Archive for Karisma Records

Karisma Records sign jazz rockers Ossicles

Posted in News with tags , , , , , , , on 19th March 2014 by Nico Solheim-Davidson

Karisma Records, the Norwegian label that focuses on the more progressive side of music, have recently signed jazz rockers Ossicles and will be releasing the duo’s follow-up album to their 2012 release Mantlepiece. The band will be entering the studio in the summer to begin recording and it is expected that the new, as yet untitled album, will hit the streets towards the end of the year.

Formed in 2011 by cousins Sondre Veland on drums, percussion, vocals and keyboards, and Bastian Veland on guitars, vocals, bass, upright bass and keyboards, Ossicles is, according to the band, a constantly evolving project that is influenced by genres as varied as jazz, rock, avent-garde, ambient, noise and minimalism.  Mantlepiece, which was a double album released on Ossicles‘ own label, No Weather Records,  was largely written when the two cousins were around the ages of 16 and 17, but also includes later material, as well as tracks written during the recording process itself.  On the strength of this release Ossicles was invited by Mike Portnoy to appear at the Progressive Nation at Sea Festival in 2014, an opportunity the band sadly had to turn down due to the high cost of travelling to the USA to join the ship in Miami.

Ossicles online:

http://ossiclesband.wix.com/ossicles
http://www.facebook.com/Ossicles

 

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Karisma Records announces details of Brimstone’s upcoming album

Posted in News with tags , , , , , , on 4th March 2014 by Nico Solheim-Davidson

Five years have passed since the release of Brimstone’s last album Smorgasbord, now Karisma Records is set to release the fourth full-length album from the Norwegian prog rockers who have not only shortened their name from The Brimstone Solar Radiation Band but have also changed their sound into something that they describe as “leaner, meaner, hungrier, and much more proggie” than before.

The new album, which is titled Mannsverk, will hit the streets on the 24th March in CD, Digital and Vinyl formats.  Track listing for Mannsverk as follows:

1. A Norwegian Requiem
2. Rubberlegged Man
3. Voodoo
4. Flapping Lips at Ankle Height
5. The Fixed Wheel
6. The Giant Fire
7. Sjø & Land
8. This is the Universe

Brimstone online:

http://brimstone.no

 

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Airbag reveal artwork and track list for 3rd album “The Greatest Show On Earth”

Posted in News with tags , , , on 17th September 2013 by Pieni

 photo AirbagPR_zps7a99b94b.jpg

Norwegian prog-rockers Airbag are completing the making of their 3rd album “The Greatest Show On Earth”, whose 50 minutes of emotions will be distributed by the following six tracks:

1. Surveillance (part 1)
2. Redemption
3. Silence Grows
4. Call Me Back
5. The Greatest Show on Eart
6. Surveillance (part 2-3)

 photo AirbagPR1_zpsfdc19244.jpg

This album seems to have a rougher and heavier edge, yet without changing the original Airbag identity. Here’s a teaser of what’s to come, taken from the band’s YouTube channel:

Airbag online:
Website: www.airbagsound.com
Facebook: www.facebook.com/pages/Airbag/21137836128
MySpace: www.myspace.com/airbagsound
YouTube: www.youtube.com/airbagsound

Karisma Recordshttp://www.karismarecords.no/

Sulphur – Thorns In Existence [2010]

Posted in CD, Metal with tags , , , , , , , , , , , , , , , , , , , , on 19th June 2011 by Nico Solheim-Davidson

Band: Sulphur
Album: Thorns in Existence
Release year: 2011
Genre: Blackened Death Metal

Sulphur, who formed from the ashes of nineties black metal band “Taakeriket” and are made up of ex-members of Gorgoroth, Aeternus and Enslaved, have been a fierce, dominating force to be reckoned with in the Norwegian metal scene. Following a few years of laying dormant, Sulphur are back and fiercer than ever with “Thorns In Existence”.

”Revelations” begins with an eerie yet cheesy keyboard introduction, the kind that would be heard in a low-budget horror film. The guitars and drums, while greatly composed, are lighter and more melodic than expected. “True Father Of Lies” follows after, continuing from where “Revelations” finished. The guitars are less melodic and focus more on violent riffs, whilst the drums favour an aggressive approach as well. The vocals are ruthless and unrelenting, keeping the track beastly and heavy. A huge improvement from the first track “Revelations”, though the keyboard section on this track has a hint of cheesiness.

“The Purifying Flame” begins with a very creepy set of sound effects which are soon replaced by ferocious guitar riff and a brutalising drum pattern. The vocals, again are ruthless sounding, unrelenting in their aggression throughout most of the track. The strained whisper-like vocals combined with the slow guitar riff bring a new dynamic to the track. The guitar solo is most impressive, blending well with the stream of double bass pedal. The next track, “Hunting Sickening Seas” starts with a slow, brutalising and shockingly good intro. The vocals have more of a death element which mixes in well with the slow intro. There is a use of clean vocals on the track which gives it more a creepy sound. The acoustic section about half way through the track is a surprise yet a welcome break in between the storm of guitars, vocals and drums.

“Luna Noctiluca” follows after with a slow-paced, brutal and melodic guitar and drums section. The tempo increases with the introduction of the vocals. There is a contrast of clean vocals and screams, which works well with the music. The guitar solo is certainly a highlight of the track and perhaps one of the most enjoyable things about the album. “Into Nothingness” fades its way next. Even after the faded intro, the track seems weak and soft. In some sections, the vocals sound odd and the drums are semi-audible. in the same way it began, it fades out, making way for “Inverted Visions of Eternal Salvation”. It begins with a half-muted intro which soon turns beasty and aggressive. The drum work is intelligent, whilst the guitars are masterfully played and composed. The vocals are still going strong, working well with the synth sections. The track ends on a very creepy note.

“Ravner Beiter I Banesår”, which roughly translated means “Ravens pastures in his death-wounds”, blasts its way next, turning up the level of violence and brutality. The vocals are more slow-paced compared to the guitars and drums, though just as beastly and savage. There are some melodic riff use in one or two sections of the track, which is a pleaser for those who prefer melody over brutality. The track ends with a dramatic symphonic section. “Throne of Illusion” is the second to last track, beginning with a ghastly synth riff, similar to one found in a previous track. The guitars and drums that follow are nothing short of violent, savage and barbaric. The vocals have the bloodthirsty sound to them, as is to be expected. The breakdown towards the end is extremely unexpected however brings a whole new level to both the track and the album.

“A Crimson Line” is the final track of the album. The introductory riff is similar to one found on a Lamb of God album, only with more bite. The brutality and melody contrasts and blends brilliantly and the vocals are still going stronger, perhaps stronger than what they have been for the rest of the album. The use of keyboards and drums only on part of the track is just pure genius. “A Crimson Line” is certainly one of the best tracks on the album.

It’s easy to see why Sulphur have been a dominating force in the Norwegian metal scene. “Thorns In Existence” combines the best of black metal and death metal and mixed in a vast amount of musical genius and talent. This is certainly one of the best albums to come out of Norway since the early days of the Norwegian black metal scene.

5/5

Nico Davidson