RINGS OF SATURN

Deathcore • United States
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Rings of Saturn is an American technical deathcore band from Bay Area, California.

Rings of Saturn was formed in 2009 in high school only as a studio recording project with Lucas Mann on guitars, bass, and keyboards, Peter Pawlak on vocals, and Brent Silletto on drums. The band posted a track titled "Abducted" online and quickly gained listeners.

The band recorded its debut album, Embryonic Anomaly, with Bob Swanson at Mayhemenness Studios in Sacramento, CA.The album was self-released by the band on May 25, 2010. Four months after releasing Embryonic Anomaly, the band signed to Unique Leader Records. In the months following the band's signing, Joel Omans was added as a second guitarist and the band graduated high school which led to it embarking on tours. Embryonic Anomaly was re-released through Unique Leader on March 1, 2011, and the two following albums would later also be released through the label.
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Thanks to UMUR for the addition and Wilytank, tupan, Bosh66 for the updates

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RINGS OF SATURN albums / top albums

RINGS OF SATURN Embryonic Anomaly album cover 4.00 | 6 ratings
Embryonic Anomaly
Deathcore 2010
RINGS OF SATURN Dingir album cover 3.38 | 4 ratings
Dingir
Deathcore 2012
RINGS OF SATURN Lugal Ki En album cover 4.50 | 1 ratings
Lugal Ki En
Deathcore 2014
RINGS OF SATURN Ultu Ulla album cover 3.00 | 1 ratings
Ultu Ulla
Deathcore 2017
RINGS OF SATURN Gidim album cover 3.50 | 2 ratings
Gidim
Deathcore 2019

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RINGS OF SATURN singles (5)

.. Album Cover
0.00 | 0 ratings
Seized And Devoured 2.0
Deathcore 2015
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0.00 | 0 ratings
Inadequate
Deathcore 2017
.. Album Cover
0.00 | 0 ratings
Parallel Shift
Deathcore 2017
.. Album Cover
0.00 | 0 ratings
The Husk
Deathcore 2019
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0.00 | 0 ratings
Mental Prolapse
Deathcore 2019

RINGS OF SATURN movies (DVD, Blu-Ray or VHS)

RINGS OF SATURN Reviews

RINGS OF SATURN Gidim

Album · 2019 · Deathcore
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Kev Rowland
The alien themed tech-death metalheads are back with their fifth album, which according to guitarist Lucas Mann is a return to the roots of their second and third albums, namely ‘DIngir’ (2012) and ‘Lugal El Kin’ (2014). Having not heard any of their music prior to this, it’s difficult for me to comment, but I guess this is therefore quite different to their last album ‘Ultu Ulla’. Musically, the only thing I am really sure of with this is that the note density is off the scale as they mix technical death metal with mathcore and djent and then keep making it go faster. It is incredibly complex, and there are times when the blastbeats surely are not being generated by human feet. There is also a great deal of palm muting going on and the result is something which is incredibly staccato and sounds at times almost like something being put together by the likes of Dik Mik as opposed to guitarists.

It is brutal, and they slow it down at times just so they can impress us all with their incredible speed at the end. It is an interesting album, but it doesn’t contain the harmony and cohesiveness of many speed merchants and there is certainly a feeling that at times they are doing it just because they can as opposed to where it makes musical sense. It is as if Nile and Protest The Hero had a child, and then they went into a studio and were raised with an electro background. There isn’t any electro within it, but some of the sounds being generated and the approach is often more at home in that field that in the metal one. It is interesting, and the musicians involved are obviously highly skilled indeed, but in many ways, this is hard to listen to as it is often technically brilliant as opposed to musically so.

RINGS OF SATURN Embryonic Anomaly

Album · 2010 · Deathcore
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siLLy puPPy
Deathcore is an interesting subgenre of extreme metal that mixes death metal guitar riffs and blastbeats with metalcore breakdowns and was inspired by the ferocity of early brutal death metal bands like Suffocation and Dying Fetus but took things up a few notches. While bands like Antagony and Despised Ion got the ball rolling in the early 2000s, it was only a matter of time before these types of acts started to hybridize with other genres including progressive rock and lo and behold, it didn’t take long at all for bands like Veil of Maya and Born of Osiris to crank out some bonafide progressive deathcore however they weren’t the only game in town and there have been quite a few bands to emerge in their wake.

One such band is RINGS OF SATURN that formed in the San Francisco / Oakland / San Jose suburb of Dublin, CA in 2009 as a studio only project by Lucas Mann (guitar, bass, keyboards), Brent Silletto (drums) and Peter Pawlak on vocals who were only ages 16 to 18 and still in high school at this point. While the band would expand its lineup, it was this core trio who wrote and recorded this debut album EMBRYONIC ANOMALY which emerged the following year. This debut, the only album to feature Pawlak on vocals before his departure pretty much set the stage for the band’s growing popularity in this field of extreme metal. With lyrics based on extraterrestrial life and outer space, RINGS OF SATURN crafted a unique hybridization of deathcore and progressive metal along with the more astute virtuosic wizardry associated with technical death metal.

While many such deathcore albums can be a noisy affair which is what true metalheads like them for, more often than not many bands can also fall into the sea of mediocrity with no redeeming features to help them stand out from the excessive crowded club. No such case with RINGS OF SATURN on EMBRYONIC ANOMALY as this band found a few ways of standing out from the getgo. While the band cranks out all the expected death metal rampaging guitar riffs with incessant blastbeats bantering away along with beastly guttural growls, these guys also make ample use of silence with staccato palm muted riffing as well as technical soloing and angular time signature assaults that add a touch of brutal prog to the already caustic metal ambush. There are also moments of jazzy interludes that bring tech jazz-metal wizards like Atheist to mind at key moments but mostly these guys manage to weave a noisy tapestry of dissonant deathcore angst with enough varying elements to make this is pleasant experience for my ears.

At times this band has some seriously mathcore-ish chops and remind me of Psyopus with guitar wizardry whizzing up and down the fretboard while other times guitar stomps punctuated by silence offer brief moments of reflection on the incessant stampede of freneticism that sounds impressive considering this is a mere trio of high school kids! Many of the neoclassical guitar solos mixed with the death metal aspects reminds me a bit of Necrophagist but the metalcore breakdowns keep this from sputtering out in that direction. I’m impressed by Pawlak’s vocals as well as he manages to venture beyond the one-dimensionality of guttural growls and provides some serious screams that have some octave range. There are a few atmospheric moments that make use of the keys but mostly this is a metal moshpit inducing eruption of energetic overflow. Deathcore is one of those styles of metal that you either love or hate and by adding progressive elements may make some hate it even more but i’m quite impressed with this debut by RINGS OF SATURN as it has a dizzying display of youthful angst with the unexpected depth of more seasoned professionals.

RINGS OF SATURN Embryonic Anomaly

Album · 2010 · Deathcore
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BrydenEinfeldt
So here we have Rings of Saturn, a technical/experimental death metal/deathcore band who were conceived in the Summer of 2009. What makes their debut album "Embryonic Anomaly" so special? I'll tell you what.

From the cosmic, yet whimsical opening of "Seized and Devoured" all the way to the eerie closing track "End of Humanity," this album drew me in with its myriad of spacey riffs, juicy death vocals and clean, complex (but still unrelentingly brutal) drumming. And you know what? It kept me right where it lead me to, the whole way through. This album is truly a memorable experience, and I'll explain why.

After quite a few intensive listens, this album really started to grow on me. One reason is that the riffs, being stranger than anything I've ever heard, aren't that of modern technical death metal bands. They are their own thing completely, and are brilliant at that. These riffs will utterly perplex you, leaving you both scratching your head in wonder and wanting more; they grab your attention immediately. And unlike a lot of other releases, these riffs are found all throughout the album, and will continue to hold your attention the whole way through.

Second, the production of this album. "Embryonic Anomaly" features crystal clear production for being independently released. A lot of people would frown upon this, asking themselves if the band could replicate this sound live. However, in this case the crystal clear production is a perfect fit for the album. As for the instruments and how they fit in with each other, every instrument is perfectly audible and in sync with one another, with the exception of the bass, which I had to listen for. Even thought the bass is nearly inaudible, it does get a few chances to shine through on its own, notably 50 seconds into the relentless killing machine that is "Corpses Thrown Across the Sky," which features the most intense breakdown I have ever had the pleasure of hearing.

Ah yes, the breakdowns. There are many throughout the album, from the alien-esque one that wraps up "Invasion," to the one mentioned above, all the way to the spacey, drawn out one featured in "Final Abhorrent Dream." While there are many, I did not find myself annoyed like I do with most generic deathcore bands. If anything, the breakdowns add to the ferocity of this cosmic chunk of experimental death metal.

The lyrics. While being about alien invasion, they're still pretty stock death metal, so don't expect the seriousness you'd get from bands such as Obscura or The Faceless. Even though they contain the stereotypical death and gore of a stock death metal release, it fits perfect with the playful and mischievous atmosphere of this album, so no sweat.

This release is truly excellent in all it's alien glory, and I'm giving it a full 100% for its uniqueness, reasonable length, and for being extremely memorable.

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