The Room Colored Charlatan – Primitives

DSC00932

Every now and then we come across a release which certainly impresses and is very easy to recommend but at the end of the day just does not excite as much as it should and that is just the case with Primitives the new album from US metallers The Room Colored Charlatan. Musically and emotionally the encounter is glorious and technically bewitching but for all the moments which have thoughts basking and imagination captivated without reserve, for us it fails to light a fire in the passions. It is still very easy to suggest exploring its stylish merger of progressive and technical metal filtered with the voracity of extreme metal aligned to soaring ambiences, as it is a fascinating and striking adventure.

Hailing from Indiana, the quintet has been compared to the likes of Between The Buried And Me and The Contortionist, two bands which indeed have inspired The Room Colored Charlatan along with the likes of Painted In Exile, Born Of Osiris, Veil Of Maya, and Animals As Leaders. Listening to the new album you can see what breeds those references though equally there is plenty about the release which sets the band apart. Building and increasing their reputation live, playing with bands such as TesseracT, Veil of Maya, Born Of Osiris, and The Contortionist over the past years, the band brought concentrated attention upon themselves with debut album Between Mirrors: The Quantum Immortality in 2012 which was released, as the new album, on Subliminal Groove Records. Primitives take all the qualities of its predecessor into new expansive dramas and evocative climates, across sceneries which roar and claw at the senses whilst seducing with a melodic and atmospheric beauty. Inspired by the theme ‘that humankind is not as civilized or as modern as we like to think’, the album is an epic imposing journey broken up into individual musically poetic chapters.

A chilled breeze around a lone guitar opens up the album and Instinct, and it is a beckoning soon full of melodic intrigue and rhythmic Primitives-covresonance as the song grows into full view. It is a hypnotic entrance potently luring in attention before the grizzled vocal delivery of Jared Bush brings a raw imposing into the creative elegance already cast by guitarists Justin Seymour and Brent Edelson, his presence seemingly a spark for an expanding intensity which stalks with djent seeded stabs, oppressive breaths, and rapacious shadows. The weave of melodic enterprise becomes more acidic but still seduces within and tempers the more vocal tempest of sound. It is an enthralling proposition, the composing and craft of the band alone gripping as the soundscape of the sonic narrative consumes the imagination.

The starter evolves into the brief and invigorating instrumental Native Habitat, guitars and drums sculpting a mouthwatering terrain for thoughts to explore before it then flows into the following Apex Predator. The rhythmic enterprise of Adam Dixon swiftly has its heavy skilled hand on a definite appetite for the impending adventure as a sonic web spins an absorbing and perpetually shifting picture, one nicely courted by constantly dark and agreeably imposing bass hues from Michael Miller. As the track permeates thoughts the aggressively caustic growls of Bush fail to sit easily but to be fair it is just down to personal taste, just like eyes maybe lack a kinship to the colour green, at times his delivery fails to persuade our ears. It is no reflection on his presence and attack but to our loss it does defuse some of the might of what is an impressive track, especially its vivaciously ravenous climax.

The intensively bruising emergence of the title track has senses rocking back on their heels next rugged riffs and similarly predacious rhythms badger and assault before an entrancing melodic mesh wraps the heart of the song, caressing and soothing the sores spawned by the formidable and pleasing storm. The subsequent body of the track does not quite inspire as its entrance but again the individual skills combine for an almost romantically colourful view of an intimidating premise.

Keys make another potent and important texture to the album, none more so than within Questions of Origin, their vigorously simmering dazzle impregnating another virulently aggressive, almost rabid exacting landscape. With guitars searing as they simultaneously entwine the senses in melodic beauty, the track is one which lights a fuse to more keen ardour alongside again nothing but impressed respect for the album so far; oh and note Bush is exceptional too, his bordering vicious snarl resting very nicely in the ears, yes we like to be contrary.

The sweeping synth grandeur within the following Survivalist Notion soon captivates whilst beneath riffs grind and chew through ears, the fusion a riveting endeavour which is only accentuated by the first appearance of clean vocals, something the band should definitely explore more ahead. The bass of Miller has its finest hour here, though maybe it is just it is allowed a little more space to enslave away from the smothering tempests it so richly helps create. Like many of the songs, there is very little to criticise or question, though for a still indefinable reason, as the album, it does not ignite the heat of passion it probably deserves.

The Atlas Artifact from its first touch floats and rigorously pursues an epically honed expansive progressive flight, though it is soon perpetually buffeted by clinging almost hostile eruptions and vigorous creative rabidity. The song again unveils exceptional harmonious vocals which once more impress thoroughly whilst the guitar invention and imagination between Seymour and Edelson is breath-taking at times; everything combining for a gripping and highly enjoyable emotively driven conclusion to the main thrust of the album.

Closed by the outstanding bonus track Nexus Point, which as good as steals the album’s pinnacle moment, its voracious enterprise and outright creative aggression savaging and firing up ears and emotions, Primitives is a fine album which only offers impressive bait to acclaim and eager recommendations. The Room Colored Charlatan is potentially a major force in the making, the album makes that easy to say and who knows they might even get us over excited at some point too.

Primitives is available via Subliminal Groove Records and @ http://theroomcoloredcharlatan.bandcamp.com/album/primitives

https://www.facebook.com/TRCCBand      

8/10

RingMaster 23/05/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

 

Secrets and exposures: an interview with Tricore/An Entire Legion

1 (1)

Tricore

More a secret than they should and deserve to be, UK metallers Tricore has been one of the most inventive and exhilarating bands within the British metal underground scene for close to a decade. With its member’s sister project An Entire Legion, the band has continued to intrigue, surprise, and thrill with an unpredictable and persistently adventurous intent in sound and ideation. Recently both bands released strikingly re-mixed and re-mastered versions of the albums Less than man…More than rabbit and Flame Wizard, from Tricore and An Entire Legion respectively. This gave The RingMaster Review a nudge to delve deeper into the bands which we had the pleasure of doing with vocalist/drummer Chris ‘Kerl’ Kerley, guitarist Mark Carstairs, and bassist Chris Allan who also kindly offered the opportunity to win a digital copy of both albums.

Hi Guys, welcome to the site and thanks for sharing your time with us.

Kerl: No worries man. It’s a pleasure. Thank you for being such a proponent of our music.

You have just released remixed and re-mastered versions of your Tricore debut album Less than man…More than rabbit and the Flame Wizard full-length as An Entire Legion. Before we take a closer look at the releases and yourselves can you clear up the situation with the projects as I know some people have been a little confused; are Tricore and An Entire Legion working as separate projects still, as I know there was talk of merging under just one name at one point?

Kerl: Haha, yea it can get a bit confusing. For us as well. The musicians are much the same in both projects but musically they generally differ. Tricore tracks are generally straight up heavier, riff driven, longer tracks, slightly more technical in parts. Legion tracks vary in tone more; the melodies take more of a front seat, tighter structures and catchier choruses.

Chris A: Though the lines have been blurred with the Flame Wizard release.

Kerl: Yea. It’s possible that future releases will be under legion because it’s the preferred name. Either that or we’ll make up another new name to piss more people off!

 

Tricore

Tricore

As it was the early days of Tricore where we first discovered your sounds, tell us about the beginning of the band and your musical histories up to that point.

Kerl: Tricore was formed in 2006.

Mark: I joined the band a month after it was formed and we did our first gig as Tricore only a couple of weeks after that!

Kerl: Yea you did well to get the shit down man. Before 2006 we were called Unbound. We named our debut EP after the old band. A few of the ideas on the Less than man…more than rabbit album came from the Unbound days. I’ve been in bands since I was like 13-14 playing drums. First band I was in was called Undercurrent. I only started getting heavily into song writing when I started Unbound in my late teens.

Mark: I also started playing in my teens back in Scotland. I was in a local band before moving down south.

Chris A: Same for me… Been in bands since my teens and all through my twenties. All of us come from similar musical backgrounds. All of us are self-taught.

The band’s sound is unique and distinct, wonderfully difficult to pin down. What have been the major inspirations to your ideas and music?

Kerl: Variety! Spice of life and all that. Same applies to music. Learning about and respecting different genres of music can only aid you when it comes to song writing. I grew up on a diet of mostly rock & metal in the nineties and always preferred the bands I felt “stood out”. Bands who had their own thing going on a la Korn, System of a down, Slipknot, Sikth, Incubus, Paradise Lost, before that Pantera, Nirvana, RATM and many more. As time went on my tasted broadened and I started listening to all sorts, from orchestral to indie to electronic, new and old. Like the bands above we always try to stand out with our music, whichever project we’re working on.

Mark: I’ve been influenced by pretty much the A to Z of heavy metal!

Kerl: Yea man, Marks got one of the largest cd collections I’ve ever seen. Its nuts!

Your first EP Unbound in 2007 made the first mark, increased dramatically by the Follow EP four years later but it is the Less than Front cover, less than remasteredman…More than rabbit album which still rings the most potently with fans. Is that what you have found and why you have re-visited it for the new release?

Kerl: It was more about making the older releases sound as phat as possible. Less than man always felt a little too tinny to our ears which was a mix issue rather than a mastering one. Sean Magee did a great job at Abbey Road studios first time round. But we felt a re-mix and re-master would bring the music up into line.

How did you look at the album in regard to re-mastering and remixing it, where did you feel you could enhance its strengths and colour further?

Kerl: Everything needed at least a little tweaking. The vocals needed to be eq’d and brought forward, the guitars were given more thickness. The hi-end needed to be reduced universally. We met a great dude who mastered the new releases for us giving them the final polish they needed. And all for the right price! Which is always a factor when you’re producing yourself.

Was it the same reasons for re-working the Flame Wizard album under An Entire Legion too?

Kerl: Yes. Though those tracks were recorded more recently and had fared better. I think both releases are now really solid, production wise. I can’t see there’ll be a need to revisit them again. We’re not going to do a “George Lucas”.

When did An Entire Legion become a valid proposition alongside Tricore for your ideas and what inspired you to make the distinct separation?

Kerl: An Entire Legion was created in late 2009/10 primarily to go down a slightly more melodic route with our music.

Mark: Initially it was also a step we took in an attempt to find a drummer who could replace Chris, freeing him up to do vocals.

Kerl: Yea. The idea was that I’d remain on drums in Tricore and sing for Legion. Unfortunately we had no luck finding a suitable replacement on either drums or vocals.

Mark: Despite caining the auditions!

Kerl: I still remain doing both. After a while Legion became a place we could put those songs we felt didn’t quite fit under Tricore. Now it’s pretty much an anything goes, which is why both projects have blurred.

An entire legion

An entire legion

Did having the two projects on the go simultaneously make the songwriting a more interesting adventure and maybe more difficult. Deciding where melodies or, rhythmic twists as examples, would best fit?

Kerl: Luckily the writing for both releases was completed at separate times. Most of the music on Less than man was written in 2008. The tracks on Flame Wizard during 2011/12 so there were no difficulties due to overlapping. Though we have several projects we usually just focus on one at a time.

Have you a preference (not favourite) or find a greater ease in regard to the two bands when it comes to creating songs?

Kerl: Honestly no. I love creating music. I live for it. There’s no preference when it comes to band music for me, I just try and keep things interesting and distinctive.

Mark: Playing wise, I prefer the heavier tracks from any of our projects. But listening wise it’s great that we don’t limit ourselves and feel free enough to head down different routes when the itch arises.

Chris A: Yea I also appreciate the variety. As a player it keeps things interesting, challenging.

It seems like in the current climate of metal and rock; bands with something truly unique about them and their sound get passed over and often disappear far too soon. How have you guys managed to keep your passion and drive for two projects, three when we include Rind Skank, all this time criminally without the nationwide and beyond recognition we feel your music deserves?

Kerl: Cheers Pete man, awesome of you to say. It’s really easy to keep creating music because we love it but yea, things are tough out there right now. Zero exposure by mainstream media has kept some of the country’s best musicians and songwriters in relative obscurity.

Chris A: Piracy…

Kerl: Yep. Piracy has wrecked music sales, which used to be a vital revenue stream for bands. Heavier types of music are acutely affected by the loss of music sales because there are fewer ways to make up for the losses. Obtaining ad or film placements for heavy music, which can be a great source of income for songwriters in other genres, is rare. Touring is expensive and is not feasible for a lot bands without financial backing. Merch sales are directly linked to touring. Indie labels mostly sign what they know and what they feel safe taking on, so most of their rosters end up filled with bands that appear to be imitating one another. They can then group these guys up and send them out on hard-graft tours, which are rarely particularly lucrative. As for major labels, well they barely touch heavier acts. Why would they, there’s no longer any money in it. For us, like many bands, it’s difficult. We’ve lost key members in the past because they could no longer see a future in playing heavy music. Reality gets in the way of the ideal.

So my advice to anyone who wants to see the genre grow is to purchase the music of the bands whose music you enjoy. Purchase directly from them if possible. Keeping the industry financially healthy isn’t only about providing opportunities for current bands it’s for all the future ones as well.

Concerning how we personally keep driving forward. Pretty much by ignoring the above and crossing our fingers ;)

Briefly tell us about Rind Skank.

Kerl: Rind Skank is a rock/metal/dance fusion band we started in 2012. It was a chance to play around with things in another direction, which is always great fun.

Mark: We took out the need for a drummer by playing over synth beats, which gives us a project that we can play live as a three piece.

Chris A: Recently though we’ve been attempting to introduce acoustic drums into the mix, so we’ll see how that goes.

I believe there are a couple of previously unreleased tracks also within the new re-mastered releases. Tell us about them, they are brand new AEL flame wizsongs written recently?

Chris A: Yea, we released the tracks Richest Eyes and Twist the gimp on the Flame Wizard album. Both those songs were recorded in 2012 and were originally created for a different project, currently shelved. We dig the tracks and thought they’d fit well on the album. Both use more electronics than our other songs usually do. They’re also the only tracks I’m on because I only joined the band in 2012!

How does the songwriting work within the bands, is it the same method for both?

Kerl: I write the music for all the projects give or take some parts here and there and some of the solos (the better ones were written by Rich Wood). The process is usually – I write at home and then bring the songs down to practice where we can all pour over them.

What can new and especially existing fans specifically find different within the new outings for Flame Wizard and Less than man…More than rabbit from the originals to get their juices flowing again?

Kerl: Aside from the couple of new tracks on Flame Wizard it’s all about the production quality. We’ve just raised it up to a higher level than it was before. Considering our releases are self-produced with no fancy top end studio involved, I think we did a pretty good job.

What is the future for both Tricore and An Entire Legion, do you have specific plans or intent for 2014 and beyond with each?

Kerl: Nothing’s set in stone at the moment, though plenty of ideas. That’s the positive thing about being unsigned, no deadlines! Unfortunately there are some negatives. As the primary songwriter, these days, what I would like to do musically and what I have to do in order to make a living frequently conflict. Every time we record a significant amount of material, and I produce, it pretty much wipes out 3-4 months. That’s time we don’t get paid for up front. The main way to recoup is via sales of music and merch, which doesn’t cover it. The money we get from shows, when we’re able to play, is negligible.

Mark: Normally ends up costing us.

Any new songs and release on the horizons too?

Chris A: We have hopes to release a Rind Skank album at some point later this year, or maybe 2015. We may start a crowd-funding project to see if we can raise enough to make that feasible, which is something we’ve never done before

How about live, can we expect any venture on that side?

Kerl: Playing live has always been a rollercoaster for us. Constant line-up issues over the years have kept us grounded for a lot of the time. And I don’t mean that to sound like we’re a revolving door band with new members every week. Quite the opposite, our problems are finding the right people in the first place…People with the musical chops and a good working ethos. We’re looking forward to getting a more stable line-up and playing live more frequently.

Where is the best place for people to keep up with all things Tricore and An Entire Legion?

Kerl: Any of these sites,

Our bandcamp page for releases – http://tricore.bandcamp.com/

Our MySpace or Facebook for updates – https://myspace.com/thetricore

https://www.facebook.com/anentirelegion

https://www.facebook.com/tricoreuk

Or our hub site – http://tricor1.wix.com/underdogelite

Thanks once more for talking with us, any last thoughts you would like to share?

Kerl: It was an absolute pleasure man. Keep up the great work!

Mark: Cheers!

Chris A: Great talk dude.

Tricore pic 1

To win a digital copy of Less than man…More than rabbit or Flame Wizard, simply check out the last Bone Orchard podcast @ www.audioburger.com and tell us which Tricore track was featured in the comment box below. Closing date for entries is Sunday June 8th

Pete RingMaster

The RingMaster Review 22/05/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

Tweak Bird – Any Ol’ Way

pic BryanRichardMartin

pic BryanRichardMartin

Having been seduced and exhilarated by the band’s previous EP Undercover Crops, it is fair to say anticipation of getting the senses into Any Ol’ Way the new album from Tweak Bird, was acute and swiftly more than satisfied as the eleven track exotic haze of psychedelically enhanced rock unveiled its acidic and generous charms. Whereas the previous release could be said to be more stoner bred at its core, the duo of brothers Caleb Benjamin and Ashton Leech seed their new full-length more in the seventies psychedelic rock side of their creativity which in turn breeds their finest, most potent hour yet. It is a glorious evocative aural summer of fresh melodic weaves and sonic winds all caught in the inventively unpredictable psych pop kissed adventure that is Tweak Bird.

Formed in 2006, the Los Angeles based brother’s musical cv together goes back years before, as kids writing and recording music after growing up on a diet of Black Sabbath, King Crimson, and Pink Floyd. Jumping forward to 2005 with Ashton putting together his own drum kit and Caleb experimenting on the way to purchasing his first baritone guitar, the pair made their live debut as Tweak Bird within a year which led them to the attention of Melvins whose drummer Dale Crover subsequently passed a drum kit down to the duo. The bigbonesnakebite 7” came next followed by the Reservations EP in 2007 and 2008 respectively. Their acclaimed Crover produced self-titled debut album two years later was the spark to greater attention and spotlight upon the band, which Undercover Crops pushed on yet again in sound and responses, a success matched by their live shows which has seen the band stand alongside the likes of Tool, Melvins, Big Business, Black Mountain, Best Coast, and Ted Leo and the Pharmacists whilst driving their own headline tours in the US and across Europe. As stated though Any Ol’ Way is another kettle of fish thrusting Tweak Bird to the highest captivating perch within imagination reeking sonic rock ‘n’ roll.

As soon as the throaty voice of the guitar embraces and resonates through the ears as opener Weird Oasis sets joy in motion there is a AOW5x5sense of something seduction lurking, a feeling soon realised as the guitar expands its slow coaxing alongside similarly urgent and gripping rhythms. It is an immediately captivating enticement which the vocals soon climb all over with strained melodic hues and irresistible expression as small hooks and hinted grooves entwine their welcome fingers around thoughts and a rapidly emerging appetite. It is hard not to think of Melvins with the song but to that slithers of Hot Hot Heat and The Mai Shi offers their suggestions also but as mere spices in something primarily belonging to Tweak Bird.

The enthralling start is soon lifted up a level by Greens, the warm soak of seventies psychedelic sun of its predecessor seamlessly given an injection of gnarly riffs and heavy stoner-esque virulence speared by Sabbath-esque rhythmic stabs and sonic groans. The gait of the song is a prowl and its air an oppressive breath but with harmonious vocals and sonic flames carving out searing grooves, the track is an invigorating fascination whose bruising is only welcomed wholeheartedly.

The first major pinnacle on the album comes next in the aural temptress that is She Preach, a song which from a seducing mist of sound launches into a ravenous almost wanton persuasion of melodically teased grooves and crisply jabbing beats reined by the again impressive individual vocals. The song SOON adds catchy claws to its salacious dance of sound and lyrical enticing, hooks and infectious bait almost deviously infesting the senses and passions as the song spreads its erotic charms, wiles enhanced by the excellent discordant blessed sax croons which brings thoughts of eighties UK band Essential Logic to the fore. It is a magnificent provocation which leaves the following A Sign of Badness a little pale in comparison, but with its wispy vocals and muscular beats the track glides resourcefully across senses and imagination to add another twinge of hunger for the release.

The great alignment of raw aggression and melodic elegance makes Peace Walker a riveting encounter next, its sixties pop lure within a slightly cantankerous punk spawned sonic voracity insatiably magnetic. If you wondered what a mix of The Doors, The Beach Boys, and Corrosion of Conformity might sound like then this song is a good hint. It is another potent entrapment for thoughts and emotions but soon passed over for the ridiculously addictive Builder with is post punk repetition and gentle but imposing sonic nagging. The instrumental seeks out and consumes every pore and synapse with delicious chilled toxicity before flowing into the vibrantly smouldering arms of A Sign of Positivity. With almost griping deep toned grooves and a rhythmic shuffle which defies feet not to join its dance, the song as the vocals soars majestically and almost melancholically evolving into a thoroughly riveting and thrilling sway of aural hypnosis.

Both the niggling contagion of the brilliant Mild Manor and the summer soirée of Inspiration Point keep album and listener entwined, the first providing five minutes plus of the kind of rhythmic and sonic transfixing bands such as Gang Of Four and Joy Division conjured so decisively. Complete with short but deeply penetrating hooks and spatial toxins, the track works its way towards a rich and fully packed stoner rock fuelled fire as a finale. Its successor is a narrative locking intrigue and surf party suasion into a psychedelic rock sculpted sway of melodies and shadows, a song not as potent as the last but full of drama and invention to enslave attention and satisfaction.

The album is completed by the outstanding Burn On, a feisty and raw surfaced rock pop proposition which simply chains and romances with the passions like a high school teenager, even if one clad in stalker like intent, and a humid reprise on the bewitching opener called Sunshine (slight return). The pair makes a mesmeric conclusion to a spellbinding adventure and pleasure.

The David Allen produced Any Ol’ Way according to the Bird brothers “…voice our opinions and feel comfortable. We hired our dear old friend, to engineer and co-produce, which helped us explore new sounds and develop unfinished ideas. We believe in peace, marijuana, individual freedoms and not taking ourselves too seriously. This just happened to be what came out.” It is all there to be heard within the album where freedom seeps from every note and syllable.

Any Ol’ Way is available now from http://tweakbird.bandcamp.com/releases and on vinyl via Let’s Pretend Records now!

http://www.tweakbird.com

9/10

RingMaster 22/05/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

 

 

 

Alexanred – Rest After Result

alexanred_rest_after_result

Upon covering Non-Stop Non-Stop, the debut single from industrial metallers Alexanred near the end of last year, we admitted though the song strenuously impressed it was too early to make a judgement of the band as much as the potential seeded real anticipation for future endeavours. The release of new single Rest After Result brings two more songs into the equation and all the promise and thrilling attributes of that first song have now been reinforced and pushed on. The new release is a thumping and rousing anthemic roar of electro and metal invention, again not one diving into brand new undiscovered territories but a proposition to ignite imagination and passions with a predatory virulence.

Alexanred is the solo project of Finnish industrial metallers 2 Wolves’ guitarist/synth player Aleksi Susi. Formed in 2012 and taking influences from the likes of Rammstein, Lacuna Coil, Type O Negative, Cradle Of Filth, Paradise Lost, Septic Flesh, Rob Zombie, Prodigy, Autopsy, Nile and more, many of which loudly call out within both of Susi’s releases, the band makes a rigorously compelling persuasion with its raucous energies and ridiculously addictive qualities. As its predecessor, Rest After Result infiltrates the ears with a voracity and hunger which virtually stalks down thoughts and emotions, demanding attention and ultimately submission to its fiery charms. It is a predator of the senses but one which just as potently takes them on a stomp of electro adrenaline aligned to industrial rapaciousness within a web of metallic antagonism.

The title track launches its predacious crawl from a deep breath, electro teasing uniting with raw thrusts of guitar as beats place their heavy fingers into the mix. It is a menacing start which takes little time to remove the reins on a feisty energetic chorus spurned on by electronic urgency and melodic infectiousness. It is highly anthemic bait which is prepared to slip back into portentous shadows as the track slows back into its initial prowling intent, happy to lie there waiting for its moment to again fill and incite ears and passions. In many ways especially around the chorus there is a strong essence of early Ministry to the song, the time before Al got all macho on us, whilst the darker evocative and intimidating passages holds a Nine Inch Nails breath to their imagination.

It is a thoroughly enjoyable encounter which is straight away exceeded by the accompanying Effective. From its first second soaring melodies soak the flight of the synths whilst guitars and beats paint a sinewy aggressive canvas clad in shadows and challenging textures. Right away thoughts of Rammstein come to the fore through the vocal and muscular drama of the emerging song, but with evocative keys and unsettling twists in the gait of the song there is plenty to temper any over familiarity with the Germans. Feet, body, and neck muscles are soon given an intensive workout as the song pumps through their veins inciting full involvement though respite is given when the track unexpectedly and extremely pleasingly slips into a cavernous epically cast scenery. It has thoughts and imagination racing with pleasure before the previous inescapable toxicity merges with the new landscape for an exhausting climactic finale. It is a glorious track revealing more of the invention within Alexanred than arguably the other two songs from Susi together whilst continuing to seduce and infect a growing appetite for the man’s sound and imagination.

Rest After Result and Alexanred are not offering anything openly new in industrial metal but it sure is a frighteningly exciting proposition and that is good enough for us.

Rest After Result is available via Inverse Records now.

http://www.facebook.com/AlexanredFinland

9/10

RingMaster 22/05/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

MONSTER JAW ‘Get A Tattoo’ on 30th June‏

Monster Jaw Online Promo Shot

NORTHERN ROCKSTERS MONSTER JAW UNLEASH COLOSSAL DEBUT RECORD!

 ‘Get A Tattoo’ is filled with solid guitar riffs and catchy choruses, making for a decent debut EP.’ 9/10 – Big Cheese Magazine

 

UK rock crew ‘Monster Jaw’ nationally release their debut EP ‘Get A Tattoo’ on Cobra Kitten Records / Code 7, Monday 30th June.

Spawned in early 2013 by charismatic front-man and chief songwriter Mik Davis, along with bassist Neil Short and tubthumper John Bradford, Monster Jaw hail from the gritty northern cities of Leeds and Newcastle. Drawing inspiration from their blue collar surroundings, the trio also pull influence from the songwriting wizardry of Neil Young and Kurt Cobain, through to the moody garage rock musings of The Jesus and Mary Chain and the post-grunge drive of Stone Sour.

Over the past year, the animated upstarts have toured throughout the UK serving up a resonant and atmospheric post-garage punk sound that is coupled with a tight, electrifying stage show. Successful supports with Stiff Little Fingers and New Model Army on their UK tours have only furthered the band, along with lauded acclaim from Big Cheese Magazine, heavy rotation from BBC introducing and widespread underground radio.

Monster Jaw also have a strong DIY ethos and decided to self release their debut EP ‘Get A Tattoo’ on their own record label ‘Cobra Kitten Records’. With national distribution set up for this and future releases, the band have the resources to take their music to the next level. The assiduous three-piece drafted in London-based Belgian producer Wes Maebe (The Libertines, Roger Waters and Robert Plant) to work on their debut EP and his expertise really shines on what is a formidable record. The EP’s namesake ‘Get A Tattoo’ gets things rolling, showcasing the trio’s deft ability to lay down an alluring slab of post-garage rock that packs a highly contagious refrain. The driving punk rock givings of ‘We Don’t Care About Anything’ is next up, highlighting the band’s raw sincerity and authenticity. Lastly, ‘Summer Girl’, with its atmospheric groove and soaring vocals, shifts gears and tips its hat to The Pixies in passing. Now armed with a killer record, Monster Jaw are set to raise the bar with further touring throughout the UK. Stay tuned for more.

++ MONSTER JAW RELEASE ‘GET A TATTOO’ ON MONDAY 30th JUNE THROUGH ALL STORES ++

Monster Jaw Cover

www.monsterjaw.co.uk       https://en-gb.facebook.com/MonsterJawOfficial

 

BENEATH DEAD WAVES crash in with ‘Inertia’ on 30th June.‏

Beneath Dead Waves Online Promo Picture

UK NEWCOMERS  BENEATH DEAD WAVES RELEASE DEBUT ALBUM THIS SUMMER!

 

London metal combo ‘Beneath Dead Waves’ drop their debut album ‘Inertia’ on Monday 30th June through all digital outlets.

Originally formed in Dorset back in 2007 by Joey Draper (vocals), Doug Cartwright (guitar) and Leigh Costanza (drums), the band take from a cluster of influences spanning from old guard luminaries such as Tool through to contemporary heavyweights such as Between The Buried And Me. The Southern riff masters blend key elements of thrash, groove and nu-metal with an aggressive attitude and progressive mindset to create a unique and striking signature sound.

 

After relocating to London and spending several years writing and recording, the band finally recruited the right members to fully enhance their sound when Matt Reeves (Guitar) and Chad McCamlie (Bass) stepped into the breach and added further weight and depth to the group. By 2013, the quintet began to hit the road and in passing opened for the likes of Monuments, Intronaut and Scale the Summit. By the end of the year, the metal crew released their new single ‘Imperfect’ which garnered strong praise and helped to boost the band’s growing following.

In 2014, Beneath Dead Waves turned their attention to recording their full length debut album, entitled ‘Inertia’. Spitting out eight tracks of venomous edgy heavy metal, the record is laden with mighty riffs and skewed phrasing all fuelled by real invention and earnest intent. From the guttural attack of ‘Nemacyst’ to the album’s namesake ‘Inertia’, which oozes true groove and innovation with its shifting sections and keen use of dynamics, and onto their recent single ‘Imperfect’ which is a blistering full frontal blast of Thrashcore aided by shrewd craft and another thoughtful arrangement, this record is sure to make its mark. Look out as Beneath Dead Waves hit the road this Summer.

 

-BENEATH DEAD WAVES RELEASE ‘INERTIA’ ON MONDAY 30th JUNE THROUGH ALL STORES-

Beneath Dead Waves Cover Artwork

www.facebook.com/beneathdeadwaves

SEVENDAZE uncaged on 23rd June

SevenDaze Online Promo Shot

RISING METAL COMBO  SEVENDAZE RELEASE DEBUT EP!

 

UK new guns ‘SevenDaze’ are set to etch their mark on the UK scene with their captivating blend of melodic fused metal.

Cleverly connecting infectious melody-drenched refrains with heavy guitar parts and hammering beats, SevenDaze unleash their stimulating self-titled debut EP on Monday 23rd June through all stores.

 

Formed in 2009 and coming at you from the backstreets of Birmingham, SevenDaze were brought together by three school friends Kenny Jones (Vocals), Brett Hill (Bass) and Mike Cook (Guitar), along with new friend Jamie Price Gould (Drums) who fully completed the line up. Taking inspiration from the likes of Deftones, Linkin Park and Finch, the quartet soon sharpened their own sound, and by 2010, the metal crew were ripe for gigging. During the past few years, the band have played a plethora of fiery live shows throughout the UK, which has happily helped them scoop up national coverage in Kerrang! Magazine, all in anticipation of laying down plans for their debut record.

 

The Midlanders entered the studio last year to start work on their self-titled debut EP. Now fully loaded with a beast of a record recounting six beefy cuts, stemming from the muscular cascades and burly riffage of ‘Unforgiven’, to the fantastically anthemic ‘All About You’ and onto the dynamism and melodic flexibility of ‘Crash Learn Burn’, the EP instantly grabs your attention. As the record develops ‘The Doubt’ and ‘The Hard Goodbye’ showcase the foursome’s growing maturity and measured songwriting to great effect. The EP closes with a bonus track cover version of Adele’s ‘Set Fire To Rain’ which certainly reworks the song and is sure to appease any rock fan. The metal outfit now prepare for a full-blown attack of the UK; look out for extensive tour dates soon to be announced for the rest of the year!

 

- SEVENDAZE RELEASE ‘SEVENDAZE’ EP ON MONDAY 23rd JUNE FROM ALL OUTLETS -

 SevenDaze Cover Artwork

www.facebook.com/sevendazeband