Manumit – Digital & Hostile

Manumit Online Promo Shot

Creating a sound which is fresh and striking whilst employing a wealth of familiar essences from a healthy array of genres, Welsh solo artist Manumit follows up the success of and acclaim for his previous singles and EPs with debut album Digital & Hostile. It is an enthralling proposition which entangles rich elements of heavy rock and electronic invention with equally potent strains of amongst many dubstep, drum n bass, and post hardcore. Released via Lost Generation Records, Digital & Hostile is a thoroughly compelling proposition which ebbs and flows in its success but never submits to predictability whilst exciting ears.

Brought to life in 2012, the Bridgend, South Wales hailing project took little time in grabbing attention and keen recognition. Manumit’s first EP F**k Genres, Love Music soon woke a hunger in fans and potent interest from the underground media upwards for his sound whilst the music video for the track Walk Away soon become a centre of attention on the likes of Scuzz TV. Subsequent singles and videos emulated that early success and bred a stronger anticipation for the band’s first full-length. Bringing those earlier singles together with a host of new songs, Digital & Hostile is a ten track adventure which from start to finish intrigues and flirts with the imagination.

The release makes a gentle opening with the intro of Sacrifice, a guitar making a lone evocative coaxing within a colder atmospheric drift of sonic whispers. It is a thoroughly engaging start to the track soon making an even stronger seduction with the excellent vocals of Manumit. The song simmers in the warmth of melodic rock at this point with a folk lilt to the vocals and melodies yet all the time in the background you sense something is brewing and moving towards the foreground of the song. It arrives in a fiery blaze of electro rock, Pendulum immediately coming to mind as the track bristles and rages within the pulsating embrace of its electronic invention. It stops itself from being a replica of existing propositions though with the continuing of the excellent melodic rock enterprise unveiled earlier in the song and the great vocals which also employ post hardcore antagonism in their delivery.

The track is a strong and appetite sparking start which the following Walk Away easily continues. It also opens with a gentle emotive stroking, a piano this time casting its melodic beauty over ears and imagination swiftly joined by the Manumit Cover Artworkagain deeply impressive vocals. There is a touch of Coheed and Cambria to the start and it too is brought into an electro maelstrom of temptation though with a stronger lilt to the heavier rock side of the track this time. Vocal squalls add to the wide texture of the song whilst the aligning electronic endeavour brings a mesh of Nine Inch Nails meets Skrillex to its striding triumph. As with its predecessor, it does feel like the track is one spark too short in its fire, never exploding into the rigorous tempest you expect and hope but it does not stop either from making a thoroughly enjoyable and impressive start to the album.

Do The Right Thing also glides in gracefully, its exotic tempting on an electronic breeze almost Peter Gabriel like. In no time it erupts with raw emotionally charged vocals within a thick and inventive weave of electronic incitement, all veined with heavier rock riffs and rhythmic provocation. Vocally the song is as superb as those before and after, the strength and expression of Manumit a striking given success across the album, whilst the expectations evading twists of the song and the classical elegance of keys within the bustling sonic storm is at times bewitching. It is another very potent proposition for the main matched by both Everything Changes and When I’m Gone. The first of the two is a flowing persuasion of electro rock with plenty of tenacious essences from both sides of that mix in its evocative stroll whilst the second is a gentler but no less busy croon of emotive keys and electro radiance splintered by an array of punchy beats and incendiary guitar designs. Maybe the least impressive track so far it nevertheless is an infectiously captivating song showing the strength of the album.

Another diverse twist comes with the album through the magnetic balladry of Your Body Giving Up. Fronted by the glorious and seductive tones of Tanyth Roberts, the song is a sultry flame of atmospheric tension, melodic drama, and electronic intrigue which makes more of a lingering impression and success than an upfront persuasion but emerges as one of the most riveting songs on the album. Its enslaving provocative charm is followed by the energetic stomp of Can You Hear Us? From a nintendo-esque opening, the song bursts into a rampant charge of electronic and heavy rock tenacity, merging the electro punk roar of a Jensen with the more mischievous virulence of a Hadouken or Axis Mundi. It is an irresistible contagion which is as antagonistic as it is anthemic, and the best track on the release.

The raging urgency continues in Abuse Of Power, its raw challenge lyrically and musically tempered by the melodic vocals and electronic designs which seduce the imagination as much as the quarrelsome textures and hardcore tones within the proposition. Elegant keys also add to the drama and though the track does not grip as many others, it is still a masterful persuasion before making way for The Passing Of Nothing. It is a track which starts much like the opening pair on the album, from its delicious harmonic and melodic initial touch evolving into an electronic and vocal blaze around a stirring sinew sculpted slice of rock. You are never too far from thoughts of Pendulum with many songs but with the numerous other flavours flowing through them, here a Spineshank like industrial metal spicing at play, Manumit takes every song into a distinctive corner.

Closed by the transfixing Afterflow which from a underwhelming start emerges as another engrossing incitement, thanks predominantly to Manumit’s fine vocals and a steely anger to the song’s body, Digital & Hostile is a formidable and richly pleasing release. Whether it is as intrusive and raucous enough to match its undoubted potential is one for the individual but Manumit has shown himself with the album, to be one of Britain’s more creatively dynamic and exciting prospects.

Digital & Hostile is available via Lost Generation Records on 1st September @ https://itunes.apple.com/gb/album/digital-hostile/id883699098 and other online stores.

https://www.facebook.com/manumitofficial

Live Band line-up: ( Manumit – Vocals/guitar/keys/samples;Skullfunk – Vocals/MC;Larusso – Guitars, Bandit – Drums.

8.5/10

RingMaster 01/09/2014

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/

 

Jingo – The Art Of Loving

jingo

One of the artists which has truly excited and impressed without reservation over the past couple of years has been UK band Jingo. The London based quartet has inspired critical acclaim and a hungry fan base through a series of diversely inventive and explosively creative singles. It has led to an impatient anticipation for the band’s debut album and now that it is here, it feels like we all short changed them with our hopes and expectations. The Art Of Loving is an exceptional encounter, a delicious collection of melodically fiery and emotionally intensive songs which have a revelry which seduces feet right through to the passions. Individually unique but uniting for a fluidly captivating adventure, the album brings some of their previously released singles together with striking new songs. Those older tracks though which fans already know well and love, have been revitalised in their mix as well as in their actual bodies to create nothing but fresh and scintillating exploits within the exhilarating album.

Jingo consists of guitarist/vocalist Jack Buckett, his American wife and vocalist/keyboardist/guitarist Katie, drummer Joseph Reeves, and bassist Chris Smith. Since its early days and shows across Brooklyn, New York and London, Jingo has gone from their first gig which saw them supporting Graham Coxon of Blur, to being compared to the likes of Fleetwood Mac and The Magic Numbers, and to gaining fevered attention and support from independent press and radio whilst becoming one of the most talked about bands with fans and again the underground media. Their nine singles marked the band firmly out as having the potency to break into the strongest spotlight of attention and recognition, now the year in a half making The Art Of Loving could and should be the doorway into that expansive scenery for Jingo.

With former member Sahil Batra adding his talent to some of the tracks too, the band instantly ignites ears and imagination with album opener Black Flowers. A heavy air and throaty bass coaxing engrosses ears straight away but it is tempered by the vocal seduction of Katie. It is a magnetically intriguing union of hungry shadows and vocal temptation which only gains further potency as post punk scythes of guitar add their voice to the compellingly brewing emprise of the song. Once hitting its sultry stride, the track is awash with evocative keys and a metallic resonance to riffs which adds mystique and intimidation to the encounter respectively. The song is a dramatically contagious and ingeniously crafted fusion of light and dark, merging the  heavier seventies rock essences of Jess & the Ancient Ones in majestic flirtation with the melodic beauty of The Magic Numbers and the atmospheric beauty of Solar Halos, but ultimately something unique to Jingo.

   The following Skypunch opens with an elegant caress of keys but also another imagination grabbing breath of dramatic breeding. It is fair to say there is a powerful drama to all of Jingo’s songs, all different but all building an intensity and climatic narrative musically and emotionally. The second track soon parades a cinematic landscape of sound and emotion, its thick yet warmly charming enterprise suitable for a narrative of global espionage or intimate emotional dilemma. Keys and drums entangle with strenuous ideation across the song whilst Katie roars with mesmeric beauty matched by the similarly vocal endeavour of Jack’s expressive guitar invention.

Both When You Want Me and Belong To You take the listener into imaginative journeys of tenacious and creative revelry. The first comes through a sonic almost sinister ambience to cup ears in an engaging vocal tempting amidst a

bordering on tempestuous climate which like the rhythmic enticement seems to grow and bulge with intent the deeper into the song the listener finds themselves. Looking like it is heading into a storm, the song instead twists back on itself to parade a glorious stomp of funk seeded melodies and boisterous rhythms courted by a psychedelic enticing of guitar and keys. It is an engrossing and impossibly infectious song almost matched by its successor. Belong To You opens with a bass lure which offers hints of The Pixies before joining a warm flame of chords and the even hotter vocals of Katie. With a masterful rhythmic dance from the sticks of Reeves creating a gripping spine, the song smoulders energetically with a sixties pop and psychedelic infectiousness but also a provocative aural melodrama to voice and the multi-flavoured textures erupting throughout the outstanding track.

That sixties feel with a just as strong fifties pop additive, brings the following title track to enthralling life too. Barely a minute long and simply the voice and harmonies of Katie accompanied by finger clicks, it is simply mesmeric and irresistible. Like Wanda Jackson meets Sarah Vaughan, the track is a small treat and soon making way for Home. Right away there is angst and drama, a word impossible not to use with every song, to the thick bass hues and short stabs of guitar which skirt the visually provocative vocals. The track is sensational, a seductive and mentally intrusive aural movie which sets body and emotions ablaze whilst coaxing thoughts to create their own personal adventures.

A gentler flight is brought by the brilliant Blue Wail. Exotic vocal expression and jagged guitar teasing wraps engrossingly around thoughts whilst bulging rhythms and bass sultriness adds to the Caribbean coloured canvas spawning the

Artwork by Katie Buckett

Artwork by Katie Buckett

creative devilry emerging above it. It is a transfixing fascination of sound for ears and imagination soon emulated in its own distinctive manner by Before You Were Born. The song is an emotively enchanting ballad but one still fuelled by vivacity through its rhythms and invention which keenly engages the striking heart felt vocal presence of Katie. It is a delightful embrace, if not as potent on the passions as other songs on the album, which shares its intimacy and passionate depths with the magnificent Jaclyn. Written about a friend of Katie who killed herself, the song is simply creative vaudeville set in the walls of one of the most creatively inspired and melodically pungent songs you are likely to hear this year. Every second, note, and syllable is soaked in passion, anger and love entwined in a fire of invention and yes aurally poetic drama. There is also a sultry seduction to the song which weaves and swerves curvaceously before ears to entice and pull the senses into the heated grandeur and personal fever of the track. Brilliance hardly covers it.

The jazzy elegance of Same Without You is next and cored by a piano grace, proceeds to cast a melodic temptress of itself melodically and theatrically to stand hand in hand with the similarly seductive vocals. With broody basslines and individual fires of invention lining the sensational enticement, the song is a climate of invasively emotive hues, melancholic ambience, and lustful invention, much like next up IQ84. The track from its first moment is parading an irresistible web of choppy riffs, jangling chords, and mountainously heavy bass and rhythmic sculpting. Complete with seventies seeded keys, a touch of The Stranglers not for the first time hinting away in keys, and virulently suggestive and flaming atmospheres, it is another stunning pinnacle in the release.

The Art Of Loving is brought to a close by the increasingly captivating beauty of Don’t Call It Love, a resourceful and melodically shimmering ballad once again allowing Katie to show the depths of her voice before utilising it in a crescendo of creative courtliness enclosed in a tempest of united passion and inventive energy. It is a slow burner of a song which given time matches the depths and heights of the other songs on what is easily one of the albums of the year. Fans of the band will probably expect to hear that but even they will have their breath taken away by its magnificence.

The Art Of Loving is released on September 1st @ http://jingomusic.bandcamp.com/album/the-art-of-loving

http://jingomusic.com/

10/10

RingMaster 31/08/2014

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/

 

 

 

 

DeadAudioSaints – The Purge EP

 

DeadAudioSaints Online Promo Shot

Imagine the raw energy of early Therapy? and the industrial snarl of Pitchshifter aligned to the passionate fire of Reuben with the virulent melodic seduction of Queens of The Stone Age, and you get a keen idea of the explosive thrust and creative tenacity to the contagious sound of UK rockers DeadAudioSaints. Theirs is an aggressive yet warmly anthemic incitement which across debut EP The Purge, leaves you feeling like the prey to their musical intent and focus of their inventive persuasion.

Formed last year, the trio consists of the brothers Danny (vocals/ synth) and Corey Jones (bass/guitars /synth) with childhood friend Tyla-Joe Connett (bass/programming). Their most potent inspirations the band lists as 30 Seconds to Mars, Placebo, Marilyn Manson, Rob Zombie, and Queens of The Stone Age though to be honest apart from the last they are very low whispers in a sound which is not sculpting new templates to follow but definitely providing a fresh and striking not forgetting distinct voice to British rock music. Their first grab at nationwide appetites has been recorded with Matt Eliss (Skarlett Riot, Black Spiders) and The Purge EP swiftly sets out all the reasoning to make DeadAudioSaints a band to pay close attention to now and ahead.

The release opens with current single and title track, from its first breath a song which scorches the senses and incites the instinctive rocker in us all. A sonic tease turns into a simmering wail across a predatory bassline and matching 51EgX2CUlnL._SL500_AA280_rhythms, their instant stride n imposing waking call to the imagination. The song is soon a blaze of hungry riffs and antagonistically appealing vocals caged by the increasingly potent rhythmic provocation. With senses binding grooves and an industrial metal swagger, the terrific track is an incendiary brawl of sound and bounding enterprise which leaves you only wanting more.

It is followed by Tear Apart which also makes a dramatic entrance with rigorously strolling riffs, a flavour of early Marilyn Manson unmistakable, and equally rugged beats crowding ears with muscle and intensity. It is not a savage demand though with another dose of infectious hooks and grooves playing with the passions whilst the vocals of Danny and band add to the irresistible invitation of the imaginative track. Less urgent than its predecessor, the song still unleashes a hefty weight and pace to its enticement to ignite body and emotions.

The Game is a darker encounter, its emotion and presentation shadowed to reveal another creative landscape in the band’s sound. The song almost stalks ears and thoughts, its intensive emotive narrative matched by the raw and dark tones crafted by bass and guitar and coloured provocatively by the dramatic keys. It is a slow burner compared to the previous tracks but a song which still captures the emotions without reserve if with a less lingering bait than the other exploits of the EP.

There is a great caustic air to the next up Don’t Like You, a fusion of punk voracity bringing a stronger roar to the stirring and addictive contagion of its romp. The bass finds a delicious growl to its tempting whilst the rhythms again charge with strenuously flexing sinews. It is a brute of a song, guitars and vocals flaring with creative endeavour and passionate energy, everything combining for an addictive proposition, though straight away shaded by the closing rampage of Taking Control. If the last was a brute then the closer is a carnivorous beast, bass and drums again laying down a seriously compelling and voracious canvas upon which a weave of Pitchshifter like abrasing and Therapy? bred relentlessness erupts in a fire of creative toxicity. It is a scintillating tempest of sound and energy, a torrent of invention which ebbs and flows in its assault yet never relinquishing the strength of its melodic enticing and giving it moments to uncage a venomous brilliance. Electro rock, punk, hard rock, and alternative metal all rolled up into one, the track is a severely gripping storm and the pinnacle of the EP whilst with the title track impressively bookending an explosively thrilling release.

Raw in all the right places and elegantly creative throughout, The Purge is a maelstrom of sound and ideation which suggests that DeadAudioSaints has a very healthy and rewarding future; certainly our ears and hearts will on the evidence of their debut.

The self-released Purge EP is available from September 1st through all stores including http://www.amazon.co.uk/gp/product/B00L6NTJCA/ref=as_li_tl?ie=UTF8&camp=1634&creative=19450&creativeASIN=B00L6NTJCA&linkCode=as2&tag=uberoc-21

www.facebook.com/DeadAudioSaints

9/10

RingMaster 31/08/2014

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/

 

 

 

King Canute – Drive EP

King Canute Online Promo Shot

When UK rockers Ghost of the Highway came to an end two years ago fans were definitely left with a hole to fill in their enjoyment. Rising from the ashes, band member Johnny Lett (bass/vocals) has alongside Chris Woollams (drums/vocals), easily brought a new provocation to thrill over and bridge that gap in the compelling shape of King Canute. Fusing heavy rock and punk in a much more ferocious and raw yet voraciously imaginative brew than previous exploits, the duo made an immediate impression when emerging last year and its continues in the potent brawl of new EP Drive. Four tracks which roar and incite with unfussy and magnetic tenacity, the release is a storm not exactly setting out into new scenery for UK rock but undoubtedly giving it and fans a compelling adventure to keenly embrace.

Hailing from Guildford and Harlow, since forming King Canute has taken little time in raising support and attention with their at times uncompromising sound. They have lit up stages alongside the likes of Slaves to Gravity, Zico Chain, Idiom, Bad for Lazarus amongst a great many, as well as drawn acclaim with debut EP Cutting Teeth, it receiving equally strong media attention. The release which featured Jamie Lenman (formerly of Reuben), set down a feisty first marker for the band which Drive now pushes deeper with a richer persuasion, the Gavin Monaghan produced EP leaving ears and appetite with a new hunger for the band.

Cocaine Skank is the first encounter on the EP and instantly entwines ears in a mesh of vibrant rhythms and tempting bass, both increasing their coaxing in urgency and persuasion as the song evolves into a punchy incitement. Hooks King Canute Cover Artworkand short grooves add to the appealing and raw texture of the song whilst the vocals offer a potent expression and raw honesty to the proposition. A healthy punk antagonism crowds ears and riffs too whilst there is an alternative rock invention to the twists and turns the song seamlessly strides through.

The title track comes next and takes a more considered gait into its just as swiftly appealing presence. With scythes of chords and sonic temptation sweeping behind the strong vocals of both men, and a thumping rhythmic prowl inviting the fullest engagement, the song is a simmering hostile and openly anthemic enticement. Essences of Queens Of the Stone Age colour the impressive song but it, and the others making up the EP, most of all spark thoughts of nineties British rock band Skyscraper. Its captivating impact is matched by the following Trash Talk. Primarily electro punk but with aggressive abrasing and mildly corrosive melodies, the song is a mix of OurFamous Dead and Hundred Reasons with a touch of Alkaline Trio yet unique King Canute all the same.

An electro coaxing swiftly leads into the caustic arms of bass as Hellmates begins bringing the release to a close, jabbing rhythms and the similarly honest and expressive vocals of the pair soon joining the contagious bait. The song’s swagger is an instantly successful lure whilst the slipping into slower evocative moments, without gripping as potently still leaves thoughts and emotions enthralled. The song is again punk rock at its heart but the electronic veining, which equally pushes the potency of the song, and the exceptional intimidation of bass with its gnarly flavouring, all go to create a fresh and inventive proposition.

Drive confirms and reinforces the impressive emergence of King Canute whilst suggesting of greater things and more dramatic sounds ahead. That may come in the shape of the band’s debut album which they are currently working on for a 2015 release. Time will tell but it is hard not to have a healthy anticipation for its arrival thanks to the richly satisfying Drive EP.

The Drive EP is released 1st September and available through all good digital outlets.

www.KingCanuteOfficial.com

8.5/10

RingMaster 31/08/2014

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/

Alone With Wolves – The End of Nothing EP

10269653_853014901379980_8183789314073646384_n

Fusing an impressive and striking fusion of heavy rock with a voracious metal intensity, UK band Alone With Wolves has a sound which sits easily within the varied shades of metalcore and post-hardcore as well as quite simply rock and metal. The proof is in the band’s new The End of Nothing EP, a five track collision of flavours which combine for a passion drenched and thoroughly captivating tempest of sound and emotion. The band on the evidence of their impressive second release, fuse the strongest essences of those previously mentioned styles into something which has a familiarity to its angst and presentation but an individual freshness which sets the Hertfordshire sextet apart from most of the crowd.

Formed in 2011, Alone With Wolves were swiftly into a charge of shows across the South of the UK, including sharing stages with the likes of Hildamay and Mallory Knox. The band was soon recruiting a passionate fan base and following, which their self-titled EP of 2012 only reinforced and pushed on. Their sound is simultaneously melodic and ferocious, as mentioned combining a varied weave of flavours inspiring comparisons to bands such as Alterbridge, Architects, 30 Seconds to Mars, and Deaf Havana. Alone With Wolves has certainly been brewing up potent attention to date which the new EP has the potential and power to take to a nationwide spotlight.

It launches itself with a sonic enticement as Cutting Ties sizes up ears before expanding into an imposing but inviting mix of raw riffs and melodic enterprise driven by sinew swinging rhythms and a great throaty bass sound. It is not a 13606_925710967443706_5848660365238708299_ndramatic but certainly appetite awakening start which the combined persuasion of vocal roars from guitarist Lewis Watson and the clean magnetic melodic tones of Danilo Fiocco are soon colouring with emotion. The track is as antagonistic as it is enticing, two sides merging for a fiercely potent and adventurous blaze of sound which ebbs and flows in its rage and intensity. It never settles into a less than voracious stance though, the rhythms of drummer James Noble and bassist Mark Stanford fuelling a creative hostility whilst guitarists Watson and Kieron Baker craft an enthralling narrative of riffs and melodic endeavour.

The strong start is followed by the raw opening brawl of the title track which is soon sharing the suasion of a great contagious and melodic weave aligned to Fiocco’s impressive delivery backed by Stanford and rivalled by the squalling tones of Watson. The song is an appetising encounter which feeds expectations at first but a sudden shift into rugged metal territory and subsequently a seductive flight of expressive melodies soon has intrigue and unpredictability as vocal as the passion and enterprise drenching the track.

My Life In Your Hands has a more metalcore cored explosiveness to its presence but again the at times almost duelling vocals and emotive ideation of guitars takes the song to a powerfully satisfying adventure. The least dramatic of all the tracks, it still potently feeds an open hunger inspired by its predecessors, the invention of Baker impressing especially, before the outstanding enticement of The Change takes over. A more tempered and melodic hug from the start but with a sturdy intent to the muscular rhythms framing the impassioned drive of the expressive hues and vocals, the song croons with an intimacy which is arguably less open in other tracks. It is no lightweight though, jagged riffs and thumping beats a demanding proposition caging the raw beauty within. With only the fade out of a quite climactic finale annoying, it is the biggest highlight of the encounter.

The closing With You In Mind is an intensively imposing onslaught of rhythmic provocation and senses bruising aggressiveness which still embraces a mouth-watering flame of sonic and melodic invention. It is as mesmeric as it is challenging and an enthralling tempest of invention and passion to bring The End of Nothing to a climactic conclusion.

It is fair to say that The End of Nothing EP did not ignite a raging fire in the belly for it but it is one of the most invigorating metalcore/post hardcore releases this year and the spark to a real hunger to hear more from a band with a very healthy future ahead.

The End of Nothing EP is available from September 1st and available through all good digital outlets.

https://www.facebook.com/alonewithwolves

http://awwofficial.bandcamp.com/

8.5/10

RingMaster 31/08/2014

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/

Ordoxe – Beyond Mankind

Ordoxe_Band Pic 01

If you ever wondered whether there can be real beauty to an extreme metal release then checking out the new album from Canadian black metallers Ordoxe will easily answer your thoughts. Beyond Mankind brings a tempting charm to its ravenous pestilential violation, a raw creative elegance to its exhausting and erosive corruption of senses which ignites the imagination. Also within its ruinous intent is buried a magnetic seduction which at times is given full rein to craft some of the most mesmeric and sonically delicious adventures inside the oppressive nature of the beast. The album is a demanding listen at times but a dramatically rewarding one resulting in one of the more thrilling and potent black metal releases this year.

Ordoxe was formed initially as a solo project in 1989 by guitarist/singer Jean-François Jalbert of pioneer Canadian black metal band Slaotvean. Due to the band’s growing popularity and demands on his time, Ordoxe was swiftly on the backburner. 2006 saw Jalbert bring the project back to life and recorded the album Sorrick Ked followed a year later by its successor Magnum Opus. Well-received in the metal underground, the albums drew eager attention but Slaotvean once again began taking most of his time and energy so Ordoxe was back in the shadows again, waiting. The demise of his main band in 2011 allowed Jalbert to make Ordoxe his prime objective, reinforcing it presence by enlisting guitarist Samuel Landry, bassist JD Bergeron, and drummer Steve De Cotret with the intent of taking the band on to a live landscape too. The Trois-Rivieres, Quebec based quartet band released the again keenly received fury of third album Nihil last year and now push their presence and creativity to new heights and depths with Beyond Mankind.

Released via Hymnes d’Antan, the album opens with the severely ferocious Obsessions. It is a rage of abrasing riffs and rhythmic hostility from its first breath, an instantly compelling onslaught aided by an emerging nagging of grooves Ordoxe -Beyond Mankind - CD Coverand a raw vocal causticity which entice and lay waste to the senses respectively. Jalbert spills venom and malevolence with every squalling syllable to temper and corrosively engage the increasingly contagious enterprise of guitars, especially their virulent charge of riffs and engrossing grooves. As soon realised with the opener, every track is an adventure and a seamless slip into melodic beauty within a gentle landscape soon wrong foots and excites, as does its subsequent evolution into a winding flame of sonic intrigue and raw expression in turn leading to a final dramatic storm. It is a transfixing start to the album which flows straight into the fascinating provocation of À travers ses yeux. There is a vicious turbulence to the track once it breaks from its initial imagination catching bait, a relentless rabidity in intensity and waspish riffery which seduces ravenously. The track is exhaustingly demanding and feverishly rewarding, the guitars riveting in their creative narrative and sonic investigations.

Both Exiled Archangels and Tel un arbre keep thoughts and passions inflamed, the first a purposefully striding enmity of sonic causticity and barbarous rhythms brewed into another addictive and malevolent rampage of extreme beauty and emotional antipathy. The second is a slower pestilential encroachment of senses and emotions, it’s more reserved but no less corruptive breath a weave of enthralling melodies and imagination sparking sonic designs lorded over by the demonic tones of Jalbert. Longer in making its persuasion but no less impacting and impressing, the track reveals more of the immersive depths to the songwriting and sound of Ordoxe.

Comes Forth the Night offers a familiarity from the off, its opening sonic groove closely related to the previous song yet individual in its casting and effect. Though not as gripping as earlier songs on the album, it still binds ears and thoughts in an inescapable netting of senses devouring predation and skilled temptation before passing the album over to the outstanding From Chaos Are Born the Stars. There is an almost rockabilly twang to the opening clash of chords and a spicy sultriness to the songs breath which twists and expands into an inventive emprise of sonic innovation and mesmeric viciousness. Their source maybe black metal but with this track alone Ordoxe shows they create rock ‘n’ roll at its most brutal and creatively addictive.

We are Vermin is of similar breeding, pure rock ‘n’ roll cloaked in its own unique extreme metal ferocity and ideation. Uncompromising and virulently compelling with a mouth-watering progressive bewitching to its extraordinary soundscape, the song is an exceptional protagonist for ears and emotions, and another excuse to wax lyrical about the album and band.

The album is brought to a powerful close by the insatiably ravenous Orion Nebula, every element fusing for a voraciously aggressive yet seductively imaginative tide of irresistible suasion, and finally the blistering and fearsome Samsara which sums up with its spiralling dynamics and ingenious hostility, the might of Ordoxe perfectly.

As suggested at the start Beyond Mankind is one of the most impressive black metal releases this year and just gets stronger with every excursion of its venomous majesty.

Beyond Mankind is available now @ http://ordoxe.bandcamp.com/album/beyond-mankind

https://www.facebook.com/Ordoxe

9/10

RingMaster 31/08/2014

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/

 

Johnny Wore Black – A Cut Above

jwbnew1-hires

Earlier this year, UK band Johnny Wore Black released the exceptional album Walking Underwater Pt. 1, a fiery slab of melodic rock drawing on numerous other vital musical essences to present a thoroughly provocative and thrilling adventure. With second album Walking Underwater Pt. 2 on the near horizon, the solo project of London based songwriter/producer Johnny Jay has chosen September 1st to unveil the first single and teaser from the upcoming encounter. A Cut Above is another compelling exploration of sound and emotive textures by the former Hollywood stuntman, one easily suggesting that the new album will be more than a match for its predecessor and another irresistibly exciting proposition for us all. A-Cut-Above-temp

     A Cut Above sees Jay recruit the bass skills and creative presence of Megadeth bassist David Ellefson once again whilst the song, as the previous album and other releases, is produced by Grammy Award winning producer David Bottrill. There is a certain emotive intensity which seems to brew when the three come together, as shown of the first part of Walking Underwater and the new single is no different. Themed by and taking thoughts into ‘an internal war torn journey of lost love and betrayal’, the single embraces the imagination as potently as it does ears to provide a rigorously captivating incitement.

The song opens with an emotive melody as a guitar gently entices attention to its instantly intriguing narrative. Around it a climate of unrest and intensity is brewing which in league with the equally growing richness of the opening coaxing, leads into an incendiary eruption of almost predatory riffs and punchy beats courted by the throaty weight and texture of Ellefson’s bass. Swiftly joined by the melodic tones of Jay’s always impressive vocals and developing a contagious stride to its persuasion, the song is a dramatic tempest of anthemic resourcefulness around the constant impassioned emotion and angst of the track. As evidenced by previous singles and songs, Jay has a skilled prowess in merging rousing riffs and hooks with intense and dramatic landscapes musically and atmospherically. A Cut Above is another stirring example and arguably his most potent fusion yet, the track from its first immersive note right to its evocative last, an emotionally dark yet vivacious emprise.

If the single is an example of what to expect from Walking Underwater Pt. 2, then it cannot come soon enough and British melodic rock is in for another stirring shot in the arm.

A Cut Above is available on September 1st

For more info hit the Johnny Wore Black official website @ http://www.johnnyworeblack.com/

9/10

RingMaster 29/08/2014

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/