres, whilst there are some which create a kaleidoscope of diverse flavours and textures for their own creative instincts and imagination to explore. French metallers Hills N’ Pills definitely belong in the latter, turning familiar inspirations and essences into something torn and twisted with its own uniqueness. It is a fluid invention which goes to make their new EP Delicious Nourriture one of the most fascinating and thrilling encounters of 2015.

Hailing from Montpellier, Hills N’ Pills emerged in 2009 from the creative union of vocalist/keyboardist Salim Smili and guitarist Tricot Adrien. Subsequent years saw the release of the Extended Pourriture EP and its successor Experience Fioritures, as well as a number of line-up changes including the departure of Adrien. Equally a constant evolution in the band’s music emerged as more imagination, flavours, and boldness grew and drove their creative adventure. It has all led to a major triumph going under the name Delicious Nourriture. Like a deranged merger of System Of A Down, Skindred, Trepalium, and Hardcore Anal Hydrogen, to try and simplify things, the four track incitement is an epidemic of bedlamic alchemy which insists that Hills N’ Pills is to be seriously taken notice of.

The intoxicating drama begins with Decaled, vocals an instant coaxing quickly joined by intimidating rhythms and just as cantankerous scythes of guitar. The song’s first breath offers up that Skindred reference, ragga tenacity and provocation fuelling the brewing muscle and aggression of a rapidly gripping confrontation. The guitar of Nene Nihaw casts thick lures and spiky grooves on the senses whilst the dual vocal attack of Smili and Thibaud Van Den Berghe offer a perfectly balanced mix of raw, grouchy, and antagonistic variety. It needs little time for the song to also show the unpredictability in a Hills N’ Pills song, a Rage Against The Machine like expulsion leading to an electronic revelry led by the korg of Smili, which in turn opens up a canvas for the blues expression of Nihaw’s invention on strings to enthral from. Perpetually driven by the rousing and bruising swings of drummer Po Niaow and the throaty predation of Nico Diiiou’s bass, not forgetting sheer imagination across the band, the track provides an immense and thrilling start to the EP.

Hills N Pills cover_RingMaster Review   Similar hues colour the opening of Atchoum, a mix of RATM and (Hed) PE teasing thoughts right away but soon evolving into a System Of A Down spiced infestation of ears and appetite within a rabid groove metal tempest. The different traits continue to twist into and entwine around each other as the song shows more of its character, that Trepalium like death metal ferocity a thick ravishing feeding from the off-kilter liquor flowing through the creative veins of the song.

This Thing swings in next, vocal doodling a tempting into the volatile and busy heart of the uninhibited incitement consuming the senses and passions. The song is arguably the most straight forward offering on the EP but still breeds a belligerently captivating and diversity infested savaging layered with rich strains of metal variation, all laced a persistent virulence which takes no prisoners.

The release closes with Funky Shit where electronic flirtation seeds a multi-flavoured trespass of ever changing and gripping enterprise. Once more there is no ignoring the Serj Tankian and company’s inspiration though it is more the frontman’s solo exploits which comes to mind as the song immerses the imagination in its outstanding…well madness is probably the best description.

Delicious Nourriture hits the sweet spot straight away but over further listens is where the depth of the Hills N’ Pills invention and sound really reveals its glory, and where the lust in your pleasure is likely to show its hungry head.

The Delicious Nourriture EP is out now and available through most online stores.

https://www.facebook.com/Hills-n-Pills-103993246327614   http://hills-n-pills.wix.com/musique

Pete RingMaster 14/12/2015

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