ZOLTAR SPEAKS UNVEIL NEW VIDEO SINGLE!‏

Zoltar Speaks Online Promo Shot

ZOLTAR SPEAKS lift new video single from their debut album.

 

Rising female-fronted Brit metal crew ‘Zoltar Speaks’ have just released their explosive debut album ‘Save As I Save’ and now the melodic metallers set loose their new video single ‘Nothing In The World’ on Monday 12th May.

Pulling from everyone from the likes of Avenged Sevenfold and Iron Maiden to Coheed and Cambria, Zoltar Speaks are here to shake your world with a sound that merges both fiery and majestic vocals with hearty riffs and elephantine choruses.

Formed in 2009 and bursting out of the rural plains of Somerset, Zoltar Speaks are fronted by enigmatic vocalist Louise Body, with Ben Dean hammering at the drums, Simon Roocroft providing the backbone on bass, and Daniel Pratt and Jason Coles shredding it up on the guitars. The unstoppable five-piece have built up an army of dedicated followers fuelled by extensive touring throughout Southern England and Wales where they notched up supports with Idiom and Malefice. The release of the band’s debut EP ‘Treatment’ further increased their national profile, and now with the launch of their new full length album ‘Save As I Save’, the ascending metal crew are set to soar.

The south west melodic metal crew’s debut album ‘Save As I Save’ features twelve stunning slabs of cutting metal and has already racked up critical acclaim from Big Cheese, Metal Hammer, Rocksound and Powerplay. Metal Hammer in particular have been very supportive of the band by placing a track from the record on their cover CD. The band now surge forward with the release of the video single ‘Nothing In The World’, out this May and the cut is destined to grace TV screens.

 

CHECK OUT THE ZOLTAR SPEAKS’ ‘NOTHING IN THE WORLD’  VIDEO  HERE

https://www.youtube.com/watch?v=XKuimZxl5gk ++

 

www.facebook.com/zoltarspeaks

Slumlord Radio – No Trick Pony

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Taking the dirty out of their previous impressive EP Tokyo Roadhouse Sonic Sex Castle, US punk ‘n’ rollers Slumlord Radio have caked it in further grime and scuzzy glazes for the new and equally compelling release No Trick Pony. The five track EP sees the Grand Rapids/Flint based band turn to the grimier side of their invention to unleash another brawling confrontation to incite senses and passions. Its sound twists and squalls with an antagonistic might which takes no prisoners and has no concerns with making friends, preferring to eyeball the imagination whilst brewing up a thick moonshine of sonic rewards.

Slumlord Radio was formed in 2010 and wasted no time in stirring up attention locally with their fiery mix of punk, heavy rock, and garage punk. Rich essences of sludge and hardcore also add their toxins to the uncompromising sound which sparked acclaim within 2012 debut release The Cats Pajamas EP. The following year saw Tokyo Roadhouse Sonic Sex Castle ignite another flood of attention and praise upon the band which No Trick Pony should only add to with its raw and raucous charm. The new EP like its predecessor does not break into new realms but similarly uncages a thrilling cluster of passionate and inventive endeavour which leaves the appetite greedy for much more. The trio of vocalist/guitarist Tommy Erickson, bassist Mike Todd, and drummer David Flynn, who has been left the band since the recording with Matt Claucherty replacing him to beat guitars laying down the living daylights out of rhythms, prey on the senses whilst treating them to aural riots which are not always an instant temptation but persistently end up a proposition eagerly devoured.

Devil You Know starts things off, opening up its presence with an early temptation complete with southern twang and expressive tone. The bass takes little time to join the coaxing before a vocal squall announces an expulsion of energy into a confident swagger which instantly recruits attention and appetite. With the coarse notes of Erickson similarly riling the air alongside the sounds, the track has an air of Joecephus and the George Jonestown Massacre to its country punk breath though one integrated in a dusty cloud of predatory rock ‘n’ roll. The track continues to prowl and stalk the senses, feeding it grooves and hooks as infectious bait whilst stirring up a dust storm with discord kissed and scuzz glazed voracity. It is a tremendous start to the EP which as mentioned earlier pushes the trio’s sound into its darkest dirtiest depths yet for thrilling results.

The following Scuzz delivers what you expect with its title but much more besides, it’s initial melodic enticement almost folk like in its touch and soon entwined in another punk bred canter of flailing rhythms and caustic riffs. It does come with restraint though which takes a firmer grip as the song dips into a magnetic stroll to flirt with the imagination. It is not allowed to play for long though as the fire in the belly of the track explodes into an abrasive and anthemic chorus before the mesmeric cycle begins again. The song was one which took a little longer than others to permeate emotions such its evolving intent, but with its masterful grooves and blazing aggressive energy, even in the quieter moments, and the stoner-esque twists which colour the outstanding imaginative encounter it emerged as the most potent and exciting proposition on the release.

Keeping the release on irresistible flight White Owls and Cheap Champagne comes in next with riffs and hooks blazing whilst rhythms beat their suasion with poise and skill. There is a weight to the track which smacks of a Sabbath-esque seeding whilst the corrosive air and vocal riling reminds of Social Distortion at times as the song proceeds to stomp, stalk, and incite the senses. Dirty insatiable rock ‘n’ roll at its most hellacious, the track provides another flavoursome antagonist to the release and spark for the passions even if against the previous triumphs it lies just behind.

The virulently contagious Riverboat Gambler stands toe to toe with ears next, the song another which enters on an epidemic of riffs and acidic grooves which seduce a submission within seconds before relaxing to expand its heart and narrative. The haze to the vocals and the resonating bass tempting grabs attention first whilst the guitars weave a distorted surface to their grooves and designs in a delicious merger of garage rock and grunge which is quietly ingenious. The track continues to seduce, employing a sixties punk spice to the agitated invention to stand side by side with Scuzz as the pinnacle of the release.

No Trick Pony closes with Freelance Viking, a vigorously captivating tapestry of sonic and scuzz lined intrigue. Easily the coarsest and rawest song on the encounter vocally and musically, it takes the longest time to convince though there is an addictive lure working away within the murky sound which ensures you go nowhere whilst it is offering its declaration. With a temptress of a sonically spawned melody and the scintillating bass sound courting its core, the track makes for an engrossing conclusion especially with the ferocious outburst of punk rock fury which comes in right at the very end.

Slumlord Radio continue to impress and stir up the passions as proven by the tremendous No Trick Pony; they are not for part time punk and dirt rockers but for those with a real passion for sonic bruises a prime joy on a steady and potent rise.

No Trick Pony is available now as a buy now name your price option at slumlordradio.bandcamp.com

https://www.facebook.com/SlumlordRadioMI

8.5/10

RingMaster 14/05/2014

Copyright RingMaster: MyFreeCopyright

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Fragarak – Crypts Of Dissimulation

 

Fragarak

There has been quite a buzz brewing around Indian progressive death metallers Fragarak, certainly since the release of their debut album Crypts Of Dissimulation and now having been seduced by its startling invention and riveting adventure it is easy to see why. Though not flawless it is an extraordinary capture of the imagination, a constantly evolving and revealing journey for thoughts and emotions which casts a web of enterprise to seduce, bewilder, and thrill. There are moments where the New Delhi quintet arguably over do the intensive alignment of styles and ideation, times where tracks are never given the space to fully convince before being consumed by the next twist of endeavour but to be equally fair it only adds to the drama and captivation. For a debut Crypts Of Dissimulation is exceptional and the horizons for the band painfully exciting, for them and us.

Taking inspiration for their name from a legendary sword from the Celtic mythology, Fragarak was formed in early 2011 by close friends Kartikeya Sinha (bass), Ruben Franklin (guitar), and Sagar Siddhanti (drums). With the writing of songs soon underway the band line-up was swiftly completed with the addition of Supratim Sen (vocals) and Arpit Pradhan (guitar). Debut single Insurgence in 2012 ignited an eager following in the band’s homeland as well as a full anticipation for their debut full-length release. Consisting of six epic encounters, journeys of progressive and death metal weaves taken into a unique premise by the band, the Crypts of Dissimulation took the Indian metal scene by storm leading to the signing with underground label Transcending Obscurity, many tours, and appearances at festivals such as the 4th Entombed Metal Festival in Mumbai and Bangalore’s 2nd holding of the Evilution festival as well as extreme metal fest Pandemonium. Soon their presence and sound was permeating further afield specially within the US, whilst live the band continued to build an acclaimed reputation. Crypts of Dissimulation is working its way around the globe seemingly seducing all before and it is no surprise that the band is being welcomed with eager arms all over such the potential and already immense ability in their songwriting and performance.

The album opens with Savour The Defiance which immediately charms ears and thoughts with an elegant melodic caress of guitar coverwithin an encroaching brooding atmosphere. Keys also bring their grace to the portentous air wrapping the stringed coaxing, shadows and drama edging ever nearer within a growing energy which is as compelling as it is menacing. The guitar take a pause as the air intensifies before returning aligned to crisp rhythms, addictive grooves, and a ferocious vocal squall. Soon taking full and eager strides, the track unveils and explores its emotive scenery, the craft of Pradhan and Franklin bewitching within the reserved but strong tempest brewing up alongside the outstanding tonal throat of bass from the skilled plucking of Sinha. The song continues to croon and roar across its expansive landscape, emotions blazing or seducing throughout to match the imagination canvas of sound and ideation. As unpredictable and intriguing as it is skilfully woven and voraciously presented, the track is a glorious entry into album and band, a gateway like the album as a whole which needs a tide of listens to fully discover all of its corners, rewards, and at times over stretched instincts, but glorious all the same.

The following Insurgence savages the ears from its first breath, rampaging with the glee and predatory instincts of a stag in heat. Sinews subsequently thrust their keen persuasion across the rhythmic enticement and intensive riffery which cores the masterful incitement whilst grooves spear and entwine the imagination like acidic vines. The song is riveting, every moment a flood of addiction forging invention and anthemic persistence which leaves greed the potent reaction, a hunger only accentuated by the fluid drift into a melodic respite which is as virulently contagious as the bestial rapaciousness fuelling the rest of the encounter. It is a triumph which puts its predecessor in its place, the vocal fire and intensity alone a mouthwatering provocation which reveals as much about the heart of the song as the finely sculpted sounds and rabidity courting them.

     Effacing The Esotery continues the formidable and towering lure of the album, if without quite matching the heights of the previous pair. Its sonic adventure and rhythmic tsunami cages emotions right away, the trap irresistible as short grooves and melodic toxins engulf their prey. Again it is the seamless move into peaceful beauty which makes the most imposing and absorbing temptation, even within the ever poised violent voracity of energy and thought at the core of the song. The track makes a slave of attention and emotions, the brilliant bass exploits and rhythmic badgering exceptional triggers to a full submission in a torrent of nothing but insatiable persuasiveness, a trait employed by the wonderful instrumental Dissimulation: An Overture. Acoustically bred and emotional endowed, the piece floats through ears and across thoughts; the innocence of its ambience and air charming but shadowed by a dark heart beat and a desperate expulsion of breath. The track brings a respite for the imagination whilst simultaneously awakening new ventures to explore.

The album is completed by the brilliant Cryptic Convulsion and the equally transfixing Psalm Of Deliverance. The first of the two is an avalanche of torrential drumming, spiteful grooves, and unrelenting riffing, all under the commanding growl and venom of Sen. The track moves like a whirling dervish at times in energy and ideas as it works feverishly with its invention and the hunger of its recipient’s psyche. Once more the sonic painting cast by the song and band is scintillating and too much for senses and thoughts to absorb in just a few encounters. This ensures that the album becomes a continually giving adventure which it is hard to really raise an issue over. Its successor is another beauteous piece of music washed in a celestial ambience and precisely cultured emotive hues, a closing entrancement which helps leave Fragarak a lasting experience and Crypts Of Dissimulation live up to its reputation.

Crypts of Dissimulation is available now @ http://fragarak.bandcamp.com/

https://www.facebook.com/fragarak.india/

9/10

RingMaster 14/05/2014

Copyright RingMaster: MyFreeCopyright

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Scream Arena – Self Titled

Scream Arena fireplace photo

Though their self-titled debut does not offer anything to truly blow the imagination away, UK rockers Scream Arena vein their release with an essence which makes it a very appetising and easy to return to venture. Consisting of twelve tracks which breathe from a hard rock heart whilst infusing rich spices of melodic metal aligned to a swagger related to glam rock, the album is an honestly satisfying encounter; nothing to get the passions racing but plenty to have them hungry for more.

Scream Arena was formed in 2005 by vocalist/songwriter Andy Paul in response to how he felt the rock scene was floundering at the time. Moving through numerous personnel changes, the band eventually found its potency and stability with the line-up guitarists Alex Mullings and Phil O’Dea, bassist Lincoln J. Roth, and drummer Michael Maleckyj alongside Paul. It was the linking up with US rock producer/musician Paul Sabu (David Bowie, Madonna, KISS, Shania Twain, Silent Rage) for the album which has provided the final spark to grabbing a richer spotlight for their sound and presence, something the release shines with. There is a certain Cooper-esque feel to the sound soaking each track and flavours from the likes of Motley Crue, Kiss, and Extreme seem to soak into the band’s invention which makes for a familiar offering with a refreshing and heartily pleasing presence but also a lack of uniqueness which all evens out for an easily pleasing and enjoyable proposition.

Opening track Born Ready revs itself up from the first second, riffs and rhythms a solidly coaxing lure which the guitar design of the Scream Arena - coverartsong explores with eagerness. Once into a purposeful stride with flailing sonic flumes wrapping notes and ears as the gruff tones of Paul eagerly travels the road of the song; it is a magnetic anthem awakening attention and appetite for the impending adventure, which the following engagement of The Price Of Love takes into another gear. Again there is nothing flash about the song, just straight forward and accomplished rock ‘n’ roll cored by infectious short grooves and an excellent rhythmic tempting. The bass also adds to the irrepressible bait of the song, its dark throaty tones a prowling shadow to the punkish twist of the song and the fluid addictive call of the band vocals across the chorus. The song easily confirms, alongside its predecessor, the strength and potency of Scream Arena’s sound and the strength of the album though levels do ebb and flow throughout its remainder.

   Racing To The End Of Night is the first lull in the contagion of the album, its melodic balladry and sensitive sonic enterprise excellently crafted alongside the kiss of eighties bred keys but the spark which made the previous songs notable is a dull light. Nevertheless the song makes for an evocative companion before the sturdier slightly antagonistic House of Pain brings its muscular body and rhythmic caging to bear on thoughts and emotions. The song is an instantly accessible pleasure with bass and drums again stealing the limelight before the stylish skill and colour of guitar takes its fair share of the spoils. With a chorus quite incendiary on the passions the track makes for a gripping incitement which is hard to say is equalled by the cover of Heartbreak Hotel which comes straight after. The song is a mixed bag and leaves thoughts undecided. Certainly the fact that the band turns it into their own song rather than producing just a straight a cover is commendable and very pleasing but it feels like something is missing, a vital ingredient to pull all their ideas into the gem it threatens but fails ultimately to be.

Another Night in London makes for a very easy to immerse in stroll whilst the lively and boisterous Knave Of Hearts romps with feisty intent and gripping invention to steal best track honours with ease. It arguably marks a more adventurous turn in the album with the excellent Forever unleashing emotive guitar expression and skilful rhythmic enticement alongside a similarly potent vocal lure. Goodnight LA is a paler and predictable if admittedly very decent meat between the previous slice of quality and the following pair of Somewhere and the sultry Queen Of Dreams. The first of the two is a hazy breeze of evocative sonic hues and spicy melodies which cradles thoughts and emotions bewitchingly whilst the second of the two soaks the ears in a warm melodic embrace clad in a smouldering glaze of sonic temptation.

With bonus track Heart Of The Rock rigorously and enjoyably bringing the album to a close, Scream Arena has provided a weighty persuasion which marks out their potential in lively colour. It is not a powerfully dramatic introduction to the York based band but certainly leaves no doubts that they are upon a potent ascent.

The Scream Arena album is available now via Mighty Music.

http://www.screamarena.com/

7/10

RingMaster 14/05/2014

Copyright RingMaster: MyFreeCopyright

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Exist Immortal – Darkness Of An Age

Exist Immortal

Build a majestic beast of a proposition from the predatory instincts of Meshuggah and Scar Symmetry, the rapacious technical instincts of Periphery, and the melodic poetry of Circles and you will most likely come up with UK metallers Exist Immortal, though this is not to say that the London quartet does not have its own distinct voice as superbly evidenced by new album Darkness Of An Age. The imposing release is a monster of an encounter, a gloriously adventurous and imaginative journey unafraid to align the darkest vicious shadows with the most radiant mesmeric beauty. Cast over ten explorations, the release alone makes the most compelling reasoning as to why the London quintet is so highly thought of.

Formed in 2011, Exist Immortal have taken little time in establishing a rigorous reputation for their mature and inventive sound as well as their ferocious live performances which has seen the band play UK Tech Metal fest alongside the likes of Textures and Sylosis, as well as making inroads across the UK, Europe, and Asia. The band first stole our eye and attention with their mini-album Dream Sequence at the tail of last year, a tantalising and incendiary fuse for the passions which left thoughts reeling and emotions full. Darkness Of An Age takes the imagination on a heavier and darker exploration than its predecessor, one so intense that first impressions asked questions in its success against the sensational previous release. With every listen revealing new depths, triumphs, and temptations within the brutally seductive offering though, Darkness Of An Age has proven to be another dramatically masterful treat from one of Britain’s most seriously inventive metal bands.

The album emerges through an evocative breeze of keys as opener Insanity Project makes its initial play for ears and imagination; the ei-artwork-hd-2engaging entrance swiftly joined by an equally inviting guitar coaxing. It is crystalline bait which continues to tempt as rhythms punch their rigorous weight within an expanding squall of intensive riffs and a portentous bass sound. Vocally raw growls align to excellent clean tones, the voice of Meyrick de la Fuente ably assisted by that of guitarist Tom Montgomery, just as uniquely impressive and expressive as on the last release. The track continues to twist and spread its inventive toxins around senses and thoughts, immediately feeling angrier and more venomous than those found upon Dream Sequence. The new release sees the band exploring new territory emotionally and lyrically in an impacting move which takes thoughts aback at first but only adds weight and intrigue to the immense start of the album.

The following Legions lays jagged riffery and sonic scythes across the air next, its entrance an acidically fuelled wall of barbarous intent. It soon evolves into a fiery prowl though, clean vocals taking over from the vicious roars as the guitars of Montgomery and Kurt Valencia sculpt a captivating design of uncompromising predation and sinew framed seduction. Flailing with strict muscles and caressing with sultry keys, the track brews a contagion which is as fearsome as it is virulently addictive for the first major pinnacle of the towering adventure. The finale burns like a raging fire before elegantly relenting and making way for the similarly crafted In Parallax. Though ultimately different in character the song is similar to its predecessor at its beginning before worming its way under the skin to develop its own identity with niggling and delicious sonic toxicity beneath potent clean vocals. Skirted by the animalistic voice of David Billote’s bass and the rapier thrusts of Fergus Gardiner’s rhythms, the track emerges as an irrepressible enticement.

There is a heavier involvement of the dark caustic vocal delivery on the album than upon Dream Sequence, a more fifty-fifty split with the mellow soars which works well but whether it brings the same success as the higher clean vocal percentage of the previous release, such the excellence of de la Fuente in that style, is still under debate. Darkness Of An Age has a more malevolent darkness across the board though so it is an understandable move which really shows its potential in the excellent Edge Of Infinity, the track a captivating swirl of progressive investigation within a tortuous metalcore causticity coated by a ravenous voracity speared by djent bred stabs.

Both the enthralling Imperator and the immensely riveting Desolace seize the imagination next, the first sparking greed in an already eager appetite through synths which bring perfectly orchestrated emotion and colour to the tempest before them. Its successor casts a warmer more temperate climate to its storm allowing de la Fuente to sing from the first breath as keys and melodies reinvent the scenery with beauty and startling ideation. It is a mouthwatering invention which courts perfectly the ever poised rabidity of guitars and rhythms which take their share of the plaudits on the album’s highest pinnacle so far. Vocally too, the mix of seduction and violence is spot on, bringing the heart and rich landscape of the song to bear on the listener.

Like a trigger the song seems to ignite the release to stronger adventure, The Participant next unveiling a maelstrom of sonic and vocal ingenuity which thrusts numerous styles into one tempestuously inventive tsunami. The track whips up the passions to an even greater pleasure with its explosive and intelligent ravishment, the song standing side by side with hands on the best track title with the previous glory, though both are soon under pressure for the honour from the excitingly abrasive Embrace The Cycle and the corrosively appealing Liberator which features Sam Rudderforth from The Colour Line. Neither manages to quite live up to the demands but still leave bloated satisfaction in their creative wake whilst the closing brilliance of The Omen Machine ensures the album leaves a final peak foraging senses and emotions with its suitably toxic and endlessly invigorating inventive ferocity.

Though Dream Sequence still just has the edge on the two albums, Darkness Of An Age is a dramatically refreshing and thunderously inventive incitement from a band easy to assume that will have a major say on the future of certainly progressive and technical metal in Europe. Exist Immortal has all the potential to be a major player; the evidence is all there in the album.

The self-released Darkness Of An Age is available now @ http://existimmortal.bandcamp.com/album/darkness-of-an-age

https://www.facebook.com/existimmortal

8.5/10

RingMaster 13/05/2014

Copyright RingMaster: MyFreeCopyright

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

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KynchinLay – Drink Me EP

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Five uniquely different songs but related through the imagination of one exciting band, the Drink Me EP is one of those unexpected and eagerly accepted treats which come around once in a while to surprise and invigorate the emotions. Crafted by UK rockers KynchinLay, the release is a fun and stimulating encounter from a band you sense will be making many more impressive ventures for our ears to greedily devour in the future.

Led by vocalist/guitarist/songwriter K G Wilson with drummer Damien Welsh and bassist Mal Williams alongside him as seemingly the core of the band, KynchinLay have brewed up a fine and feisty reputation across their home of Liverpool. They have an essence to their sound which reeks of the prime musical time of their city from the late seventies and across the eighties, their vague similarities to Echo and the Bunnymen in certain places a hint to their birth town but more loudly is the very appetising feel of Pete Wylie to their creativity. It makes for an immediately flavoursome presence which fires up the juices which the band then twist and treat with their own distinctive and highly tempting designs.

The release gets off to a tremendous start with Leave Me Alone; a single guitar teasing the ears with its gentle strum before combining with an eager vocal sigh and another coaxing of strings for a highly magnetic entrance. There is a riveting surface discord to the emerging sound which glances off the brewing melodies, a tempting added to by punchy beats, a wonderfully dark bass stroll, and the excellent vocals of Wilson. Instantly that air of familiarity welcomes ears and imagination into the unveiling heart of the song, backing vocals from Ian McIntyre lighting up the background at times as the track evolves into a ridiculously addictive proposition. Everything about the bait of the song is irresistible, from the fluid sonic enterprise and the guitar bred colour permeating every turn of the song to the deliciously heavy throated basslines and rampant yet controlled vocals. It is a scintillating start to the release which sparks a certain hunger for more.

The following Live Free Or Die brings an acoustic led protest with emotive keys and expressive harmonies wrapping their own potent narratives around the lyrical core of the song. Though it lacks the spark and impact of its predecessor, the song easily grabs its own slice of attention with its skilled composition, accomplished presentation, and resourceful passion before making way for the superb Public Execution. From a distant siren like squall overlaid by defiant voices of the people, the track evolves through a hazy ever increasing wind of sonic dissidence which comes into full focus with a web of guitar sculpting, the band aided by the skills of Dave Scott for the song, and the ever moody voice of the bass, all painting an imposing image of shadowed and dissatisfied times. Vocally Wilson drives the lyrical intent home strikingly; his distinctive tones a gripping ‘narrator’ whilst around him a throbbing nagging of The Cure in their early years and that previously mentioned McCulloch and Wylie essence invigorates ears and imagination. The track is glorious, an aural Orwellian painting with the chilled breath of Joy Division to its charm which incites and inspires as well as inflames mind and emotions. Like the first track, each individual element of the song combines for a formidable and impacting triumph, guitars especially inflammatory on the passions alongside the similarly potent vocals.

Dogfathers swiftly cements those thoughts as its jagged stomp of reggae seeded riffs dance with the imagination as mischievous harmonies play within the flight of the song. There is also a greater revelry to the vocals of Wilson whilst musically the song waltzes with the passions like a fusion of The Members and Tankus The Henge, the keys of Wilson and the guitar endeavour of again Scott bringing rich evocative hues to the devilish smile of the song, a grin fuelled by the excellent fiddle niggling provided by Ste Rothwell. With the only the less potent strength of the chorus against the tremendous ingenuity of the verse and courting twists of the song a vague dip, it is a captivation to raise the stock of the band once more.

The closing My Heart with its opening and slightly choppy range of riffs and the always welcome velvety call of the bass continues the richly pleasing might of Drink Me. More restrained than previous songs in its adventure but easily as contagious and addictive in its presence and structure, it is hypnotic stroll which simply draws the listener into its provocative script. Less dramatic than maybe other songs of the EP but right to the fore as a persuasion it brings a fine release to an outstanding end.

Drink Me took a few passages to unveil all of its bait and lures but once absorbed provides all the evidence to suggest that KynchinLay is something all melodic/alternative rock fans need to check out though they may have no choice in noticing them anyway if future releases build on this tantalising start.

The Drink Me EP is available now!

https://www.facebook.com/pages/KynchinLay/242399799167716

8.5/10

RingMaster 13/05/2014

Copyright RingMaster: MyFreeCopyright

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Of Spire & Throne – Toll of the Wound

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When grooves alone have a corrosive weight and predacious hunger which leaves the senses exhausted and under-siege, you know you are in the intensive hands of something and someone very notable. Scottish doomsters Of Spire & Throne ravage and suffocate ears through to emotions with their new EP Toll of the Wound to be that something major. Their release is a three track caustic swamp of sludge and doom metal which venomously envelopes and smothers every pore and thought from start to finish. It is a slow brooding maelstrom of thick merciless textures aligned to a lumbering brutality within a viciously insidious atmosphere; it is not so much a funereal like procession of intent more an emotionally destructive apocalyptic celebration.

Hailing from Edinburgh, the trio of guitarist/vocalist Ali Lauder, bassist Matt Davies, and drummer Graham Stewart follow-up the well-received Vagary EP of 2012 with arguably their most pungently intense, asphyxiating proposition yet. From their first live showing in 2009, the band has made their mark and increasingly impressed through their releases, starting with a self-titled two track demo in 2010. The following year saw the release of their first EP The Trial of Failure before the acclaimed Vagary eight or so months later. That bred strong anticipation for its successor, a pressure Toll of the Wound more than lives up to.

Released in conjunction with New York label Broken Limbs Recordings and mastered by James Plotkin, the new EP opens up its presence Album Coverwith Legacy and its opening restraint of guitar. Riffs and lingering notes slowly unfurl their instantly persuasive narrative to engage with and entice the senses first before a portentous march of rhythms from Stewart begins to cast an intimidation on the ever darkening premise of the encounter. It is a welcoming start in many ways, a coaxing which almost flirts with the ear as heavier clouds and emotions begin to gather in force, their subsequent expulsion fuelled by carnivorous riffs and an ugly grizzled but thoroughly compelling vocal delivery from Lauder. The persistence of the song intensifies in relation to its weight, pressuring and seducing whilst the predatory nature and intent of the band uncages darker ravenous textures in a still slow and deliberate gait. Like mesmeric smog, the song permeates every thought and emotion; it’s rising monolithic body and attitude spawning a riveting ten minute slab of toxicity which worms right under the skin and deep into the psyche.

The following Tower Of Glass also takes it time to submerge the senses, its prowling intent coming through a lone rhythmic beckon within a distant but scarring ambience. The numbing resonance and surface of the first track is accentuated on the second, even with it’s certainly initially, less forceful touch. As raw as a primal tempest in its punishing crawl, the instrumental has none of the infestation qualities of its predecessor but all of the spite and ruinous appetite and more in its scarring mordant presence. Staying with senses and thoughts long after its departure, the cavernous body and exploratory desires of the excellent track makes for a unique and refreshing, if murderous exploit.

The release closes with almost thirteen minutes of sonic carnality in the poisonously addictive form of Cascading Shard. Once more a slow rhythmic entrance delays the inevitable consumption of controlled turbulent rapaciousness and pernicious desires. Its concentrated sluggish creeping through the ears is escorted by equally languid and malevolently honed vocal growls, guttural in every aspect and just as appealing as the annihilatory sounds dragging their addictive carcasses around them. As the release as a whole, the song allows no light to break its wall of depressive grandeur and no movement of emotions away from the acrimonious smothering.

It impressively concludes a quite hypnotic and rewarding tsunami of stringent enterprise and invasive invention. Certainly Toll of the Wound is not an easy listen or a safe encounter for disturbed minds but it is a deeply rewarding and adventurous invasion which shows Of Spire & Throne to be one of the most inventive and appetising prospects within extreme doom metal around at the moment.

Toll of the Wound is available at http://ofspireandthrone.bandcamp.com/ digitally and via Broken Limbs Recordings on limited edition vinyl (100 red, 200 black), CD (500), and cassette (100).

https://www.facebook.com/ofspireandthrone

8.5/10

RingMaster 13/05/2014

Copyright RingMaster: MyFreeCopyright

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

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