Gloomy Hellium Bath – Sistema Solera

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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 @

Pete RingMaster 17/12/2015

Copyright RingMaster: MyFreeCopyright

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Raketkanon – Rktkn#2


Barely a handful of weeks back, Belgium band Raketkanon not only ignited but incinerated the passions and imagination with the single Florent. A warped rhythmic dance immersed in a startling and ridiculously compelling tapestry of noise, the song not only announced the introduction to one compelling band but made a riveting and exciting appetising to the album it came from. Now that the release has arrived, and though Rktkn#2 does not always quite live up to that first initial seduction, it makes for one blissfully thrilling proposition.

To be fair when we say the album does not match the earlier appetiser it is not strictly true as where Florent was a swift explosive dig in the ribs of attention and lust, many of the songs within Rktkn#2 provide a slow and intensely simmering temptation which need time to convince and seduce. Ultimately they do though, ensuring every listen is a fresh and perpetually unveiling exploration that is very easy to rigorously enthuse about.

With their name meaning rocket cannon in Dutch, Ghent hailing Raketkanon create an experimental incitement seeded in a wide array of sounds and flavours. From sludge and doom to noise and psychedelic rock, the band’s music has a distinct character and invention which defies comparisons on the whole. Some have offered Melvins and Tomahawk as references whilst we could suggest the likes of Kabul Golf Club, Joy Division, Coilguns, and Young Gods as a hint to their sound but only listening reveals the dark majesty of the compelling drones, incendiary rhythms, and dramatic textures fuelling tracks and release.

10959513_10153103655542112_4720665964608033336_nThe album opens with the aforementioned single and after a torrent of listens when first released, Florent still makes the greatest magnet for the band. As feedback and sonic enticement lead into discord kissed enterprise surrounding an unrelenting prowl of invasive rhythms, the track preys on body and emotions. It has a threat, a danger, and a fascination which just engulfs the ears and psyche. The quartet of Jef Verbeeck, Pieter de Wilde, Lode Vlaeminck, and Pieter-Paul Devos continue to entrance as scowling vocals from Devos spill from his throat over the expanding web of noise. A post punk tone to the bass also emerges more prominently as the song takes to a meditative respite midway; it’s tempting aligned to twanged guitar endeavour and a calm which is almost as portentous as the returning deranged dance of noise. The song never turns into a raging fire though; its droning reserved and its croon certainly unhinged yet controlled, with only the vocals a bedlamic fury.

With each song titled by a name, Nico Van Der Eeken comes next and it too opens on an immediate bait of slow but focus grabbing beats before creating a spiralling weave of synth brewed intrigue. The effect coated vocals also have a restrained introduction though it cannot stop them bringing inviting mania into the mix. They surprisingly remain ‘subdued’ as the song raises its intensity and voracity, taking centre spot in the quieter moments of a song which despite its energetic pursuits is also nothing less than mesmeric. A flush of hardcore like influence eventually ignites the vocals in an inflamed finale to a song, and end and song leaving thoughts and emotions startled and enslaved.

The following Suzanne has an instant swagger to its lively entrance and a more stoner-esque air to its melodic sultriness, both aligned to the ever vocal and enticing down tuned coaxing of guitars. The track is a more recognisable rock proposal initially, stomping with aggression and energy before wrong-footing with a drop into calm evocative waters, a simple melodic caress accompanying similarly gentle vocals. Of course all that we suggest has another lining to it, a generally indescribable one which festers and grows into something different, here a psychedelic wind of stark and uncomfortable but mentally and physically stimulating trespass growing from the calmed storm.

The albums adventure twists around again with Mathilde, the song a gentle embrace of cold but welcoming guitar and wistful low toned vocals over repetitive and wonderfully hypnotic bait. For three minutes its sombre yet magnetic temptation enthrals before lifting its muscular head and weight with a new angst in riffs and vocals matched by a dark fuelled bassline and fiercely jabbing beats. Doomy and embracing essences of post rock, the song is one of those longer to persuade but emerges as a spellbinding and ever changing sonic emprise of emotional and physical evocation.

Elisa is another long term simmering in regard to getting under the skin but with a spine of rhythmic repetition and eruption into an angst pooled vat of intensity and sonic rapacity it wins out. Exploring a more alternative rock premise whilst continuing to throw in a constant barrage of musical and inventive curveballs, it takes time to grip the passions unlike Ibrahim which has them enslaved within the first few moments of its driving and almost sonically mystical opening. The track is sensational, a rival to the opener and a tantalising maze of spicy endeavour with an imagination bordering on the chaotic yet staying within a sculpted framework, though to be honest that in itself is bordering psychotic.

Straight away another irresistible triumph is unleashed through Harald, a contagion loaded song which is as funky as it gets in a noise woven, distortion fed, and sonic crazed enterprise. Its opening minute is sheer infection but it is when the band unleashes a rhythmic stalking bred from the same wells of invention of a Wire or Gang Of Four that the track kicks off a torrent of lustful reactions. Entangling disorientating sounds, raw vocals, and sonic disturbances, the track sculpts the most enthralling and mouth-watering demented soundscape.

The album closes with the epic Hanz, a track maybe too long for personal tastes though not one moment of its nine minutes is lacking certifiable invention and engrossing ideation. Its low key emergence is soon a continually growing and intensifying brew, harsh but gentle sounds gaining an edge and attitude in many ways before finally breaking into more tempestuous scenery, though that too is just a stage in the evolution of the song. Cinematic, transfixing, and atmospherically brooding, the track eventually finds its heaviest, intrusive touch at its climax. It is a fascinating end to the album if not the most easily accessible without plenty of attention.

As we said at the start, Florent brought high and excited hopes for Rktkn#2 and the scintillating encounter has not let us down. The single forged a plateau for the band’s music which was always going to be hard to persistently match but plenty of tracks within the album do and those missing its ledge still leave a seriously enjoyable and creatively innovative experience to greedily devour. Bottom line is that Raketkanon is a must for all fans of noise, discord, and experimental challenges.

Rktkn#2 is available now via KKK Records @ on CD and vinyl and digitally @

Upcoming show dates…

28/04/15 : Stag & Hounds – Bristol

29/04/15 : The Shacklewell Arms – London

30/04/15 : Audio – Glasgow

02/05/15 : Live in Leeds Festival – The Brudenell Social Club

03/05/15 : The Hope – Brighton

RingMaster 15/04/2015

Copyright RingMaster: MyFreeCopyright

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

Strange Nocturnal – Best Of Strange Nocturnal


Listening to the sounds of UK goth rock band Strange Nocturnal is like aurally exploring the pages of classic visual incitements like The Haunt of Fear, The Vault of Horror, Tales from the Crypt, and House of Mystery. As shown by their new release though, their sound and drama comes with a just as rich industrial, metal, and horror punk flavouring to produce dark tales with a voracious snarl and ferocity bred from the visceral climate of the modern world. A collection of tracks released between 2009 and 2011, Best Of Strange Nocturnal is a full adventure for the senses and imagination, and it gives ears a pretty good time too.

Strange Nocturnal is the brainchild and originally solo project of Cumbrian musician/composer/producer Strange Nocturnal. From 2011 the band become full line-up wise and swiftly unleashed their debut album Party With The Dead. A host of varied releases have haunted the psyche since, the acoustically driven Halloween Is Never Really Over, the cinematic and dark ambient instrumental exploits of Undead Decadence, and the abrasing exploration of Cumbrian Gothic some open examples of the diversity within the world of Strange Nocturnal. Released via Undead Artists, Best of… teases and seduces, haunts and violates senses and thoughts to provide a macabre blood strewn soundscape.

This Halloween starts the adventure off, its immediately sinister air drawing the listener into a melodically gothic embrace wrapped in lurking and menacing shadows. Extending its intimidating arms soon after, the track grows into a light exhausting stalking of the senses, its hungry presence at ease whether prowling or charging through ears. There is a Tim Burton meets Rob Zombie meets Godflesh feel to the track, its crunchy textures offset by the siren-esque tones of female crafted harmonies.

The captivating start is continued by There Are Ghouls and Ghost’s, a sample of Vincent Price the gateway into an infectious stroll which in turn builds into a fiery turbulence. The vocals of Strange Nocturnal as in the first and subsequent tracks, come clad in smoggy effect but with plenty of room for a variation to show its lures. White Zombie like in many ways but also holding a great essence of Fad Gadget to its bracing charm, the song swings with a rhythmic revelry which infects grooves and melodies. The increasingly contagious blaze is followed by the addictive stalking of Curse of the Werewolf. Again there is an infectious bait at the heart of the song which makes its rhythmic and spicy hooks irresistible whilst around them the air is tempestuous and coarsely hazy, a fuzzy causticity which at times also ignites the potent vocals. Thoughts of The Shanklin Freak Show emerge as the song radiates its temptation and proceeds to prowl with diversely flavoured mystical spicery.

The Undead March instantly has ears and emotions hooked next, its great repetitive striding the first lure in an addictive predation. Vocals are once more wrapped in an insidious effect but undiluted in the virulence of their lead to and part of the full seduction of the song. Holding a whiff of Ministry to its irrepressible persuasion, the track is ridiculously compelling, something the musty metallic tones of The Bitch Was a Witch cannot quite match but with its serpentine breath and smoggy textures, the song makes the most of its moment to tantalise ears. For personal tastes the vocals are over immersed in the oppressive intensity of the music, a small thing which could be raised a few times across the band’s sound in general, but it easily has appetite keen and ready for the next up Fancy Death Party. Fuelled with a great blues winery with southern rock kissed harmonica, the song is another with a devilish swagger to its gait and magnetic toxicity to its sound.

The dark crawl and insidious temptation of She’s My Graveyard Ghoul-Friend has the imagination walking a toxic romance whilst Without Your Head provides a deranged maelstrom of emotion and voices within industrial filtered gothic metal corrosiveness. Though neither lives up to the biggest pinnacles of the collection, each with an underlying catchiness and adventurous climate has ears and thoughts fully engaged before the tempestuous slow waltz of Party With the Dead takes over. The song is a temptress with mercury running through its veins and demonic elegance soaking every melody and harmony on a bed of dark rhythms and imposing intensity lorded over by Strange Nocturnal’s satanic vocals.

The album is completed by the rasping Luciferian tones of Loving You From Beyond This Grave, the track Poe-esque in its dark radiance and fiendish in its industrial/noise sculpted causticity, and lastly The Crow’s Are Calling. The closing track has a devilry and mischievous tempting to its frequently shifting enterprise, an enslaving devilment which could be described as Doctors of Madness and Zombina And The Skeletones being violated by the raw ferocity of Young Gods.

Though there are understandably favourites which stand out and an ebbing and flowing of potency across songs, all tracks across Best Of…provide an enthralling and dramatic glimpse into the creative tempest of Strange Nocturnal, band and artist. The thoroughly enjoyable album is inspired by the darkest corners and emotions with the potential and a black seduction which could ignite the brightest fires in the imagination or spark the worst rapacity in your nightmares.

Best Of Strange Nocturnal is available now via Undead Artists @

RingMaster 03/12/2014

Copyright RingMaster: MyFreeCopyright

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Phal:Angst – Black Country


A raw erosion of senses and psyche, Black Country the new album from Austrian noise sculptors Phal:Angst is a vociferously compelling provocation built upon soundscapes which suggest that the apocalypse is already upon us. Consisting of five intrusive and fierce sonic explorations themed by oppressive manipulation and bigotry, the release is a demanding and uncomfortable proposition to listen to but a welcomingly incendiary confrontation for imagination and emotions to embrace. Forging a caustic industrial, post rock and doom clad fusion of noise, the release is a haunting immersion into ravenous sounds and stark atmospheres from a provocateur bred from the same corrosive intent as a Swans or Nurse With Wound.

Phal:Angst emerged in 2006 as collaboration between the projects Phal and Projekt Angst. The years since then has seen two well-received albums, a soundtrack, and hosts of successful shows unleashed, all adding up to ensure there was certain anticipation for their third album Black Country. Recorded with Alexandr Vatagin and mastered by Patrick Pulsinger, the album is an invasive and riveting consumption which draws on thick essences of EBM and gothic rock alongside those elements of sound mentioned. It makes for an unpredictable and often voraciously abrasive encounter but one which leaves thoughts and emotions aflame and contemplating the incitement unleashed.

Hardwire is the first examination of the senses, a fifteen minute portrait of a world in turmoil and emotionally twisted. From a glorious opening female vocal caress soon wrapped in similarly elegant keys, the track slips into a heavy industrial climate. Beats and electronic designs aligned to war inspired samples emerge within the still warm melodic embrace of the song, the encroaching portentous invasion of the beauty slow and unrelenting as guitars begin their rawer sonic narrative. The track continues to smoulder between melodic grace and caustic hostility whilst melancholic breezes wash the climate of the song and the band’s vocals upon their subsequent appearance. It is a gripping track, a corruption of sound which smothers the beauty within itself in order to provoke and spark ears and thoughts.

The album’s title track is next where again a warm and gentle entrance is made. This time electronic seduction coaxes the senses though around them sonic shadows are swiftly brewing up their intent and menace. They are held at bay though as a funereal rhythmic strides court the radiant and haunted shimmer of synths and guitar. Monotone fuelled vocals add their colour to the emerging song next, though again it is a slow expansion prowled by other continually darkening tones. The repetitious nature within this and all tracks is an inescapable seducing which only adds to the persuasion if not always the accessibility of the song’s temptation. This and its successor The Old Has To Die and the New Must Not Be Born reminds of Young Gods across their maudlin soaked landscapes, the album’s third song especially sparking thoughts of the Swiss band as opening hoarse vocals and intimidating riffs sets the tone and character of the blackened suffocation of the senses to come. Again that repetitive essence and the return of those breath-taking female soaring vocals provide a rich temper to the bestial heart of the track.

It is an enthralling and bewitchingly unpredictable trespass of the emotions providing the album with its pinnacle though that is almost matched by the warped sonic flirtation of Black Milk of Morning. A track which takes its time worming under the skin, despite persistently offering slim and potent melodies across chilled rhythmic scenery soaked in abrasing sonic ambience, it almost sneaks up on the passions especially with the persistence of unpolished reiterative vocals which imprint their presence and pressure within the climactic sonic smog. There is a beauty to the open and merciless aural causticity of the song which will certainly not be for all but as the album, will provide a remarkably rewarding experience for many more.

Black Country closes with the industrial drama and dystopian presence of Theta, a track which feels like an infestation bred from the union of Kraftwerk, Einstürzende Neubauten, and Neurosis. It crawls across the senses, leaving doom bred bait in its wake whilst igniting the imagination with its creative smothering and fiery tenacity. The song is a fine end to a great album, one which at times you wonder what specifically you are enjoying about it but always by the end of its persuasion only want more.

Black Country is available digitally, on double vinyl and CD via Bloodshed 666 Records @

The album is followed on Nov 28th by digital remix album Black Country Revisited featuring remixes by: Tronstoner/NSA, Swallow Red Rain, Chra, David Pfister, Electric Indigo, Rokko Anal, and Adaevarath/Bastard Sun.

RingMaster 14/11/2014

Copyright RingMaster: MyFreeCopyright

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Duskburn – Atum


     Soaked in atmospheres which consume and devour the senses as dramatic and intimidating textures sculpt and build intensive provocations, Atum the latest EP from Croatian metallers Duskburn, is certainly a formidable and testing incitement which is as uncompromising in its expression is it is in its intensity. Creating a presence which is entrenched somewhere between sludge and doom metal but sonically concentrated on the creation of ambient evocations which spawn the thickest smothering atmospheres; the three track release is a towering and richly immersive challenge. It is not always an easy listen and at times forces things too far but throughout the release provides an enthralling proposition which you cannot escape immersing in.

    Formed in 2006, the Zagreb quartet initially started out as a death metal band but over time merged sludge and doom elements into emerging atmospheric compositions. The band’s last three EPs, their self-titled one of 2010, Marrow the same year, and Left For The Wolves in 2012 showed Duskburn experimenting with their sound even more. They began merging layers and wraps of discord bred harmonies with rhythmic dissonance within oppressive soundscapes, cacophonous scenes of sound and emotion emerging as strikingly evident upon Atum. It is a musical and lyrical narrative which can swing from being threatening to showing a caustic seduction within a swing of chords or the laying down of atmosphere sculpted tones. The new EP as mentioned is at times undeniably an uncomfortable listen but unafraid to stretch its intent and aggressively captivating one.

    Running the theme of ‘cataclysmic omens and the purge of humanity’ through its body, Atum opens with Between the duskburn_atum_cover_500Swarm, a nine minute course through danger and emotional destruction brewed from an opening sonic drone bred embrace. It is an immediately intimidating coaxing speared by a restrained but potent rhythmic enticement as intensity increasingly builds. Once the rhythms of drummer Mario Komin break into a rolling and unrelenting beckoning to match the equally nagging sonic call of guitar, a greater menacing yet contagious capture of the imagination is at virulent work. It is an absorbing temptation pushed further into the passions by the bestial bass tones provided by Dominik Partić aligned to the exceptional guitar craft of Edin Karabašić and Neven Polšak. It is fair to say it is quite irresistible bait on offer evolving into a spitefully cantankerous and bruising intrusion on the senses as the track slows down its previously elevated gait into a doom drenched lumber. Something dissipates at this moment, the spark and toxicity which drew the passions absent as the song suffocates and encroaches deeper into the psyche. Given time and returns, the track makes a stronger statement upon the imagination but each time swamped by the dark abrasive cloud of that moment the yearning of that potent earlier rhythmic bait is never quelled, only consistently highlighted especially when Komin re-engages the virulent enticement in the closing passage of the song.

     Nevertheless the powerful track is a persistently evolving encounter which persuades and convinces with every visit to its intensive atmospheric journey, which applies just as easily to the following title track, the song providing greater evidence and rewards for mind and emotions over time. In many ways the song is much like the first, its melodic and expressive caresses alongside dramatic shadows splintered by a ferocious and voracious expulsion of blackened passion wrapped in suffocating intensely compacted atmospheres, the rapaciousness driven by incendiary flames of sonic invention. Thoughts of Neurosis, Godlesh, and Swans have already been sparked by its predecessor and continue in the second song, though for not so obvious reasons why so do less firm comparisons to Young Gods, something about the melodically crafted ambiences in scarred enterprise bringing aural images of the Swiss band.

   The closing Seamless follows the same path as the other two tracks, individual in face and presence but sculpted from the same intensive sonic cloth. The drum work of Komin again stands out as does the almost vitriolic haze of guitar invention but it is very easy to inadvertently merge this and the previous track into one similarly sounding expanse without close attention. The song still provides a demanding yet pleasingly imaginative closure to a fine release; one which takes its toll on the senses and emotions at times but generally rewards them with an inspiring presence even if one which maybe does not reach its full potential you feel.

    Released as a 6-panel digipak through Cimmerian Shade Recordings, Atum is a release well worth feeling your flesh and psyche being emotionally torched by and another step to major things from the band you suspect.


RingMaster 19/02/2014

 Copyright RingMaster: MyFreeCopyright

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Distortion Of Events – Permeate


Opening up ear, senses, and thoughts to a chilling dystopian landscape which invades the physical and mental depths of sanity, Permeate the new album from Distortion Of Events is a startling and provocative release which is as impossibly addictive as it is disturbingly intimidating. There are no safe corners to hide or find warmth and security within as the nine track excursion into stark yet compelling realms captures the imagination but with stirring and invigorating rewards along the way it is a danger well worth welcoming.

Distortion Of Events is the solo project of Michael Lubert, a composer/musician from Patton, Pennsylvania which though it had existed in experimental and theoretical forms long before, made its introduction with the four-song demo Inclusium in 2010. A solid base for the inventive experiments and innovations to come the release was followed a year later by debut album Congeners on Lubert’s own platform label, Zodarion Records. A mix of industrial and techno shadows the release drew good attention with essences of Sleep Chamber, Clock DVA, Front 242, and The Klinik cast as comparisons to its creative offering. The album offered up the track Deadface which with ‘a rather severe facelift’ for a digital-only remix single became a firm favourite with fans and local radio. The pair of successful releases made way for Eventuality in the May of last year, the six track EP venturing into even darker waters and depths of those first investigated on Congeners. This was then followed by a reinvented and re-recorded digital-single Blain County, Idaho (Circa 1974), a track originally found on the Inclusium demo and the In Six Dimensions/Nonexistence and The Widow singles. With Permeate our debut dip into the world of Distortion Of Events we cannot not comment on what came before but on the evidence presented by the outstanding new release it is hard to imagine previous encounters were anything less than dramatically provocative and incitingly potent.

Permeate opens with Shivering, a track with a title as apt as you can imagine as the song invites tingles down the spine at its apocalyptic a3703055088_2seeming embrace. Cored by a steel industrial beat wrapped in refrigerated weaves of electro intrigue and grim melodic narratives, the track escorts thoughts into an uncompromising and evocative realm of menace and cyber haunting. The often fleeting and persistent twists of sound and additives border on bedlamic yet are precise and carefully layered to reap the fullest emotion. It makes for a riveting and intensive start which is an powerful invitation into the album that refuses to take no for an answer.

The title track steps up next to reward entry with an underlying groove and swagger which ignites thoughts of early, but not very early Ministry whilst the devilish appetite of the track especially after its threatening lull, returns with a renewed predation which points to current bands like The Devilzwork though a taste of Young Gods is also louder than a whisper.

The insidiously addictive Ghrelin soon has limbs and adrenaline working overtime, its corrosive mix of rhythmic badgering and acidic melodic twisting a virulent infection around the malevolent tones of Lubert. Again there is an underbelly to the song which comes from a groove of pure contagion bred from an invention which makes it more than just a tool to seduce and a perfect vibrant if blistering hue to the vocal narrative. It is a riveting continuation of what is a rising stature and potency within the album, the further you let it damage synapse, thoughts, and soul the better it gets and impresses. Both the next up Discursion and Innermost push the album to greater heights though split by Sometimes Wounded which makes demands which some will flee from you feel.

The first of the trio is dancefloor toxicity, well if you need a soundtrack to a zombie attack on a packed sea of twisting bodies. With jagged rhythms and a taunting unrelenting heartbeat driven by deliciously serpentine vocals amid splatters of sonic and melodic blood, the track is pure contagion of epidemic proportions, its industrialised stomp the voice to destructive lures from which there is no return. Its successor is a flight, or maybe fall, into the darkest cavernous and perilous shadows, their black embrace cold and confining whilst triggering the imagination and emotions to drift or be chased into best avoided avenues. It is not an easily accessible encounter, which is saying something as no track on Permeate is sculpted to welcome, but one which paints a tomb which is as oppressive as it is descriptive. The third of the three in comparison is a vibrant waltz, one speared by an artillery of spiteful rhythms, acidic melodies, and devious chimes which lay down a beckoning persuasion into another caustic rapacious treat.

As each track explores the laid out world or is it your fearful mind, either is applicable, the tracks and invention display a blend of impacting horrors, cosmic menace, and deep rooted mysticism which especially seems to take its place to the fore with the hypnotic Saw Tawm. A mesmeric wash of primal mystique and tribal instinct driven by an overpowering rhythmic slavery to ensure full submission to its glorious tower of temptation and richly coaxing vocal intonations, the track is the pinnacle of the album, the song you would share blood with.

The opening electro pressing of Numinous expands into a more regular type of song, celestially bred melodies swaying in the sky of the track like torchlight within an industrial air raid of forbidding sonic austerity to spawn another intriguing and imagination sparking venture whilst Mantra is simply a hellish closure not only to the album but sanity. It completes a thrilling album which is not always an easy listen and for some will mean running for the hills to escape its honest provocation and mordant textures. For us though Permeate is pungent industrial manna and one of the most exhilaratingly demanding albums of the year.


RingMaster 28/08/2013


Copyright RingMaster: MyFreeCopyright

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TheDevilzWork: Floodlights

A release to crush skulls and overload synapses, Floodlights the latest album from Australian industrial rock band TheDevilzWork leaves nothing but wreckage in its wake. The album is an eight track corruption which violates and blisters every sense and emotion, an insidious aural decay using sonic manipulation as a weapon and evocative breath.

Formed in 2008 the band was soon firing up crowds across the regions of Melbourne and Australian Capital Territory, as well as releasing a self produced 11-track demo Bad Moon Rise. Shows supporting the likes of Voices of Masada and MzAnnThropik increased the awareness and following for the band, which with the release of Floodlights and some deserved fortune should see greater acceleration in its growth.

The album is a devastating tempest of industrial terrorism brought with malicious strains of diverse agitations from metal and death metal to harsh EBM and cyber crust. The result is as venomous and dangerous as the band name suggests and just as diabolical.

The opening Monochrome immediately seduces and obliterates the ear, its crunching march a delicious intrusion and the melodic whips of sound it unleashes an acidic wash of pleasure. Sounding like a fusion of Sepultura, Young Gods, Suicide Commando, and Skinny Puppy distilled through a sonic wind tunnel, the track ruptures the air with pure abrasive intensity. It is as hypnotic as it is caustic and leaves the senses pulsating and smarting in raw pleasure. The vocals of Tobias and Nailhead crawl and scrape the edges of its recipients as keenly and deeply as the sounds, making for a fully impactful and addictive pleasure.

The following Bulldozer continues the assault with equal heavy malice, its grasping grip twisting and pulling the senses in every direction whilst its overall presence rubs its serpentine sonic salt into the already opened wounds from its predecessor. The vocals rasp and strip the air of any safety whilst the sounds and beats consume with rabid intensity and spite.

The album continues to show no mercy on its victims but does pull back on the oppressive assault with Machine Says No, though it is only for its opening breath. Into its full rampage the track is like a fetid brewing storm devouring every pore, its energy a burning touch to leave further scars of delight. The album like the track is a raging fire of noise and demonic passion which gives equal pain and greedy content.

Through the likes of the sonic bleed that is The Pit and the corrosive instrumental Gibbet, the release explores and unleashes further devastating soundscapes of misery, malcontent and gratification. With acidulous grooves and even stronger ruinous energies the album is not an easy listen at times and one which many will fall before by the time the release is only getting into its stride, but it is so rewarding if one survives its immoral spoils.

With the early Killing Joke/Ministry like Scab and the treacherous melodic seduction of Hive continuing the staggering heights of the opening pair of tracks, the album ignites only deep satisfaction. Every track on Floodlights is staggering and though some steal the highest platforms of acclaim, as a whole the album is a white hot scorching grazing to revel in, and a sonic storm which shows TheDevilzWork as a band where no sound or emotion is off limits to deconstruct and twist to their own sadistic intent.

RingMaster 03/09/2012

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The Amenta: Chokehold

With their new album into its final stages of recording and with an early 2013 release date in the planning, Australian extreme noise metalers The Amenta have made the wait more bearable with the unleashing of the Chokehold EP. A five track release consisting of a brand new song, a cover, two live tracks and a remix, it is a muscular intrusion to devour eagerly. For those new to the band it is a great introduction and for existing fans a collection of songs which feel more than a mere stop gap until the arrival of Flesh Is Heir next year.

Chokehold follows the 2011 release VO1D which saw the first recordings with of at the time new vocalist Cain Cressall. The new EP is similar in its construction of content to its predecessor but hard to tell how reflective it will be of the forthcoming album. One gets the feeling it is giving mere hints though going by history and this new EP one can always expect something of immense quality senses startling.

In the sheet accompanying Chokehold, Tim Pope (samples, keyboards) from the band says the new album “Flesh is Heir is a refinement, progression and deconstruction of The Amenta’s sound. A very guitar-centric album, as a reaction to the deliberately abstract nature of n0n.” The title track gives a definite aural picture to his words and though the trademark maelstrom of discordant and unbalanced melodies, destructive noises, and intrusive electronics are still there, the music carries a surer caustic bruising and scarring through the guitars than on the mentioned 2008 album of ambient electronic destruction.

    Chokehold the song crashes the ear immediately with a gnarly corruptive grinding on bone and cartilage. Instantly oppressive and openly abrasive the track ferments and blisters within the senses breaking down resistance whilst brewing an increasing addiction to its overwhelming violating sounds. The guitar of Erik Miehs is a sadistic venomous Zorro, swiping through the air with sharp acid dripping strokes whilst bassist Dan Quinlan prowls and stalks sanity with a ravenous yet patient heavy pulsating presence. With beats and rhythms from drummer Robin Stone igniting and disorientating synapses, the track consumes and infests with a suffocating majesty spread further by the corrosive tones of Cressall. The song envelops with a tempest of sound which brings essences of the likes of Fear Factory, Young Gods, Ministry, Society 1, and Godflesh, whose track the band cover next up, into an abusive compelling destruction. It is a stunning track which whether it gives strong indication of what is to come on the new album or not heightens anticipation.

      Christ Bait Rising like the opener is said to have been ‘recorded and produced with a modern take on Godflesh’s influential ‘Street Cleaner’ album’s sound and aesthetic.’ What it does do is ignite and further rub raw the wounded senses and emotions caused by the first track. It is another sprawling and sonic scathing of all things safe, bringing a fresh breath and energy let alone intent into an already great track. Not as impressive as Chokehold it still leaves one gasping and reeling under the disruptive onslaught of noise and shows The Amenta a band inspired by and respectful to one of the instigators of noise.

The two live tracks are in many ways more impressive than what came before. Seken and Vermin in their raw state showing the band as one of the most powerful on stage around and able to realise their imaginative and defined elements just as strongly as they produce live crippling intensity and sounds. They also force a definite decision to catch the band live if and when they touch and spoil Europe and the UK.

A remix of Void from VO1D closes the release, its atmospheric ambience and serpentine electronic manipulations a sonic paint stripper upon the ear and beyond. Compulsive and ruining the track like the rest only leaves deep satisfaction in its wake.

Released via Listenable Records, Chokehold is a great snack before the main meal of Flesh is Heir though it also leaves an impatient hunger behind, one only The Amenta can satisfy.

RingMaster 21/08/2012

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