The Lumberjack Feedback – Blackened Visions

THE-LUMBERJACK-FEEDBACK_RingMaster Review

As debut albums go, Blackened Visions from French instrumental progressive doomsters The Lumberjack Feedback is a colossus, though maybe that is not so much a surprise given the impressive and intensive tempest of their earlier offerings. The new album though sees the band exploring even more darkly provocative depths and uncompromisingly invasive textures in their sound and sonic suggestiveness. Blackened Visions lives up to its name with physically invasive ease; providing an inventive playground for the imagination and emotions to eagerly conjure within whilst at the same time luring ears into dramatic landscapes.

The band’s first acclaimed EP Hand of Glory in 2013 set the template and intent of The Lumberjack Feedback exploration in composing and sound, it offering a highly ravenous and intrusive adventure which has only grown more compelling and creatively dynamic, not forgetting experimentally bold within Blackened Visions. Between these releases, the Lille quintet drew potent reactions with Ausstellung, a split release with We All Die (Laughing) and the live EP Noise in the Church, both in 2014. Fair to say though, that Blackened Visions sees the twin guitar craft and imagination of Simon Herbaut and Arnaud Silvert, the predacious bass trespass of Sebastien Tarridec, and the united and often duelling enterprise of drummers Nicolas Tarridec and Virgil Chaize, sculpting their most stimulating and immersive proposals yet.

Artwork_RingMaster ReviewThe band’s fusion of crushing doom metal with progressive and post rock explorations, all infused with tar like sludge and intensively fiery stoner-esque fascination, swiftly seduces and devours body and senses with the initial heavy throws of its opener No Cure (For The Fools). The track is a predator, laying down a sonic trail as menacing riffs lurk in the background before bringing it all to the intimidating fore led by the bestial instincts of bass and the united grouchy twang of the guitars. The track continues to crawl over and invade ears as it develops an equally gripping anthemic devilment to the combined but individual rapacity of the drums. There is a touch of Morkobot to the piece and equally in its raw character and volatile intensity, the scent of bands like Neurosis and Pelican, but whereas maybe in previous encounters they would be an overriding presence straight away Blackened Visions reveals a distinction solely from The Lumberjack Feedback.

The excellent start continues with the album’s title track. The melodic first touch and stormy air is an engaging but portentous melancholy fuelled invitation which only intensifies as guitars and bass entwine and creep around firm rhythmic pokes. There is a fearsome romance to the lure of the music too, even as things intrusively erupt and grooves become more sinewy as rhythms forcibly make their trespass. Darkness and invasive shadows always come equipped with a certain lure and so it is with the increasingly fiery and vitriolic landscape and indeed heart of Blackened Visions, song and album.

I, Mere Mortal steps forward next, another sonic coaxing the first contact from within which a rousing rhythmic incitement grabs the imagination and appetite. The anthemic potency of the drums is matched by a throaty bait of bass whilst a repetitive nagging from the guitars adds to the raw almost monolithic tempting enveloping the listener before spreading broader pestilential and ravenous sonic antipathy. The track is irresistible; a gloriously bruising call to arms led by, to simplify things, the thumping drama of rhythms and niggling persistence of guitar.

Karma to Burn like spicing lines Salvation next, melodic acidity which burns on the senses but sweetly entices ears and heart to its cancerous rock ‘n roll leading to intensely viscous doom and post rock spawned exploration. It is a flight into the beauty and hopeful calm found within acceptances of dark and merciless emotional and physical climates, and another song which leaves the body invigorated, thoughts stretched, and emotions exhausted.

A tapestry of drama and creative enmity follows with Dra Till Helvete, the track an addictive and mercurial beckoning turned sonic devourer leading body and imagination into the hellish depths of the underworld with rhythmic magnetism. As through all tracks, thoughts paint a picture and emotions flirt with more intimate realisation, every intrusive note and swinging beat a powerfully impacting and rabidly lingering incitement to be entangled in.

Mah Song (Horses Of God) completes the album, it a rumbling and lumbering beast merging expulsions of rock ‘n’ roll with psyche twisting post rock winds infused with danger lit melodic veins. It is a dramatic and compelling end to a demandingly impressive proposition. The Lumberjack Feedback has unlocked their most destructive and invigorating depths yet with Blackened Visions and it feels like it is just the beginning too; happy days!

Blackened Visions is out now via Kaotoxin Records digitally @ http://listen.kaotoxin.com/album/blackened-visions and as limited edition 500 copy DigiSLeeve CD with 100 copy collector edition 12″ LP on clear vinyl and 400 copy limited edition 12″ LP regular versions will be released during 2016’s second quarter at the Kaotoxin Shop.

https://www.facebook.com/thelumberjackfeedbackband    http://www.thelumberjackfeedback.com/    https://twitter.com/LumberjackFeedb

Pete RingMaster 18//01/2016

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/

6:33 – Deadly Scenes

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Entwining an extensive mix of styles and psyche exploring sounds is a carnival of fun in the hands of the most inventive and accomplished bands but loaded with the uniquely flavoursome imagination that is 6:33, that bold daring becomes pure musical alchemy. The French avant-garde metallers had us hooked with their Giggles, Garlands & Gallows EP of 2012, an introduction to our subsequently feverish ears backed up a year later by their formidable second album The Stench from the Swelling (A True Story), both featuring CinC/Carnival In Coal/ We All Die (Laughing) vocalist Arno Strobl. Now the Paris quintet have turned up the lust with new album Deadly Scenes, a tempest of invention and sheer aural ingenuity which sees the band at its loftiest pinnacle of creativity yet and surely the most exciting incitement in music today.

The Kaotoxin Records released stomp consists of nine tracks romping down dark avenues of psyche igniting drama and heavy, almost vaudeville like creative emprises. It dives into ravenous shadows, through blood strewn scenery, and across the darkest corners of mind and soul, leaving smiles and bruises as a token of its salacious esteem. Like an anarchic tempest of sound grown from the creative sap of Faith No more, Pryapisme, Polkadot Cadaver, and Mr Bungle, the perfectly formed and fluidly sculpted Deadly Scenes is a tapestry of intrigue and unpredictability casting unbridled pleasure. It carries a lyrical derangement and musical maelstrom across every one of its truly individual offerings, each sublimely and voraciously igniting every cell of those drawn into its inventive hex.

The album starts it’s ridiculously compelling spell with the ‘gospel’ of Hellalujah, certainly it starts that way with a richly resounding choir announcing “Lord Jesus!” It is a great wrong-footing coaxing, even for 6:33, which is soon opening up its invention through a building crescendo of flavours which unite in a sturdy footed stride. It is a bedlamic revelry of sound with a show tune essence to its invention, but as is the norm for the band a mere moment in the travel of a song. Bursting into a ruggedly flirtatious and body swerving blaze of swing and melodic rioting, the song is afire with hooks and metallic lures, all courted by the drama of the keys and the show-pop tenacity of voices and similarly inflamed sound.

Ego fandango comes in next, soaring keys and preacher bred samples the bed for the subsequent muscular and antagonistic stroll of the song. In many ways a Mike Patton essence is never 760137674726_TOX043_6-33_Artwork_480x480far from the band’s music, here helping flavour the rampant vocal and inventive swagger flirting with an Oingo Boingo like vivacity and enterprise. Female vocals, as in the first song, provide a magnetic companion to the ever striking and gripping delivery of Rorschach whilst spices of Queen and Five Star Prison Cell bring further strains of sonic colour to the ever evolving terrain of the brilliant encounter.

A tribal and shamanic rhythmic canvas provides the landscape for the following brilliance of The walking fed, its hypnotic bait a constant persuasion as a low key Yello like electro and vocal beckoning lures ears into a sinister weave of progressive metal and funk infused exploration. The dark bass conjuring of S.A.D. works masterfully with the beats to cage the fiery endeavour within their walls but leaves his strongest most potent tempting for the closing stretch of the song where he unveils an addictive steely web as medicine man chants dance with the keys.

The furious intensity of I’m a nerd escapes another choral welcome straight after, its hellacious rage of metal an imposing roar before everything moves into a country kissed pop ramble with 12 Stone Toddler like pop ingenuity and Kontrust spiced mischief. To be honest as with every song, words can only give a hint of the depth and invention of the superbly blended flavours and ideas escaping the heart of the sonic incitement, and even listening in person, further twists only reveal their lures over numerous plays.

Through the theatrical noir of Modus operandi and the psychotic stalking of Black widow, 6:33 continue to paint new provocative pictures of musical drama and virulence, the first a kaleidoscope of again Faith No More ferocity with the worldly rock essences of Les Negresses Vertes, but as expected honed into something mouth-watering and unique to the band. Its successor is a furnace of creative and rhythmic fury sculpted into a virulent dance of sonic mayhem and deliciously cultured harmonic beauty; a Mr Bungle meets Toumaï seduction for want of a better clue. Their brilliance and exhaustive presence is followed by the gentle acoustic caress of Last bullet for a gold rattle, a country seeded night around a crackling campfire evolving into a melodic shuffle of Cajun/Latin sultriness.

The smouldering Lazy boy croons and bawls impressively over the senses next, it’s raging fury and warm lingering seductions a battlefield of gripping unpredictability. The song is as contagious and as vicious as any song you are likely to hear this year, but there will few which fuse the extremes as imperiously as this. Its sensational bellow brings the listener to the epic title track. Deadly scenes has a theatre all of its own as it narrates, soundtracks, and relishes a clutch of dark tales and spoiled souls. Atmospherically pungent and musically deranged, the track as the album blows ears and imagination away, leaving the passions exultant. Imagine every sound and musical spice you would wish in a soundtrack to your day and it will probably be in the enthralling and feet manipulating track.

     Deadly Scenes is another stunning triumph from 6:33. With every release we ask how they will top their new pinnacle but they do as evidenced by this front runner for most exhilarating if not important releases in 2015.

6:33 Deadly Scenes is available via Kaotoxin Records from 12th January as a limited edition (1,000 copies) DigiSleeve, bundled with a free 26-track label sampler, a special cassette version limited to 100 copies @ http://www.kaotoxin.com/product-category/kaotoxin-releases/ and digitally @ http://listen.kaotoxin.com/album/deadly-scenes

http://www.633theband.com/

https://www.facebook.com/6h33official

RingMaster 12/01/2015

Copyright RingMaster: MyFreeCopyright

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

http://www.thereputationlabel.today

 

The Top Twenty Metal/Rock releases which most excited The RingMaster Review in 2014

In a year of some seriously and gloriously anthemic, not forgetting creatively inspiring releases The RingMaster Review picks out twenty metal and heavy rock releases covered by the site which gave us that extra tingle of excitement in 2014.

 

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01. Empty Yard Experiment – Kallisti

https://ringmasterreviewintroduces.wordpress.com/2014/09/29/empty-yard-experiment-kallisti/

02. Escapethecult – All You want To

https://ringmasterreviewintroduces.wordpress.com/2014/08/19/escape-the-cult-all-you-need-to/

03. The House Of Capricorn – Morning Star Rise

https://ringmasterreviewintroduces.wordpress.com/2014/12/02/the-house-of-capricorn-morning-star-rise/

04. Hollow – Mordrake

https://ringmasterreviewintroduces.wordpress.com/2014/05/30/hollow-mordrake/

05. Voyager – V

https://ringmasterreviewintroduces.wordpress.com/2014/06/03/voyager-v/

06. Nexilva – Eschatologies

https://ringmasterreviewintroduces.wordpress.com/2014/04/08/nexilva-eschatologies/

Arcade Messiah Album Cover

07. Arcade Messiah – Arcade Messiah

https://ringmasterreviewintroduces.wordpress.com/2014/11/25/arcade-messiah-self-titled/

08. We All Die (Laughing) – Thoughtscanning

https://ringmasterreviewintroduces.wordpress.com/2014/01/14/we-all-die-laughing-thoughtscanning/

09. Goatcraft – The Blasphemer

https://ringmasterreviewintroduces.wordpress.com/2014/03/06/goatcraft-the-blasphemer/

10. Destrage – Are You Kidding Me? No

https://ringmasterreviewintroduces.wordpress.com/2014/03/06/destrage-are-you-kidding-me-no/

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11. Void of Kings – Stand Against The Storm

https://ringmasterreviewintroduces.wordpress.com/2014/12/23/void-of-kings-stand-against-the-storm/

12. No Sin Evades His Gaze – Age of Sedation

https://ringmasterreviewintroduces.wordpress.com/2014/08/22/no-sin-evades-his-gaze-age-of-sedation/

13. Dioramic – Supra

https://ringmasterreviewintroduces.wordpress.com/2014/09/15/dioramic-supra/

pigeon lake

14. Pigeon Lake – Tales of a Madman

https://ringmasterreviewintroduces.wordpress.com/2014/08/10/pigeon-lake-tales-of-a-madman/

15. Imbroglio – The Struggle in Pursuit

https://ringmasterreviewintroduces.wordpress.com/2014/04/16/imbroglio-the-struggle-in-pursuit/

16. ICOSA – The Skies are Ours

https://ringmasterreviewintroduces.wordpress.com/2014/07/25/icosa-the-skies-are-ours-ep/

17. Mars Red Sky – Stranded In Arcadia

https://ringmasterreviewintroduces.wordpress.com/2014/04/29/mars-red-sky-stranded-in-arcadia/

18. Anti Clone – Hands Sewn Together

https://ringmasterreviewintroduces.wordpress.com/2014/08/25/anti-clone-hands-sewn-together/

jwb walkingunderwaterpt2

19. Johnny Wore Black – Walking Under water Parts 1 & 2

https://ringmasterreviewintroduces.wordpress.com/2014/02/27/johnny-wore-black-walking-underwater/

https://ringmasterreviewintroduces.wordpress.com/2014/11/13/johnny-wore-black-walking-underwater-pt-2/

20. The Body Politic – Egressor

https://ringmasterreviewintroduces.wordpress.com/2014/09/17/the-body-politic-egressor/

We All Die (laughing) – Tentoonstelling

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After their riveting and extraordinary album Thoughtscanning of last year, the appetite for something more from We All Die (laughing) has been the epitome of hunger. It is a want and need now richly satisfied by the band’s new offering, the Tentoonstelling EP, well certainly by half of it. Consisting of two tracks, one from the duo of Déhà (Maladie, COAG) and Arno Strobl (Carnival In Coal, 6:33) and a second piece by Mathieu Drouet, a French photographer for whom We All Die (laughing) composed the lead track, it is a provocative encounter of instrumental temptation which pushes the imagination into dark and sinister landscapes.

When asked by Drouet to contribute a track to a contemporary art project for his Grande Plage exhibition planned for January 2015, We All Die (laughing) crafted the instrumental Variation on the scanning of thoughts, a piece 760137644422_TOX038_We-All-Die-(laughing)_Artwork_600x600inspired by and a companion to the band’s extraordinary one track album. The exhibition itself is based on photography of Drouet which the artist ‘considers worth being used as cover artwork for music releases’. Consisting of twelve pieces, he chose a similar number of bands to contribute a track (also including The Lumberjack Feedback) of which a single copy 12″ EP would be released with one of his pictures as the artwork along with an’ experimental audio rendition of the photography’s digital file’s data’, basically an aural portrait of the picture cloaking the release.

Variation on the scanning of thoughts is a piano sculpted exploration, a shadowed and brooding suggestiveness which wraps seductively around the senses and imagination whilst soaking both with melancholic expression. Noir lit jazz scenery colours the evocative canvas throughout whilst sharing hues with a more choral persuasion, their entwining suggestiveness a haunting embrace within the oppressive atmosphere. The press release with the EP declares the track as more depressive than the band’s adventure upon Thoughtscanning which is easy to agree with, yet as the music permeates ears and emotions there is also an imposing beauty and stark elegance which ignites the warmth of hope in song and reactions. As always with the band, it is a healthily long piece which provides a template for the listener’s imagination to fill and colour whilst emotionally it is a provocation which is as cinematic in drama as it is intimate.

The following Grande Plage, OP. 1, Movement #1: Le Noir from Drouet is the complete opposite and whilst you can understand and respect its breeding, the track is an underwhelming challenge. A sonic expanse of electronic smog, a static wave which ebbs and flows but makes for a constant irritant, the track is a ten minute excuse to return to the majesty of its predecessor. Again it is a piece which will inspire or push away individual thoughts and imaginations, with ours unreceptive, but it is a pale if initially intriguing companion against the magnificence of the lead track and the musical alchemy of We All Die (laughing).

Tentoonstelling is available now Kaotoxin Records @ via http://listen.kaotoxin.com/album/tentoonstelling

https://www.facebook.com/wealldielaughing

Check out the excellent photography of Mathieu Drouet @ http://www.mathieu-drouet.com/

For the track Variation on the scanning of thoughts 10/10

RingMaster 21/08/2014

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/

 

Dark realms and shadowed emotions: an interview with Déhà of We All Die (Laughing)

 

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The union of musician and composer Déhà (C.O.A.G., Maladi) and vocalist Arno Strobl (Carnival In Coal, 6:33) for the project We All Die (Laughing) has resulted in one of the most extraordinary experiences and towering creative tempests of recent times. Consisting of a single thirty three minute track sending the listener on a continually expanding landscape of emotionally drenched progressive dark metal, the Kaotoxin Records released Thoughtscanning is a powerfully provocative and enthralling immersion for thoughts and emotions. Keen to learn more about the project we took up the offer to talk with Déhà, questioning him about the band and album as well as news on his other projects.

Hello Déhà and thank you for sharing time with us so we can dig into the creative world of We All Die (Laughing).

The first question is obvious, how did the union of you both come about for the project?

Just out of nowhere, Arno & I started to discuss with an artist/fan relationship because I am a huge appreciator of Carnival in Coal. I talked to him about my different projects and I sent him the first demo of WADL back then, he fell in love and we decided to make this true!

You both guested on The Deceit EP from Eye Of Solitude; was that actually working together or just happened to be both appearing on the same song?

Well… I kinda forced my appearance on that song, haha! I was recording Arno’s voice for this song and I was like “oh fokdatchit, I’m going to scream a bit and in any case, they can remove my stuff” and they liked it really much! Funny fact it was before we released the album so many people were just asking “what the hell is “wadl” ?” and that was someway a good thing.

So We All Die (Laughing) is the first time you have intensively worked together creatively then?

Exactly. And that was fantastic. We understood each other without a need to talk or else.

Was there a particular spark which brought the actual project to life and specifically determined its direction?

That “power” we have together was the sparkle that started the fire. This mood we had was just “the” stuff we needed.

A bit of a naughty question 😉 but has each other’s music been something which has thrilled and inspired your individual passions or has it been more an encounter which has artistically impressed without lighting feverish emotions?

As for me, despite everything you might hear on this album, I was not inspired by any other music at all. This is emotion, as cliché as it sounds…

 A quick mention about your other bands/projects if we may; 6:33 has been a lustful passion for us since discovering Arno and co through the Giggles, Garlands & Gallows EP in 2012 whilst admittedly it has been only recently with C.O.A.G and Maladi that we have been drawn into the imaginative aggressive fire of yourself, Déhà. For you is there anything from those and other of your projects which have helped spawn or inspire some of the We All Die (Laughing) sound?

Absolutely not. The most “influential personal band” on this album might be some “imber luminis” stuff (an own project of mine) but it’s not even that hearable.

You have just released the extraordinary Thoughtscanning, your stunning one track epic debut album. How have responses cover Artwork by Maxime Taccardibeen and have they matched your expectations?

We have absolutely nice reviews all over the world and this is really great! I was not expecting that much positive reviews as the music’s complex, but I am really happy and grateful!

I will be honest and we said so in our review that a single thirty minute plus track was a daunting and initially not the strongest lure…that was until we plunged into its depths for the first time.  Did you have worries about a similar fear and maybe assumptions about a single track album scaring people off or was that something which never crossed your minds?

It did, but I am used to composing long tracks for one purpose : the trip, the journey given by the music has to stop only when we state it. And this album, even if lyrically divided in parts, had to be one song because it’s a circle closing on itself. And we wanted to keep it that way.

Was the release always planned as one piece of music?

Absolutely.

Thoughtscanning is an enthralling, intimidating, and breath-stealing adventure, certainly challenging but equally a virulently stimulating and dramatic journey for the emotions and imagination. Tell us about the premise behind the album and its theme.

It’s emotion. I won’t say it’s the purest emotion I might release, since I have different projects and bands for my different emotions, but WADL is mainly this constant struggle between you and yourself, wanting to be healed and at the same time, you don’t want to be healed, you’re tired, or else. It’s a cliché, but to hell with it. People are all clichés.

How did Thoughtscanning emerge; did it grow and come to life as we hear it on the album or was it more like a movie, scenes created and recorded in random order to be shaped after into the sonic narrative we are confronted with?

From the beginning until the end, I would fuse your two metaphors : It’s a movie which was shot from start to finish

We imagined that the album evolved right up to its final moments, is that the reality or did you have it in a finished state before recording?

It was exactly like what you’re hearing.

How long did the album take to create?

The Composition took one year, the voices recording took 2 months of demo & 1 week for the final recordings

The first pressing of Thoughtscanning also included an Amy Winehouse cover; tell us about that and how you approached a song which is distinctively hers?

It was our label’s idea for this song, we had plenty of choices but we never really agreed. When Nico told us about this song we totally agreed in one shot, since we’re appreciating Winehouse’s music and it was a pleasure, since her lyrics went perfectly with our concept.

Can we assume We All Die (Laughing) is an on-going project or will you be disappointing us with little or no more releases?

On-going.

Portraits by Maxime Taccardi.What comes next for We All Die (Laughing) and for you individually?

An EP, at some point, and more stuff at some point. We’re not stopping. As for my side, you can expect releases for Merda Mundi, COAG, Imber Luminis, Maladie and Clouds.

Once again thank you for talking with us.

Any thoughts or last words to inspire or provoke the readers?

Act.

www.facebook.com/wealldielaughing

Read the Thoughtscanning @ https://ringmasterreviewintroduces.wordpress.com/2014/01/14/we-all-die-laughing-thoughtscanning/

Pete RingMaster

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

The RingMaster Review 11/03/2014

We All Die (Laughing) – Thoughtscanning

 

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     A long epic track going well into double figures time wise is never the most immediate persuasion here to be honest so it is fair to say that the debut album from We All Die (Laughing) with its single thirty three minute track was not the most instant appetiser and top of the list to cover. The fact that Thoughtscanning was released by Kaotoxin Records, a label which had a glorious year in releasing impressive inventive propositions in 2013, did encourage a dive into the proposition offered, plus the fact that the band consists of multi-talented musician and composer Déhà (C.O.A.G., Maladi) and vocalist Arno Strobl of Carnival In Coal and site favourites 6:33. It will prove to be one of the wisest decisions made this year at The RR and by anyone who immerse within what is an extraordinary experience and towering creative tempest. The album is a masterful enticement and admittedly challenging encounter but one all should bravely embrace.

    Creating a continually expanding landscape of emotionally drenched progressive dark metal, but with so much more to its 760137614821_TOX030_We-All-Die-(laughing)_Artwork_1400x1400-300imaginative adventure, Thoughtscanning is a piece of work which leaves the richest satisfaction and experience in its wake. We All Die (Laughing) first emerged as guest musicians on Eye Of Solitude’s EP The Deceit, their offering now reissued as a bonus track on the band’s recently released excellent album Canto III. Now the French-Bulgarian link-up fully unveils itself as a creative force to be reckoned with and incited by with their debut.

      A long guitar casts the first coaxing, its melodramatic voice and resonance a lone figure in a barren atmosphere but as potently evocative and imagination sparking as you could wish for. It has an essence of early-The Cure to its call which is enhanced with a wash of minimalistic melodic enticement and great earthy throaty tones from the bass. It is a deliciously magnetic entrance which is so powerful that when flames of skilfully sculpted guitar light the air a tinge of disappointment washes over emotions just for a second or two.

     From here on in the song slowly but clearly expands with its every second, the ever appealing vocals of Strobl adding another provocative aspect to the already compelling persuasion. Stretching further into its dark shadow drenched heart, the clean melodically built vocals merge with sanity bruising squalls whilst an intensity coats and increases the urgency of the sounds even when they find new avenues to slowly and elegantly investigate within the at times bordering on psychotic expulsion of emotional toxicity. It is impossible to clearly represent all that is going on and unleashed within Thoughtscanning but sure to say musically the track evolves through webs and mixtures of progressive and black metal, avant-garde and melodic death metal, doom and jazz metal with more besides, every minute a new recipe and provocation impossible to tear away from.

    As suggested earlier vocally the track also is a vibrantly shifting temptation, smooth melodic tones moving into guttural torrents with ease and in other moments creating a dark shadow through intensive deliveries which simply shape the syllables into an impacting and thought provoking narrative. Not for the first time in his career Strobl brings moments which are pure Mike Patton like to the persistently evocative adventure and in union with Déhà creates a maelstrom of seduction and venom which is as thrilling and compelling as the music surrounding their bait.

     The down side to the album?…well it is so long that it will definitely not suit all but it would be amiss not to say that there is never a moment where it is predictable and does not have senses and attention on alert for more breath-taking insurgences by the album into emotions and to be honest the track simply flies by, never feeling as long as it obviously is. Thoughtscanning is a thoroughly enthralling and impressive release which is a must investigation for all fans of anyone from Faith No More to Opeth, Periphery to Dark Tranquility, Tool to of course 6:33, in fact every metal fan as We All Die (Laughing) has something for all within their opus. With a limited-edition first pressing also containing a cover of Amy Winehouse track Back to Black, this is a must.

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9.5/10

RingMaster 14/01/2014

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