Larry Leadfoot - Hellxotica

Larry Leadfoot - Hellxotica |self-released, 2015| 4/5

1. Leviathan, 2. Discarnate (War Planet), 3. Psychological Warfare, 4. SWAB, 5. Hellxotica

In Australia, where the band comes from, seasonal wildfires are hard to control. And such is Larry Leadfoot's music on their debut EP - once ignited, the musicians try to suppress the flames through dousing them with more fuel. The audible influences stretch between djent, prog, death metal, and grindcore, since the musicians are fans of Strapping Young Lad, Meshuggah, Mr. Bungle, Death, King Diamond, Slayer, and John Zorn amongst many other established names. Tension and thrills are dominant in most of the five songs present on this EP - expect a lot of excitement.

'Leviathan' opens the EP with darkness and gravity. Knotty and down-tuned guitar riffs are skillfully mixed with drum beats. Growled vocals sound murky, and are a bit on the noisy side, but are actually not present too much throughout the track. By the end of this song (and the whole release), it becomes clear that the material has been written to smash listeners to pieces with instrumentation rather than vocal parts. The arrangements sound steady, somewhat hypnotic when the tempo slows down and guitars start rattling in the background, yet they do not repeat often. All this diversity and additional sound effects here intrigue the ear to discover what’s next.

The only entirely instrumental composition, 'Discarnate (War Planet)' starts on a buzzy, heavy and slowly note. Think of Godflesh with its weariness but also everything else that sludge can offer. The song brings a very dark, cinematic atmosphere, so it instantly triggers one’s imagination. Upon reaching the middle of the song, the music goes for a 'binary' flavor, as if becoming further disintegrated digitally. This, in turn, leads to a sudden end.

The intro to 'Psychological Warfare' uses a slow blend of bass, down-tuned guitar and contrasting high-pitched riffage, while the accompanying drum beat is distinctive and fast. Think of arrangements heard in canon black or death metal tracks where darkness and fire prevail. The vocals sound as if coming from the deep pits down below - hidden, growled, tormented, and screamy at times. The wall of sound assaults the ears though a tightly packed guitars-drums cannonade. The band surely know how to control the mood through slowing down or speeding up.

'SWAB' is like a raging fiery tornado on the brink of releasing its compressed tension. The expertly chosen diversity of arrangements plays a significant role here. Drumming and down-tuned, chunky guitars are accented first, while a contrasting rhythm guitar riff along with soloing are enriching the background. There are high-speed flights and stopovers, as well. The vocals are based on a steady leitmotif utilizing deep growls and screams - but again, sound as if coming from beneath the surface. The tempo changes are quite unexpected but they allow you to adjust to them comfortably. And just when you expect all that diabolical atmosphere to end, the arrangements and rhythm take a different turn, pushing into another hell-gate. The band add more sonic fuel in parts where the flames need to be ignited - to suck in and then purge your soul through your ears. The trio make the most of their instruments here and perhaps reach the maximum power possible. This track, along with 'Psychological Warfare' may be the best representation of Larry Leadfoot's song writing and performance skills at this stage.

'Hellxotica' begins noisily, a manifest of the in-your-face method. The song takes you to a battlefield where instruments fight one another. Mad drumming meets unpredictable arrangements brought by guitars and bass - faster, louder, more intense each time. A bit of the pent-up tension is released by the end of the EP, finishing on a slower, droning, and fading-out note.

Larry Leadfoot’s crew are very skilled and cooperate dynamically. It's a pure joy to hear them play together, but also let your ear follow individual instrumentation paths. The band was formed in Sydney in 2011, but Aaron White (guitars, bass) and Nick Parkinson (drums) have been friends since their childhood years. They met Tama Makiiti (vocals) at an audio college several years later. Larry Leadfoot plays shows in Australia, making the best of their hard-hitting music through live application.

On the technical side, instrumental parts have definitely been prioritised - they are produced and mastered very well. Vocals seem to have secondary focus, yet they could have benefitted from improved loudness and depth to complement overall production quality. It is worth noting that Hellxotica was mixed and mastered by Jocke Skog who is best known for his involvement with Clawfinger.

For the purpose of this review, the music was streamed directly from Bandcamp. Hopefully the high quality downloads you can purchase through the band's online store sound better.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, December 23rd, 2015. Proofreading: Mike 'Vesper' Dziewoński)
Source: http://industrialrock.net/php-files_en/articles.php?article_id=570


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Reviewed by Fabryka Music Magazine

Celestial Flesh - Suspended Motion

Celestial Flesh - Suspended Motion |self-released, 2014| 5/5 djent progmetal

1. Dictating (Voices In The Ocean), 2. Open Heart, Open Mind, 3. Breathing With Swollen Lungs, 4. Exposure, 5. Bent To Your Will, 6. Light On The Surface, 7. Speak To Me, 8. Suspended Motion

There are listeners, like me, who are looking for passion, intensity, might, emotions and soul cleansing locked all together inside sound, yet expressed with heavy guitar driven arrangements. Suspended Motion by Celestial Flesh is a perfect choice to fulfill such a desire.

The band's founder, Eric Machel (guitar, bass, drum programming, synth, production) has been playing guitar since he turned 15. In love with intense music by metal acts such as Meshuggah, Gojira, Tool, as well as a varied array of music genres, he has his own vision of music he wants to write and perform. Due to various circumstances however, this American musician has decided to launch a solo project instead of joining or creating a band. Either way, it’s great that he chose to invest his time and talents in music, otherwise we could have never heard of Celestial Flesh.
His newest album, Suspended Motion brings eight instrumental compositions which give a new meaning to the word 'intense'.

'Dictating (Voices In The Ocean)' opens the album with versatile arrangements and a skillful mix of genres. The core of the composition is based on down-tuned, syncopated bass and guitars. Synths and a higher guitar riff contrast the groove, so the mood becomes brighter at times. The drums (played by guest musician Ettore Fritz, also present in the next song) appear in all the right spots throughout the composition. Since the bass & guitars combo drives the rhythm, the drums step in only when a heavier beat is required. If you listen closely, you'll also hear traditional Eastern music arrangements on guitars.

'Open Heart, Open Mind' brings the best of progressive rock and metal together. Drums & bass arrangements represent metal while old-school synths are very typical of the former. Fans of Rush & Steven Wilson's music will feel excited. There are choruses and verses, composed very swiftly yet with pleasingly repeating themes. A diversity of perfectly matched riffs, beats and cold synth passages make the track sparkling and memorable.

Eric's a musical architect. He structures arrangements (bass) then paints them with moods (synth). Since he does listen to a variety of genres, he was able to incorporate their characteristics into his tracks, yet leave listeners without confusion. The less intense, but more atmospheric 'Breathing With Swollen Lungs' is a good proof of the above. There are moments of true progrock & progmetal passion with their knotty schemes drowning the world out easily. The beat present here in the more tender parts of the composition is just enough for an ambient track when supported by dreamy guitar riffs and looped synths. Again, fans of Rush-style bass will instantly recognize familiar sounds.
'Exposure' comes out quite innocently at first, with just a simple stick against stick beat and a gentle guitar riff, but then the arrangements grow big and thorny. The beat is taken over by down-tuned djent guitars but aside of their exponentially unfolding complexity, there are also delicate riffs, fast bass play and guitar soloing interlaced within. The track production and mastering are very well done, as various instruments are properly exposed when necessary, while the overall sound is kept clear.

One might think that there's no chance for progressive metal or djent to sound catchy due to their seriousness and intensity but Celestial Flesh tracks have hooks with decent amounts of hit potential. My personal favourite, 'Bent To Your Will', makes time and space become less important. Listening to it actually feels as if the track drags the listeners away from the ‘here and now’ and throws them into a new, undiscovered dimension instead. It begins with an in-your-face stitching guitar cannonade wrapped with a lovely riff. No sound is left unheard and all are equivocally important. The arrangements live their own mighty life as if they were flooding, erupting, crying, dancing, racing - so they will obviously seize your attention completely. Drums fit in between competing guitars very well, but get full exposure at time as well. Eric showcases his genius guitar & song writing skills here. A natural reaction to this experience may be spreading your arms wide, letting the sounds open and lift you up, then purify to the point of the transformation of your self. A truly addictive song that will rip your emotions from the depth of your spirit after the very first listening.

Now, as a counterweight to this behemoth of a song, the next track called 'Light On The Surface' let’s you rest, as it is characterized by a slower tempo and more rock (even hard-rock) oriented guitar and bass arrangements. This 7 minutes’ long track includes also fierce, repeating moments in the latter half of the composition, but its overall mood is more subtle compared to previous songs.

This undoubtedly therapeutic music is a perfect fit for someone with a good visual imagination. Play the album loud and draw what you feel while listening to it. 'Speak To Me' may be a good example, and it's the only composition on the album to include a person’s voice. To give you an idea, it's sampled the way Ministry used to play with G.W. Bush's speeches on their albums. Drums and guitars are bringing all elements of the composition either closer together while engaging in a friendly battle or driving them apart, giving each other enough space to flourish separately. A lot of high-pitched riffs are crushed into pieces with more down-tuned ones.

There's a good balance hidden in the tracklist - passionate songs are followed by calmer ones. The final track, 'Suspended Motion', features a guest appearance by Alex Basart on guitars and synth and is mostly a soothing, almost romantic affair, yet hides a few potent moments. It allows for taking a deep breath before... playing the album again, and again.

Suspended Motion is a masterpiece of which Eric Machel should be absolutely proud. It brings a powerful catharsis - the soul purification, for both the creator and the listener. Those who understand how music influences brainwaves and heartbeats, will love it. It's a truly colorful, superb release which should never be forgotten. Make sure it won't sink amongst all other indie productions - buy it, promote it, review it and interview this musician. You're gonna love it.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, November 26th, 2014. Proofreading: Mike 'Vesper' Dziewoński)

This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=546

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Reviewed by Fabryka Music Magazine

Stone Sonic - Evolution

Stone Sonic - Evolution (song review) |self-released, Not Your Typical High, 2011| 5/5

Stone Sonic hails from sunny California, where guitar driven music has always done very well. Californian musicians are well known for creating compositions which do not miss compelling songwriting elements while not being overloaded with sounds. It could be said they are the perfect structures, where verses and choruses appear in the right spots to hook you in and keep in time.

The most specific feature of guitar driven music is that it doesn't get old as quickly as electronica does. Of course, any sensitive ear can catch subtle differences in sound between metal such as Queensryche from the 80's compared to the present sound, however it is the progress of technology which determines these changes in production quality.
Stone Sonic makes their compositions based on hard rock, groove and continuously evolving progressive metal in the vein and continuity of Velvet Revolver, The Cult, Mother Love Bone or Disturbed who are amongst their inspirations.
Stone Sonic recently released a song called "Evolution" that appeared on the album Not Your Typical High.

The track is opened by Brooks Ramsdell playing hard rock guitar solos along with a rhythm guitar supported by the music of Randy Bridges (bass) and Steve Coulthard (drums) in an alluring display of harmonic cooperation.
After this intro, Gerry de Leon takes charge of the song by accenting the very first word of every verse with a specific vocal pattern. His razor sharp voice allows him to chop the song into equal parts. The vocals fit well into the melodies and are completed by guitar solos with the support of the rhythm section and a solid groove.

There are a few well known features which determine a majority of music listeners interest in paying attention to a specific song. A listeners choice may come from a correspondence between the songs vibe and the style guidelines of their preferred field of music due to its influence on brainwaves. Duration also becomes ideal in this context, especially surrounding vocals and repetitive parts with the most ideal time being around 4 minutes. Musical skills, vocal talent, rhythm and dynamics all must conspire appropriately to produce harmonic arrangements and dynamic atmospheres.
Last but not least, there are accents on certain parts of a song like solos, overdubs and final mastering that speak for the quality of a song. This formula makes for good promotion which can be done easily with the use of today’s social networks.

"Evolution" complies with all above compositional standards and has a probable chance to become a radio hit. It’s a song which can be compared to a living organism, with its blood flowing strong and healthy stable heartbeat. (Katarzyna ‘NINa’ Górnisiewicz, +Fabryka Magazine January 12th, 2012)

Stone Sonic on:
http://www.facebook.com/StoneSonicBand
http://www.last.fm/music/StoneSonic
http://www.twitter.com/StoneSonic1

Buy on:
http://www.amazon.com/gp/product/B0054MJOEW/ref=dm_sp_alb?ie=UTF8&qid=1307942298&sr=8-7
http://itunes.apple.com/us/album/not-your-typical-high/id442413728?uo=4

Reviewed by Google+ Music Reviews

Rozich and Brailsford - String Theory

Rozich and Brailsford - String Theory (song review) |self-released, album title TBA, 2012| 5/5

If you think you've heard everything related to progressive music and listened to full discographies of such classic bands like ELP, King Crimson, Pink Floyd, Rush, Yes and newer acts like Dream Theatre or Opeth, but at the same time you're not familiar with the name Rozich and Brailsford, then there's no reason to claim you've heard anything at all.

Not passion, but fury marks this instrumental song called "String Theory" which comes from the newest yet untitled album recorded by American musicians Rozich and Brailsford. It's a perfect track which can be compared to the most famous progressive music compositions, however it's directed to those of you who are not afraid to enjoy the heavier side of things.

At first, try to imagine a plasma ball with rays flashing in sync to noisy guitar riffs (similar to those best known from Robert Fripp's playing). Next, an avalanche of bass and drums are kept in the moods of progressive metal dominating this composition. After a while, the guitar riffs return and sound more controlled, replacing the drum and bass parts throughout the entire track. You can also hear synths typical for progressive rock music, which sometimes soothe these roaring sound cannonades.

The middle of the song sounds solid with all of the instruments collaborating together and accenting one another, however there are still dominating guitar riffs that take over the song. The dynamic of the bass lines can be compared to galloping horses, guitar riffs sound like lighting tearing through the night sky and drum beats like thunder while melodic synths sound like passages to rain. The spine of the composition is a cooperative rhythm section that keeps control far and away from chaos.

The end of "String Theory" it's a true duel between the musicians. The guitar player fires at the bass player when he rapidly replies, while the drum beat attacks them both from out of nowhere.
This musical fight is based on 'faster and stronger' rules because it may seem that the winner is the one who uses the moments of advantage best.
There is an intensity of emotions which marks this part of the composition that may also illustrate war, revenge, earthquakes, eruptions, tornadoes or sex. To understand it on a level of metaphysics – a perfect picture of the four elements – Air, Earth, Fire and Water with all their destructive characteristics and potential for damage.

Finally, a winning duo on the battleground is all that's left – Mike Rozich (guitar) and Gavin Brailsford (bass). The musicians met in 1981, though they've kept collaborating together on a distance for the past few years. Guitar techniques and shredding meet powerful passion and talent to make a meaningful composition. Both Rozich and Brailsford have great knowledge about progressive music, however you may catch the fact that they smuggled a few hybrid riffs better known from fusion rock, jazz and even math metal. Additionally, Mike played a seven string guitar in this song.

Regardless of the fact that Mike and Gavin's riffs speak for themselves, it'd be fantastic if they began shouting louder about their music, systematized the bands on-line identity and concentrated on a few meaningful social networks only. This method will collect the largest number of users and would help them find out more about Rozich and Brailsford along with sharing news about their music. Believe it or not, there's amazing music to recommend!
(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, February 15th, 2012)


http://soundcloud.com/rozich-and-brailsford
http://www.last.fm/music/Rozich+and+Brailsford
http://www.reverbnation.com/rozichandbrailsford
http://signmeto.roadrunnerrecords.com/artists/rozich-and-brailsford
http://www.youtube.com/user/maestro10231964

Buy at:
http://www.cdbaby.com/cd/RozichandBrailsford/from/fabryka
http://itunes.apple.com/us/album/string-theory/id503882843?i=503883151
http://www.amazon.com/s/qid=1329326569/ref=sr_sos_1?ie=UTF8&search-alias=popular&keywords=Rozich%20and%20Brailsford

Reviewed by Google+ Music Reviews