Vile Regression – Empires

Vile Regression Promo 2014

Irish metallers Vile Regression are no strangers to acclaim, their debut release coming under eager praise but you can only feel that it was fore play for a much stronger and fevered attention once new EP Empires consumes ears. The release is a stunning onslaught of sonic voracity forged in the imagination of technical metal and ferocity of extreme metal in its broadest diversity. The band has inspired comparisons to the likes of Death, Opeth, and Gojira, and listening to Empires it is understandable but whereas at times other technically fired bands bewitch with their skills before falling into indulgences, Vile Regression sculpt real slabs of brutal invention. Their tracks are built on riffs and grooves which come with lethal hooks and melodic tempting, all aspects treated with the same love and attention as the technical alchemy at work. This is openly evident in Empires, a clutch of songs which leave ears gloating and passions bulging.

The seeds of the Dublin band began back in 2007 when brothers Barry (guitar) and Kenn Christie (bass) formed a band which went under a few names for early demos until settling as Visitor Q and releasing a debut EP to strong responses. 2010 saw the addition of drummer Robb Behan and the band name changing to Vile Regression. The Pattern Evolves EP was unveiled the following year to, as mentioned, keen critical praise, its success leading to the band landing support slots with bands such as Dyscarnate and Fleshgod Apocalypse. A line-up change saw vocalist Padraig Croke and guitarist Brian Brady joining the brothers and Behan in 2013, which was followed by a support slot with Unearth and subsequently the recording of Empires. It has been a strong rise for the band over the years but with the new release it would be hard to be surprised if the band now found itself to the fore of extreme metal such its triumph.

Ears are immediately challenged as opener Tides confronts their anticipation, thumping rhythms grabbing instant attention to which swirling sonic endeavour sparks the imagination. It is a potent lure which evolves into a fiercely front_coverrousing tempest as the swipes of Behan trigger a maelstrom of bass intimidation, raging vocals, and senses binding sonic causticity. It is a dramatic and feverish incitement which never loses its irresistible lure even under the cascading, creatively carnivorous technical exploration of the band. It is a seamless union, one as mentioned which feels united in every intent rather than elements trying to outshine others. Between the Buried and Me comes to mind during the track but only as a spice to something scintillatingly original.

The following Raze the Complexity similarly needs little time to inflame the senses, guitars dancing seductively and with agitated endeavour across ears as the grouchy growls of Croke spill hope linked animosity. It is increasingly magnetic bait which only increases its toxicity as the guitars flirt with the imagination through ingenious designs and craft. Just as masterfully contagious though are the merciless and adventurous rhythmic incitement of Behan and the corrosively riveting riffs of bass and guitar. Not one note or twist in the song comes without scintillating creative tenacity but it never dips into the realms of excess either, every alignment of savagery and technical enthralment a gripping and easily accessible drama.

The brief instrumental Dream of the Red Chamber allows a breath to be swallowed, though its melodic beauty then takes away the next before moving into the outstanding predacious storm of Thought Replication. The new track lurches with a sonic tempting which swiftly enslaves appetite and emotions. Sinew driven riffs add ravenous shadows to ever grizzled and compelling vocals, whilst the emerging creative emprise spreads elegant and mouth-watering tendrils. Not as intensively aggression as the first pair of tracks, the song bellows at and charms the senses in equal measure, their fluid union a through captivation from ear to passions.

It is hard to relay the skills at play and the even more impressive merger of that brilliance into the grooving almost bestial rapacious heart of this and other songs, that ridiculously thrilling success repeated and enhanced with The Abstract. For all the references which flirt with thought across the release, this song also imposes a veining of inhospitality which could be Ferium or Killswitch Engage bred , this again showing the broadness and depth of the band’s sound. The track continues to gnaw on and subdue the senses, its ferocity coming with a rabidity which is flirtatious and speared with staggered and jagged unpredictability and ear teasing sonic fascination.

Another mesmeric instrumental sooths next, Down to a Sunless Sea as radiant as the previous piece, before final track raises its rhythmic ire and sonic fire to sear and assault with glorious invention. The Empyrean Divide explores thoughts and soul with a rich Opeth/Death spiced, heavily shadowed breath. There is an even more menacing darkness and imposing grudge to the proposition but again it’s devouring only leads to brighter prospects echoed by lyrics and the melodic maze of invention veining and entwining the raw onslaught.

The final track is a thunderous close to an exceptional encounter, one which puts Vile Regression firmly on the frontline of progressive/technical extreme metal releases this year. Empires declares the band a new emerging leading light, a proposition the metal world has unknowingly been eagerly waiting for.

The Empires EP is available now!

http://vileregression.bandcamp.com/album/empires

www.facebook.com/vileregression

10/10

RingMaster 21/07/2014

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Versus You – Moving On

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Since forming in 2005, Luxembourg’s Versus You has become one of Europe’s most captivating and hard- working pop punk bands, as well as the source of much anticipation when news of a new release comes to light. The release of new album Moving On has been no different in raising a keen appetite and equally does not detour from the band’s knack at providing a thoroughly enjoyable romp of punk rock at its most accessible and infectious. The album does not set a new trail for the genre or band come to that, instead it simply parades twelve songs which just do what Versus You does best, capture the imagination with virulent hooks and melodies whilst thrilling thoughts and emotions with superbly crafted and lyrically insightful songs.

With a decade of stirring up audiences and fans on the impending horizon, Versus You has kept the energy and passion of their presence and intent alone impressively high over the years. Renowned for their hunger to tour and take their sound to fans, the band has been a regular attack of gigs and tours across their homeland, as well as East and Western Europe, sharing stages with the likes of NOFX, Alkaline Trio, Rise Against, White Flag, The Casualties, Bayside, Jimmy Eat World and many more. Equally their previous trio of albums as well as EPs and an outstanding split release with White Flag, has thrilled and helped thrust the band to the fore of Europe’s punk scene, even with a spate of line-up changes especially in the sticks swinging department. Fourth full-length Moving on is another commanding and deeply satisfying proposition, as said not one to change the face of pop punk but easily reinforcing Versus You as one of the leading lights.

Produced by Chips Kiesbye, the album opens with the immediately rigorously coaxing When It All Goes Down, its initial scrub of guitar an intriguing irritant to awaken attention and appetite alike. The song is soon into a feisty stroll Versus You Moving On Packshot 960x960with the rhythms of drummer Jerry Kirpach punctuating the mesh of caustic riffs conjured by Eric Rosenfeld and Dario Bruno. It is not an unrelenting attack though, the song respectful in its aggression and open in its web of easily snagging hooks with the bass of Giordano Bruno adding its own throaty lure to add extra bait to the first easily addictive blaze of sound from the album. Lyrically the song is one of many looking at band life, whilst other Rosenfeld penned themes include traveling, making friends, relationships, and life’s issues, songs never afraid to deal with unexpected things directly.

The following If The Camels Die, We Die makes the strong start look like a mere appetiser, its eager energy and urgent enticement of catchy melodies and deeply hooking snares impressively catchy. The bass finds an extra snarl to its tone which hits the spot perfectly whilst the slightly grizzled vocals of Rosenfeld only add to the raw and honest edge of the encounter. The guitar designs also standout with their imagination within the narrow but full flight of the track, a success emulated and more by the next up A Way With Words. The song is a real pop song, its compelling power pop radiance irresistible to feet and voice. Essences of its sound remind of Good Charlotte and Smashmouth, these spices teasing thoughts pleasingly whilst around them riffs and rhythms cast a more sinew tempting to the potent revelry.

Both On The Town and Be Better Than Me gets the fire in the belly raging, the first a terrific stomp of grazing riffs cut across by flames of acidic melodies as the excellent vocals explore relationships. Its successor is a mellower enticement but no less riveting in its punchy beats and rock ‘n’ roll bred suasion which brings a touch of Pinhead Gunpowder as well as irresistible unpredictable twists and excellent additional female vocals to its glory. The pair push the rising stature of the album up another step, the first especially a highlight of the album with its dramatic air and ridiculously contagious incitement musically and lyrically. Their success is matched easily by Skinny And Distracted, roguish rhythms and stabbing hooks uniting for a Boxcar Racer like treat. At ease persistently changing its urgency and sinew built gait, the track is another anthemic coaxing impossible to resist joining in with but just as strongly brings new thought provoking adventure and imagination to its body.

One That Can See is a resourceful and adventurous romp for ears and emotions, though not finding the same heights as previous songs even with its appealing sonic endeavour, whilst Stay Down, Stay Strong also lacks that same passions igniting spark though it provides a fiery rock song which is as infectiously binding as it is evocatively coloured by a melodic rock intensity. Both tracks leave appetite and reactions well fed nevertheless before Kitchen-sink Drama leaves them bloated and blissful from its insatiably contagious and bruising stomp. There is an antagonistic and defiant edge to the song which emulates from the vocals and lyrics to inspire a strong drama and depth to its presence, whilst hooks and melodies complete the enslavement with masterful and instinctive invention.

30 Pills unveils another big highlight within the album, the provocative song themed around somebody being HIV positive. Hard hitting lyrically and musically, Rosenfeld alone bringing a deeper growl to his narrative, the track roars and incites yet still employs some of the juiciest hooks and melodically drenched chords to persistently inflame ears and emotions. It is a glorious strike leaving the final pair of Still I Persist and You Are My Friend a hard task to follow. They make valiant attempts though, the first a vigorously solid slab of muscle driven punk rock with passion fuelled intensity and the closing song a slower slice of punk balladry which with Green Day like melodic potency, brings a smouldering and evocative finale to greedily embrace. It is a fine end to a great album.

Moving On is arguably a release which delivers what you expect from Versus You without the band making great strides forward but with songs that simply fill every need and want of a pop punk enticement, and with plenty of extra thrills included, it is a release which simply leaves pleasure and contentment the overriding result and that is more than good enough to unreservedly recommend the album.

Moving On is available now on Bomber Music @ http://bombermusic.limitedrun.com/products/528789-versus-you-moving-on-cd-and-vinyl-lp-and-dl in download, CD, black vinyl, and Ltd Ed vinyl versions.

https://www.facebook.com/vsyou

8.5/10

RingMaster 21/07/2014

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The Males – Her Golden Blood EP

MALES BAND PHOTO

Dirty, fuzz lit, and pungently unfussy, the sound of UK noise rock band The Males is a proposition which just crawls under the skin and gets feet right through to passions dancing to its feverish tune. The band’s new EP Her Golden Blood tells you all you need to know about the emerging band. Consisting of three songs which are just as grunge/stoner fuelled as they are noise spawned, it is an encounter which does not make massive waves but ripples and smoulders very nicely to leave a lingering and raucously reminding indent in thoughts and emotions.

The Males was spawned from the creative coming together of guitarist Will Goldstone and vocalist/drummer Lewis Young at Bournemouth University during the mid-2000s. Eventually joined by bassist Ben Smith, the trio set forth as The Males and were soon drawing attention and eager ears towards their noise bred rock ‘n’ roll. With inspirations from the likes of Shellac, Black Sabbath, Jesus Lizard, Fugazi, The Melvins, the Misfits, Refused, Queens of the Stone Age and AC/DC spicing up their invention, the London based trio uncaged a self-titled demo in 2012, a raw and unruly incitement of sound sparking the imagination and a growing spread of fans. The single Wolves followed in the October of 2013 with a teaser from their debut EP, Golden Gates touching ears earlier this year. All has helped inspire keen anticipation for the new EP, an appetite easily and potently fed by Her Golden Blood and its potential drenched roar.

Opening track Cut Her Off from its first breath leads ears and feet into its immediate inescapable bait, punchy rhythms and raw riffing leading to addictive behaviour upon which sonic designs and the strong vocals add extra tempting. THE MALES EP MASTERThe song flirts with hints of bands, though the ones which most spring to mind and certainly not influences on The Males being as new as they, is Feud and The St Pierre Snake Invasion. There is an expectations feeding aspect to the song in some ways but also a more prominent refreshing energy and coarse rabidity. It is a tenacious encounter with caustic melodies, increasingly dramatic rhythms, and a glaze of sonic enticement simply luring the listener in further.

The track is a strong and masterful start to the EP which the following Golden Gates backs up solidly. It wraps tendrils of sonic coaxing around ears first, an acidic scuzz lined lure which is soon joined by weighty rhythms and an even bigger bass incitement, its tones bulging with devilish intent. The vocals again bring an expressive and eager revelry to the highly satisfying encounter though ultimately there is not quite the same spark of imagination to the body of the song as its predecessor. It certainly offers enough to intrigue and keep thoughts on their toes though, especially to the latter stroll of the track where it seems to find a more virulent persuasion with an irresistible groove.

The final song Hot Blood has an old school punk flavouring to its fiery waltz of moody basslines, agitated rhythms, and squalling riffs. It is hard to define who it reminds of but there is definitely a nostalgic tang to the track which colours its impressive enticing even more potently. The best track on the release, it is a compelling protagonist to imagination and ears, a track which hints at riots and brawls with its energy yet resorts to primal seduction for the main to ignite once again an already greedy appetite.

Her Golden Blood is not going to lead to declarations of The Males being the next big thing but it undoubtedly has the potential and weight to earn the band a stronger spotlight and reputation in their continuing ascent.

The Her Golden Blood EP is available now @ http://males.bandcamp.com/

http://themal.es/

8/10

RingMaster 21/07/2014

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Allusondrugs – Self Titled EP

Allusondrugs Promo 1

UK rockers Allusondrugs has been working away at the imagination and passions for the past couple of years, laying down a bait of three diverse and increasingly impressive singles which has led to a hungry anticipation for the prospect of something bigger from the West Yorkshire quintet. That sizeable offering comes in the enthralling shape of their self-titled EP; a six-track revelry for the passions and tease for the psyche. The band’s last single showed the increasing maturity and immersive expression of the band’s songwriting, now it is in full swing within the suggestive technicoloured seduction of the EP. At times it is tenderly mesmeric, in others psychedelically psychotic, and from start to finish it is a magnetic captivation to reinforce thoughts that Allusondrugs is about to ignite the British rock scene with their raw edged fusion of grunge and warmly warped psychedelic rock.

The band began in 2012, its members coming together out of the Leeds music scene. Taking influences from the likes of Nirvana, Deftones, My Bloody Valentine, and Sonic Youth into their unpredictable adventure of sound, the impressive entrance of debut single Plasters and the following twisted teasing of My Cat/Fruit of 2013 soon thrust the band into a certain underground spotlight whilst earning attention from mainstream ears. Earlier this year, third single Nervous woke up a wider expanse of attention with its masterful presence and call to the imagination. Released on Clue Records, as the singles, the new EP embraces all the essences of the individual delights that came before and casts them into a new inventive drama and virulent persuasion to unapologetically steal the passions.

With the core of the release recorded live over a week in Greenmount Studios, Leeds, the EP immediately flirts with ears and thoughts through the opening beats of I’m Your Man. It is an instantaneously coaxing sure to awaken a3102663430_10attention; a focus soon fed by sonic waves of acidic guitars and the excellent group harmonies we have already become accustomed to. The song is soon holding a bold stride as enticing melodies wrap their temptation around the rhythmic spine of the song whilst rawer rubs of riffing and the creative sonic web crafted by guitarists Drey Pavlovic and Damo Hughes dance with ears and a growing appetite for the rich invention of the song. The track though is a full seduction, the excellent vocals of Jason Moules supported by Hughes and the punch packing beats of drummer Connor Fisher-Atack alongside the rich darker tones of Jemal Malki’s bass equally as impressive and persuasive.

The band is constantly being, and understandably, being placed under comparisons to the likes of Nirvana and Soundgarden, two references easy to bring forth with the following Ted, What’s The Porn Like In Heaven?, but the opener is more Pixies-esque in its immersive and discord kissed ingenuity. It is a flavouring and spark to appear across the whole EP, though as said the second song is firmly spawned from a grunge haze. It roars from the first second, riffs climbing over ears with anthemic purpose whilst the bass of Malki simply roams with a predator’s heart into the imagination. The guitars continue to sling caustic notes and riffs with a freedom and raw intent that puts the listener right there in the studio whilst the vocals and rhythms stir up the sense with their own raucous lures. It is hard to avoid that Nirvana suggestion, especially from around the Bleach album, but there is always that undeniable uniqueness which turns it all into another invigorating original encounter.

The pinnacle of the release comes in Cherry Pie, a song which from the opening grumbling bassline sets ears and passions aflame. It is soon swiftly and provocatively striding with a determined directness as post punk like guitar stabs spear its intent. A brewing sonic potency grows around the irresistibly addictive hook of the song, its groove which would not be lost in a Joy Division intrusion bringing a hunger and resourcefulness which is as punk as it is noise rock. The song is glorious; a thrusting of rhythms and toxic invention, not forgetting that insatiable groove, which across its contagious trap has whispers of Public Image Ltd, Cardiacs, Queens Of The Stone Age, and the St Pierre Snake Invasion, yet still emerges as a distinct beast owned by Allusondrugs.

Nervous caress ears next, its swarming temptation draped in a melodic coaxing, instantly holding ears in a tight embrace to which jabbing beats set a firm punctuation. The grip relaxes soon after though as warm vocals and melodies soak the senses, their kiss aligned to the darker mood of the bass and a new vein of sonic invention. It is riveting, a mesmeric croon with the outstanding dual vocals adding a Walker Brothers like suasion within at times a tempestuously stirring emprise of evocative sound which again offers that Pixies like flavouring. An air of surf rock also adds its wash to the psychedelically fuelled beauty of the song, an elegance ignited further by the eruptions of grunge rapacity which reinforce the depth and insatiable persuasive alchemy of the song.

The release is completed by firstly the emotive climate of Sunset Yellow, a shimmering flight of melodies and haunting harmonies veined by melancholic basslines and slightly bent out of shape, distortion lent sonic ingenuity where again with that Frank Black and co leaning shows its face. It is a smoulder of sound and adventure which just gets more potent overtime, setting up emotions and intrigue perfectly for the final track Thingio. With almost grudging respect from its primal riffery and bass taunting from the first moments, the track stalks and preys on the senses, stroking them with a melodic seducing as the string manipulation of the band brings a raw rabidity to the imposing leer of the song. It is a stunning slice of musical entrapment, the entrancing vocals and weaving melodies a rein on the predacious heart of what is an exhilarating beast.

It is fair to say that we like so many were expecting big things from the band when news of the EP broke and we have not been disappointed, in fact such its might those hopes and expectations were almost an insult to its glory. Watch out UK, Allusondrugs are coming for your souls.

The Allusondrugs EP is available via Clue Records 21st July @ http://cluerecords.bandcamp.com/album/allusondrugs-ep on download and Ltd Ed CD as well as an Ltd Cassette via Pinky Swear Records.

https://www.facebook.com/Allusondrugs

9/10

RingMaster 20/07/2014

Allusondrugs Tour Dates:

JULY

25th July = Tramlines Festival, Sheffield (Millenium Galleries)

26th July = Lounge 41, Workington

27th July = Clarence Festival, Wakefield

AUGUST

1st August = The Puzzle Hall, Sowerby Bridge

2nd August = Temple of Boom, Leeds

7th August = Bar Bloc, Glasgow

14th August = Wharf Chambers, Leeds

SEPTEMBER

11th September = The 13th Note, Glasgow

12th September = Downstairs, Aberdeen

13th September = Pickett, Liverpool

14th September = Think Tank, Newcastle

15th September = Static Bar, Swansea

16th September = Red Rooms, Nottingham

17th September = The Garage (upstairs), London

18th September = Sticky Mikes, Brighton

19th September = The Crauford Arms, Milton Keynes

20th September = Huddlefest, Huddersfield

21st September = Boiler Room, Guildford

22nd September = Joiners, Southampton

Copyright RingMaster: MyFreeCopyright

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Generation Graveyard – Lonewolves

Generation Graveyard Online Promo Shot

Preying on ears with the primal snarl of early Killing Joke, the punk fury of Amen, and the raw salacious bloodlust of Frankenstein Drag Queens from Planet 13, UK metal punks Generation Graveyard has become one of the eagerly talked about new protagonists of the European horror punk scene, and it is easy to see why with the release of new EP, Lonewolves. The band’s official debut release, it is a predatory assault on the senses and a stirring incitement to thoughts and emotions. It is hard to say that it is going to be the most startlingly original thing you will hear this year yet the London quintet unleash their venom and antagonism with a blend of flavours and impassioned vitriol to stand apart from the crowd and excite with undeniably ferocious potential.

Since its conception in the latter part of 2009, Generation Graveyard has earned a strong and impressive reputation through their live performances which has seen the band share stages with the likes of Misfits, Anti-Nowhere League, The 69 Eyes, Black Breath, Viking Skull, Warrior Soul, The Defiled, and most recently supporting Breed77 on their full UK tour. Fusing rich essences of hardcore, rock n roll, black metal, and crust into their metal punk voracity, the band’s next big step hits potently out in sound and lyrical intent, casting hostility amongst things at life and urban isolation, society and social upheaval, and substance dependence. As suggested Lonewolves is not reshaping a scene but it does make it impossible to ignore or resist the band’s fury.

The release immediately stands intimidatingly over ears, stirring thing up with caustic riffs and short sonic taunts whose acidic discontent is punctuated by occasional thumps of rhythms. The entrance of Abominate/Desolate is a Generation Graveyard - Lonewolves EP coverslow enticement which almost preys on its recipient before opening up a broader wash of guitar incitement around a sturdy stride. Once the drums start rumbling along with beats which seem to coax further the already impressive vindictive bass flirtation, the track takes to full hostile flight within its still stalking gait and the similar stance of vocalist Max’s grizzled growls. Dark addictive grooves and surges of scarring riffs continue to flourish within the brawling presence of the song, but it is the almost deceptively menacing bass and spiral of melodic guitar enterprise which leave the lingering impression of the strong and potent starter.

Things kick up another gear in attack and pleasure with Human Hive, the song scurrying urgently through ears from its opening breath and teasing attention with heavily poking beats within a maelstrom of sonic causticity. There is a more open contagiousness to the song than within its predecessor, a lure providing a dangerous and virulent seduction. Sonic groans and ravenous riffs stalk throughout the track’s rippling body, adding intimidation to the web of infectious persuasion and adversarial endeavour honed into one gripping confrontation. With Max offering a Casey Chaos like combativeness to his tones and the guitars an unrelenting and varied squall of abrasing enticement littered with thick hooks, the track ignites an already open appetite with ease.

The Empty strikes next, again a song making an initial quarrelsome impression veined by sonic bait clad in riveting invention and enticement. The track stomps and bustles with attitude and impatient ire, eager to start a fight or incite a riotous commotion. It is a pleasing and easy to embrace slab of unfriendly provocation but lacks the spark and quite simply the addiction forging qualities of the previous pair. Nevertheless it is another strong lure into band and release before the incendiary punk storm that is Deletist savages ears. It is as raw and as vicious as it gets on the release, every note and syllable a raucous enmity whilst the rhythms just puncture the body with their verging on malevolent antisocial attack. Like the last song it lacks some of the lures of certainly its successor but counters that with pure venom and hardcore punk voraciousness.

The title track takes over to steal best song honours, its Misfits like opening the doorway into the epidemically anthemic roar of the song. Rhythms and riffs spare little time to size up their victim, jabbing and raging respectively with the hunger and rabidity of a restless social uprising. Hooks and grooves play incessantly with the imagination whilst the group calls to stand up and roar simply provide the icing on the ridiculously thrilling cake. It is a great finale to an increasingly impressing release though certainly on the CD there is also a bonus track, the Stereo Juggernaut remix of Human Hive which offers a more than decent stomp to fling limbs to.

Lonewolves is a dramatically healthy and intensely promising introduction to Generation Graveyard, one easily showing why the fuss from those in the know towards the band. You feel though that there is much more to come and be explored within the band ahead than shown on the excellent release, which makes their future rather exciting.

The Lonewolves’, EP is available through all stores on Monday 21st July.

http://generationgraveyard.bigcartel.com

https://www.facebook.com/GENGRAVE

8.5/10

RingMaster 20/07/2014

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Unbeing – Raptus EP

Unbeing - Raptus promo photo

Following on from their seemingly universally acclaimed debut album, Canadian progressive metallers Unbeing have released the exceptional Raptus EP, a rich and compelling journey for the imagination and emotions. As technically captivating and enthralling as it is evocatively absorbing and invigorating, the four track release whisks the listener across an expansive landscape of sound and adventure but one also soaked with an intimacy which provocatively caresses thoughts and feelings. It is a compelling and exhilarating proposition, easily one of the most pungently inspiring instrumental releases in quite a while.

Formed in 2006, Unbeing began as a three piece. Line-up changes ensued whilst two demos in 2008 and the following year respectively, drew strong and enthused reactions. The Montreal band then won Metal Académie 2, a two month competition judged by the likes of Kataklysm. The next step in the evolution of the band, seemingly inspired by the judges’ comments of that competition, saw the band dispense with vocals and concentrate on their already striking instrumental explorations. Over the past eight or so years the band has continued to evolve and impress live, sharing stages with bands such as Neuraxis, The Red Chord, Walls Of Jericho, Martyr, Katatonia, Incision, Anonymus, Beyond Creation, and Scale The Summit along the way. 2011 was the year of their self-titled debut album, with the band at this point grown to a quintet. It received acclaim from fans and media alike, its re-release two years later as a re-mixed and re-mastered vinyl edition equally devoured by the metal community. Now it is the time of the Raptus EP to spark the passions, something its twenty minute flight across a Montreal Metro themed incitement is sure to repeat time and time again as it draws minds and hearts into its imaginative aural poetry.

Unbeing opens up EP and imagination with Rapture which from the first wind of metal on rail coaxes with an evocative melodic enticement which wraps elegantly and creatively around ears and thoughts. Rhythms shuffle erratically Raptus artbut purposefully over the senses as guitars and keys cast a fine web of intrigue and awakening urgency. It is a dawning, an inventively expressive entrance into a busy and continually but gently escalating fever of activity and emotionally rich dramatic hues. The outstanding track flows into the next carriage of the evolving adventure, the following Batterie Faible bringing a more settled and sultry air to the emerging scenery. There is a jazzy breeze and breath to the caress of the song, again the guitar of Sherif El-Maghraby and the seducing keys of Martin Labelle washing over ears with a contagiously picturesque and melodically fuelled sonic design. Entwining peaceful climes and tenacious rapacity, the song intermittently seduces and agitates the emerged vision in thoughts, bursts of aggressive intent swarming across less intensive moments. It is all irresistibly framed and veined by the shadowed emotional hunger of Jean-Philippe Bédard’s drums and the increasingly provocative swing and flirtatious grooves of bass from Alexandre D’Amour, their drama alone potent fuel for the quite exceptional and embracing, physically and mentally, piece of adventure.

Over the two songs thoughts of the likes of Tesseract and Pelican come forward but also in different ways others like The Ocean and indie instrumental band Human Pyramids, particular elements, textures, and melodic paintings pulling loose but definite comparisons. The next up Tetris Rufus sparks similar thoughts but again another fluid shift in the journey sees the listener taken into darker more metallic structuring within a melodically incendiary climate. There is a volatile edge to the piece too, guitars striking at ears with jagged riffs whilst rhythms pounce upon and bustle their way across the senses. That rugged swirl of intent and intensity though is tempered and held in the thick emotive heated hug of resourceful keys, their touch and suasion a constantly changing mesh of warm feelings and anger defusing vivacity.

Final track 2nd Cup flows elegantly out of another underground sourced sample between songs. It swirl and dances with seductive melodies for an immersive mesmeric embrace to which more mercurial flames of heavier incitement and energy smoulder with urgent intensity across the incoming sunset of sound around another ebbing of adventure. El-Maghraby exploits the frenetic climax of the experience deliciously, his fingers manipulating the final throes of the journey and crescendo of emotion before the eventual peace of the destinations end clangs and leaves its disappearing mark. As all tracks it is a sublime piece of composing and realisation to which the band add their individual and united insatiably scintillating descriptions.

Raptus is the perfect instrumental adventure, one which never gets fussy or over-elaborate, but also never misses the opportunity to aurally and emotionally explore every nook and cranny of its ideation and premise as well as the imagination of the listener. The Raptus EP is an essential investigation which if you are quick Unbeing has made available for free download until the end of July at their own website. What still here?

The Raptus EP is available now via BLK COQ Music and at http://www.unbeingmusic.com/

https://www.facebook.com/UnbeingMusic

10/10

RingMaster 18/07/2014

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Near Death Condition – Evolving Towards Extinction

NDC

Sure to give extreme metal a big nudge to their existence and intimidating quality, Swiss death metallers Near Death Condition have unleashed their third full-length Evolving Towards Extinction, a towering and brutal assault on the senses. Thrusting eleven tracks of uncompromising and ravenous ferocity through the ears, the release also holds a rich vein of inventive imagination beneath the tsunami of vicious endeavour and intent. At times it is understated or needs extra attention to really explore, but it constantly makes each track an individual incitement of increasing rewards, all combining for an impressive stature to the album. It has to be said that the release does not consistently light a rigorous blaze in personal passions or excite as intensely in places as others, but there is no denying that attention and appetite are thrillingly fed.

Hailing from Valais, Near Death Condition emerged in 2001 with inspirations from bands such as Morbid Angel, Deicide, Deathspell Omega, Death, and Gorguts driving their immediately imposing sound. Since forming the band has lit up stages alongside the likes of Origin, Hour Of Penance, Darkane, Texture and numerous others whilst releasing a pair of full-lengths. Demo release Delusional Perception of Reality was uncaged in 2005 to good underground attention. Its success went towards the band eventually signing with Unique Leader Records with The Disembodied – In Spiritual Spheres released in 2011 to potent acclaim and responses from fans and press across the globe. March of this year saw Evolving Towards Extinction uncaged to again strong reactions and with its threatening gait, testing hostility, and creative tempest it is easy to see why.

The quartet of vocalists/guitarists Patrick and Stéphane, bassist Simon, and drummer Guido give a brief twinge of sinister drama before going straight for the throat with some of the most rabid riffs and destructive rhythms sure to be heard this year. The entrance of Words of Wisdom literally bowls the senses over, savaging their very being with increasing toxic sonic violation and rhythmic barbarism as riffs gnaw their surface and heavy guttural vocal expulsions roar malevolently. It is a hellacious introduction, one which never relents in its intensity even as the guitars begin unwinding equally venomous grooves and an underling swagger. Subsequently melodic acidity and shifting gaits join the tempest to engage the imagination as impressive guitar enterprise burns the surface of the by now predacious crawl. The track continues to twist and spit animosity with every note, beat, and syllable as it persistently evolves for a staggering first assault of the release.

The following Between the Dying and the Dead is no less vitriolic and hostile but takes little time in colouring its grievous landscape with swipes of celestial yet demonic harmonies and ravenous inventive bait. The guitars NDC coverpersistently carve rich grooves and ingenious hooks into the body of the song whilst bass and drums sculpt a bestial baiting. It is a glorious ferocity soaked in rabid dread but unafraid to spare room for a fire bred solo and additional imaginative detours. The track is at its strongest and most potent when it is going for the jugular but all the unpredictability and at times unsure turns, definitely keep the imagination engrossed. Its stirring presence is emulated by the barbaric Intelligent Design, another slaughter of the senses which is prone to flirtations of sonic and fiery melodic scorching as well as intriguing almost wrong footing exploits. Not as gripping as the first pair the track still leaves a hunger in place which is further healthily fed.

Pandemic of Ignorance stalks ears from its first breath, its shoulders heavy laden with hate over a spine of rhythmic bile wrapped in vehemence spawned grooves. It is a pestilential predator, its slow crawl sheer intimidation until eventually breaking free of its reins for a throat tearing onslaught, ears and senses overwhelmed by a storm of merciless aural and lyrical rancor. It is a compelling violation which sets emotions up for the outstanding Praise the Lord of Negation. It also is a song which flies for the jugular, this time with a swarm of sonic pestilence and rhythmic cruelty; that alone baits and traps a new greed within the passions but it is the insatiable maniacal fury to its psychotic repetitious seducing which hits the sweet spot.

The leviathan weighted crawl of The Anatomy of Disgust wrapped in similarly laboured but magnetic grooves comes next, its sultry flames of guitar across bloodlust driven rhythms and destructive riffery highly satisfying but lacking the spark of certainly its predecessor. The animalistic Anagamin finds its own incendiary fuse to invigorated responses, its pestilence coated prowl inspiring an animosity clad weave of invention which pushes the song enticingly into the grinning imagination. In many ways the album ebbs and flows, to be fair not in quality and individual skills but in degrees of success with personal tastes. As the following rapaciously consuming title track and the carnivorous Vertigo prove there is never a track where Near Death Condition does not bewitch and threaten with their inventive sanguinity, or impress.

Evolving Towards Extinction closes with the deliciously nagging Communing with Emptiness, a track swarming with serpentine grooves and riffs around the ever impressive artillery of disorientating drum voracity and dual vocal abrasions, and finally Nostalgia for Chaos. The final song is a beast in nature and stature as well as gait, but as the previous song endowed with some scintillating and feverishly enjoyable guitar enterprise. The ferocious incitement brings the album to a formidable and rapturously thrilling conclusion leaving the listener breathless but wholly satisfied. It is an album which also gets better and more potent over time, still undulating with some of its moments but with a baseline of rich satisfaction, a strong recommendation of Near Death Condition and album to all extreme metal fans is a no brainer.

Evolving Towards Extinction is available now on Unique Leader Records @ http://www.indiemerch.com/uniqueleader/band/near-death-condition

http://www.neardeathcondition.ch/

8.5/10

RingMaster 17/07/2014

Copyright RingMaster: MyFreeCopyright

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Architect Of Seth – The Persistence Of Scars

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The Persistence Of Scars is an album which leaves you bruised and disorientated, mentally exhausted and at times bewildered, but mostly the debut album from French Progressive death metallers Architect Of Seth, leaves you transfixed and aggressively keen for its unrelenting unpredictability and technical magnetism. It is a demanding release which definitely needs a concentrated time to unravel its creative maelstrom, something which arguably is never wholly achieved even after a tide of visits, but it is a ‘chore’ always welcome and rewarding.

Architect Of Seth was forged in 2006 as a solo project by guitarist/vocalist Paul Rousseaux who released a pair of demos, Eldorado that same year and Pax-Labor in 2007. Subsequently guitarist Yohann Kochel linked up with the Caen project, expanding a sound and depth which takes inspirations from the likes of Death, Theory in Practice, Coroner, Pestilence, Nocturnus, Bathory, Emperor, Martyr, and Necrophagist into its technical and ravenous invention. The Persistence Of Scars is the pair’s debut album, a creative tempest exploring themes of hate, science, religion, and nature within a ferocious furnace of imagination and hostility which whether venomously cascading or rabidly savaging the senses unleashes a spellbinding intrigue. The album is often mentally corrosive and physically punishing, rarely an easy listen but always offering a lure which locks in the imagination and appetite.

The Persistence Of Scars opens up with LFDY and its gentle stroking of evocative melodies. It sets a peaceful and warm scene, the guitars casting colourful bait and coaxing skies before a lumbering rhythmic intimidation and darker shadows to all facets, cloud over the landscape. It is a portentous breath now igniting the imagination, the foreplay to a thrash driven onslaught of rapaciously intensive riffs, animosity clad rhythms, and the hoarse scowls of Rousseaux. It is a relatively straight forward assault, though already teasing as sonic and unpredictable designs begin to unveil their tenacity. Now settled into its tempestuous purpose, the guitars of the two protagonists twist and cast a maze of persistently testing enterprise through the song. It is the beginnings of a spiralling technically striking ingenuity which at times makes perfect sense and in others just loses thoughts and understanding, which is where repeat plays is essential with an album like this. There is cohesiveness and fluidity to it all though which never falters in its hold of an increasingly hungry appetite for what is developing and never derails the malevolent toxicity and ravenous brutality at the song’s core.

The first track is alone an exhaustive tsunami of predacious imagination, so with six more similarly sculpted propositions to come, a legacy of hard work is inevitable starting with Engender of Confusion. Riffs and grooves are immediate and as intensive as the rhythms alongside them, each worming under and pounding the skin respectively as the caustic spite of Rousseaux scars the air around them. With crystalline shards of keys flirting with ears within the by now merciless torrent of vicious charm and debilitating ideation, whilst orchestral tempting plays with emotions, the track sears flesh and thoughts as it seduces both ears and mind with insatiable inventive rabidity. Arguably easier on the psyche because of its relatively brief length compared to the first, the song also finds a greater clarity to its no less bedlamic ingenuity before making way for Transhumance Astrale. The third track takes little time in firing up the primal instincts with a torrent of thrash/metal suasion before warping it all with breath-taking skills and perplexing yet deliciously gripping, psyche violating creative intercourse. The track, as all, is a storm of technical mastery and constantly evolving revelations to again captivate and fluster, but most of all ruggedly enthral.

By this point already the album is wearing down the senses it has to be said, though not the hunger for more. As mentioned, in many ways it is not certainly physically an easy listen which is compounded as both Embrace of Anguish and Hybrid Consuming Flesh unleash their fiercely creative and intertwining inventory. The first of the pair brings some respite though with a mesmeric classically honed piano enticement to seduce ears and inflames thoughts initially. It is a bewitching piece which eventually drifts away for the impending storm. Thunderous rhythmic clouds and sonic strikes blow across the senses before a malevolent haunting and intensive juggernaut of provocative sound suffocates light and peace. Its instrumentation and aural narrative is mouth-watering, a tight capture of the passions which does lose some of its grip with the entering rage of vocals and manic invention with constantly unsettles in its turns and expulsions. At times the track is irresistible and in other moments pushes its boundaries beyond organic accessibility, yet still it entrances and steals the imagination for a pleasing if unsure success. Its successor is a more bestial provocation with a flank ferociously rippling with again unsettling ideas and creative incitement. It also offers a great emotive persuasion of keys at times, a beacon within the corrosive belly of the savage beast.

The album concludes with firstly the outstanding Tears Empty of Sadness, a track which finds a more balanced blend of extreme metal vindictiveness and technical exploration which is why it takes best track honours. Everything works perfectly, the invention of the band still flaming intensively but finding a more understanding fit with the toxic brutality of the song. Every song on The Persistence Of Scars impresses it is fair to say but this one shows the potential of the band most intensively as they further grow into and hone their undoubted skills and ingenuity. The song’s success is supported enjoyably by Teacher of Nocturna, another track to align the maniacal technical beauty and gut instinct severity of the band for a grievously strong and testing, but smoother to understand and relish creative onslaught.

The Persistence Of Scars is a great and demanding encounter which leaves a satisfied wake whilst suggesting that Architect Of Seth has the potential to create a classic ahead. This album is not it but holds all the pieces and keys to the potential sculpting of one.

The Persistence of Scars is available as a 7 track CD via Great Dane Records @ http://www.greatdanerecs.com/ or a 3 song download @ http://architectofseth.bandcamp.com/

https://www.facebook.com/ArchitectOfSeth

8/10

RingMaster 17/07/2014

Copyright RingMaster: MyFreeCopyright

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Keitzer – The Last Defence

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The saying goes that Hell hath no fury like a woman scorned but if the Devil wants to give her a run for her money then he could not no worse than call on German metallers Keitzer. The band has never been slow in unleashing scourges of sonic spite and brutal confrontation but they have unlocked a new vat of hostility with latest album The Last Defence. The bands fifth full-length is as ferocious as it gets; a furnace of vitriol and blast beats which leave ears and senses floundering in their own waste but within the torrential downpour the band seduces with some of the most viciously tempting grooves. The 1999 formed Keizter and album are as pissed as they can be, showing time can only intensify sonic grievances as proven by this juggernaut of contagious mayhem, an assault leaving deep bruises and open satisfaction.

The follow-up to its successful predecessor Descend Into Heresy of 2011, the FDA Rekotz released The Last Defence takes no prisoners as it treats them to some not admittedly ground-breaking but voraciously vindictive and equally rewarding metal. The album’s press release suggests it lies somewhere within the assaults of Misery Index, Marduk, and early Deicide, something you cannot dispute or want to as it definitely gives a potent hint as what Keitzer has in store within the Jörg Uken mixed and mastered hostility. From opener Bellum Indicere, an introductory instrumental, the album boils up and over with the cruellest sounds and intent available to its creators. The first track brings an atmospheric storm to bear on the senses, a controlled but tempestuous climate of sonic and rhythmic incitement which provides a fiery but kind introduction before the savage ravaging of Exist To Destroy. Ears and senses are thrust into a brawling maelstrom of sound and intensity straight away, the guitars of Nicolai Hinse and Michael Dölle squalling with all the respect of a sandstorm as the rhythmic ferocity of drummer Tim Terhechte violates air and body. Driven by the excellently malicious and varied vocal enmity of Christian Silva Chaco the second track is an incessant conflict but also the source of a rich acidic groove.

There is no respite from the furnace of sound and aggressive with This Is The Only Solution, its body of vindictiveness in sound and lyrical bitterness devoid of mercy but virulent with grinding torrents of riffs, debilitating rhythms, KEITZER_cover_WWWand vocal causticity. Unveiling a hardcore seeded rabidity to its breath and an irresistible heavily footed groove from bassist Simon Venig, the track twists and flays around with a dervish like fanaticism, those hook lined grooves bringing even more potency to a lure which is intensified in the next up Forever War. Its opening melodic enticement is soaked in intrigue and mystique, a coaxing hinting at a valiant emprise ahead. What erupts is an avalanche of precise yet insatiably hungry drum provocation and flesh flailing riffery within further scorched grooving. In some ways what emerges is underwhelming from the song’s delicious start but those disappointments are soon smothered by and lost within the barbarous intensity and heart of the track, though it does fail to ignite ears and emotions as fully as its predecessors.

   Marching Forward To Victory is another which seems to lack the spark and irresistible bait of other engagements, but it still offers a wall of jaundiced passion and accomplished violence to keep attention locked in and cowering under its punishment before the outstanding title track triggers another lustful hunger. The carnivorous grumble of the bass is ferociously addictive bait but as with most songs to be honest, it is the swarming of grooves with their waspish tenacity and virulent toxicity which sear the sweet spot. The track continues to destroy and seduce with its shifting landscape of rapacious melodic relentlessness but never loses its core of repetitive and addictive bad blood.

The album continues to impress and uncage its ruinous appeal aligned to sheer pungent loathing, the likes of the bestial Next Offensive with its twist of heavy almost stoner seeded hate bred grooves, the similarly predatory We Are The Serpents Of Doom, and the pestilential Fleshcrawl in varying degrees leaving ears ringing and passions basking. The third of the trio especially teases and exploits the imagination, its corrosive opening moving into primal seduction with salacious grooves of wanton designs within a rhythmic battering which only takes a slight breath in its steely intent to suck air in for the next up Todgeweiht. The track is a minute and a handful of seconds of raw brutality and sadistic rhythmic suasion but still lines its wrath with an admittedly slight but nonetheless persuasive groove.

The album ends on a horde of triumphs starting with Glorious Dead; to some extent the release holding back its best for the closing stretch. The track is a jubilant waltz of decay and pestilence, its swinging gait and grooved revelry a contrast to the rancid attitude of the beats and bass incitement, as well as the song’s subsequent stalking of the senses. It is a riveting and thrilling assassination of emotions which is equalled in quality and intent by Ausgelöscht, the track as malignant as it is urgent as it tears the senses apart for the intimidating but seductive corrosive grooves which follow. It is a masterful annihilation of the psyche left in the shade of the best track on the album Crusade. Its title reflects its sound and purpose, a heroic air and stature wrapping the riffs and ear caging rhythms. This eventually parts though for the inevitable uncontrollable expulsion of inhospitable and frantic enticement though it never loses its touch on the song as it reassert its dramatic, hostility driven majesty time and time again.

The album closes with the tension drenched animosity of …Before Annihilation, though it has to be said that its title is a bit late, the destruction and blood-letting having been and not exactly gone but done its worst by the time of this final exhilarating violation. It is a great end to an exhaustingly exciting release, which probably you can say is not unleashing a new bloodshed or aural corruption but certainly delivering it in a style and inventive ferocity to rigorously enjoy being pulverised by.

The Last Defence is available via FDA Rekotz now on download and CD with Black Vinyl and Ltd Edition red vinyl versions available through 7Degrees Records and @ http://keitzer.bandcamp.com/album/the-last-defence

https://www.facebook.com/keitzer

8.5/10

RingMaster 18/07/2014

Copyright RingMaster: MyFreeCopyright

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Call It Off – Liars

by Nastassia Winge

Liars is not going to set new standards for punk rock but with its proudly romping pop punk veined with spicy essences of power pop, the latest EP from Dutch rockers Call It Off is certainly a refreshingly enjoyable encounter. It brings five easily accessible tracks to the ears, songs giving feet and voices an invigorated work out through anthemic urgency and melodic infectiousness. Liars may not drive you to a rooftop to roar about its creators, besides you will be too busy dancing, but it easily ignites an eager appetite and attention for the Eindhoven quartet.

Barely a year old, Call It Off are four musicians who unite with plenty of experience earned playing in different bands over previous years. Pulled together by a mutual love of punk rock, chatting leading to actually writing music together and subsequently the birth of the band last September, the foursome of vocalists/guitarists Maurice Bolier and Adrian DeLange, bassist Lesley Klaverdijk, and drummer Sergei Christian made their first mark with debut EP Lovers late 2013. A clean strike across the bows of attention, the release made a good base from which Liars has confidently moved the band’s songwriting and sound on. Its songs are short and punchy but come with a fluidity and swagger which capture ears and imagination like returning friends, the band’s influences an open colour across the release it is fair to say.

Those inspirations are unavoidable from the first moments of opener Famous Last Words, potent spicery of Green Day and Blink 182 a clear flavouring though there is plenty more to the songs than a cloning of past protagonists. callitoff_liarsFrom its first swipe of rhythms and riffs, from which a teasing melodic tendril wakes ears potently, the song strolls with melodies swinging from sturdy rhythms and jangling riffs aligned to appealing vocals. The first song also holds a rawer edge like a mix of Story Of The Year and NOFX, though this only glances over the rich melodic and sonic enterprise rippling within the highly pleasing opener.

The strong start is soon shown a pair of heels by the excellent Burning Bridges. From its first roar the song roams the awakened appetite with again jangle clad riffs and a great coaxing of power pop harmonies, the track potently contagious from its first breath. The dual vocals work even better on the second track whilst the moody bass tone delivered by Klaverdijk comes with a shadowed mischief to alone entrance the imagination. That Green Day reference is even stronger here but adds to the instant connection of the song, its simple but expressive invitation impossible to resist adding your own personal attributes, or in some of our cases, disasters to.

     Stuck With You has a slightly more reserved urgency yet still rocks like a hound in heat with infection soaked hooks and melodies. That strong whiff of Billie Joe Armstrong and co continues to brew a strong yet captivating smell whilst there are moments where the song offers small tinges of Hagfish to its sharp hooks and underlying rhythmic antagonism. As all the songs it is like an old returning friend more than a new encounter, a feeling which stops the track leaving thoughts awe struck but undoubtedly has them riveted and fully involved in its raucous revelry, a lure just as addictive in the stomp that is I Don’t Wanna. As anthemic as you can get, the track simply provokes the passions and body from start to finish, providing a punk bred festival of adrenaline and passion.

The EP closes with Call Me, a track with wandering melodic adventure and emotive textures. Driven by a spine of firm rhythms aligned to a throaty bassline, the song flirts with ears through evocative enterprise from the guitars and the fine blend of vocals as it sways and rolls across the ears with arguably a more adventurous seduction than found of the other tracks. It makes for a fine end to a thoroughly enjoyable encounter.

As mentioned, Liars is not quite a release to set punk rock on fire but it definitely nudges it firmly to the presence and rich potential of Call It Off.

The Liars EP is available now via White Russian Records @ http://callitoff.bigcartel.com/

https://www.facebook.com/callitoffNL

http://www.callitoff.nl/

8/10

RingMaster 18/07/2014

Copyright RingMaster: MyFreeCopyright

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