Subset: new hints and ferocious horizons

 

    SUBSET London shot March 2014

    Subset has been to the fore of the UK underground scene almost from their initial emergence in 2009 through their continually inventive and diverse noise bred encounters. Each of their eight releases has been dramatic in not only presence but the continuing evolution and sparking imagination charging through their sound. Last album Loverdose is a fine example, the naggingly intriguing and explosive release as unpredictable as it was resourceful, fusing thick essences of rock, metal, and punk into tracks which left expectations floundering and passions hungrier. It took the band’s reputation to yet another level, providing one more major step in their ascent but we have the confidence to say it was only the appetiser to even greater glories.

The reason for that claim is a track called Roughened, a brand new song from the band which we have the pleasure and honour of getting a sneak preview of. Such its potent and striking impact we thought we would look at a comparison between the track and a couple from Loverdose, looking at another twist in the growth of Subset and their incendiary songwriting as well as a potential breakthrough into international recognition which the song alone suggests is possible, yes it is that potent.

Between them Carnage and Bayonet from Loverdose give a full picture of the album and Subset’s sound at that moment in time. The first of the two flies at the senses on a surge of punk and grunge infused rock with a melodic seducing which wraps sensuous persuasion round senses and imagination. Guitars and bass offer a persistent snarl and insatiable predation which the rhythms whip up into a greater frenzy, All the time though a Buzzcocks like lure winds its bait around ears and imagination. The song merges a further raw and caustic breath into the mix, inciting the senses and imagination into assuming you think the band was at their pinnacle. That was until Roughened infected body and soul.

As rhythms thump down with a strength and intent which arguably has never been more dramatic and imposing from the band, and Romain Daste’s excellently expressive vocals combine with rich predatory growling riffs to steal a greater slice of an instantly awoken imagination, the punk heart of the band roars as never before in the new track. That is only part of the story though as the previous grunge and rock pop elements of the band which have certainly not been abandoned find themselves redefined as a fiercer noise and psyche rock charge of invention. Contagion is as virulent as ever but courted by a definite post punk temptation and an overall greater voraciousness which has been thickened and almost carnally fortified in the songwriting.

Bayonet from the previous album showed a harsher side of the band, merging melodic rock and punk infused metallic essences into a scuzz blessed provocation which was unafraid to entice with rapier tendrils of sonic noise whilst preying on and snuggling up to the senses with raucous noise and tempting melodies respectively. It was a proposition which gnawed and flamed at ears whilst teasing them with pop rock wantonness and now Roughened employs much of the same web of sound but twists it into a more incisive and riveting furnace of raptorial ingenuity whilst adding richer strains of garage punk and alternative metal. It is crafted and delivered in a greatly maturer blaze of craft, invention, and instinctive devilry; Subset and songwriting at their most inventive and exploratory it is easy to say.

As much as the two older songs and Loverdose as a whole impressed, hindsight showed they only hinted at the new mouthwatering and breath-taking alchemy that runs through Roughened. The track is quite brilliant and just the start as the band has numerous more juicy provocations waiting to mark a new horizon in the journey of Subset. We cannot wait and suggest you keenly watch this space as fans and newcomers to the band are in for something special we suggest, Roughened our undeniable evidence.

http://subsetband.com

www.soundcloud.com/subset-1

 

Pete RingMaster

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Select All Delete Save As – Ultra Cultura

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It is not only a slight shift in band name which is offered by new album Ultra Cultura, but also a richer maturity in songwriting and sound from its creators Select All Delete Save As which at times catches the breath. The band’s previous self-titled debut showed selectalldeletesaveas, as their name was written in 2011, as a highly mischievous and unpredictable proposition. It was a raw and promising encounter which ebbed and flowed in success but nevertheless ignited the imagination of a great many, and a potential soaked seed which has bred the tremendous Ultra Cultura. The new ten track release from the Jersey bred duo of by Antony Walker and Terry Emm is a tantalising and eclectic persuasion which has not lost any of the pair’s devilish intent to wrong foot and constantly surprise the listener. It more impressively though shows a big leap in the quality, writing, and musical craft of the band, showing a maturity which has the potential to bring the band intensive attention.

The pair of Walker and Emm met on a music course at the University of Gloucestershire, and it was when the former was commissioned to record an album, that the two linked up with Selectalldeletesaveas, band and first album the results. With tracks recorded over a year ago, the two musicians have returned to spread their lyrical and musically revelry, Ultra Cultura a natural but to be honest far greater continuation than maybe anticipated. Linking up with sound engineer Jono McMillan, who also provided drums and percussion on most of the tracks, Select All Delete Save As has sculpted an album to steal attention and imagination from its opening seconds, something it never relinquishes until the closing of the final festival of devilment and intrigue. As with its predecessor, certain moments on the release shine stronger than others, but there is never a moment when attention gets seduced away from the release this time around.

The title track sets things off to a strikingly potent start, sparking an immediate increase in an already eager appetite inspired from the band’s last release. Electronic pulses and percussive teasing toys with ears initially, coaxing their focus ready for a raw rub of guitar. Already something feels different to the band, a more honed and concentrated enterprise stroking thoughts as mellow vocals smoulder within the brew. A stronger indie breath seizes control soon after as a shoegaze like warmth permeates the still nicely grazing texture provided by guitars. It is an absorbing persuasion which really ignites with the stunning voice of guest vocalist and fellow islander Rachael McVay. With tones which seduce note by note and a fire to her delivery, the singer ignites the already pleasing track to new levels, which in turn seemingly sparks a greater intensity in the sounds wrapping her contribution. The song is a magnetic start to the album, the first character of a multi-faceted release.

The following Human Error merges chilled electronic premise with guitar woven melodies, vocals plain and emotionless tempering the emotive flames around them. It is a more testing blend than the previous song but also growing to a proposition easily successful with the imagination, its mix of Radiohead and Joy Division coldness with expressive post rock like enticements permeating incessantly until the listener is immerged within its shadowed grin. Its place is sandwiched between the opener and the excellent Modern Life is War and does it no favours but the song easily holds its own before its successor lights another fuse of ardour. Again featuring McVay, the song makes a restrained entrance before a sizzling shot of guitar spirals across the ceiling of the emerging track. There is a feel of House Of love to the track at first which with the alignment of vocals between band and McVay sparking a broader smile of energy, the song glides sultrily across the senses like a mix of The Adult Net and Some Kind Of Wonderful era March Violets. Mesmeric and ravenously seductive, the song is an evocative breeze of indie pop and quite delicious.

Both the melancholic Temperature and the Archetypal Woman simmer in their temptations but croon and dance respectively their way into the affections, the first with the band’s skilled humour and precisely invasive melodic bait within another emotionally haunted atmosphere and the second with its jazzy meanderings and very English relish to refuse predictability and expectations. Whereas Temperature plays with a post punk seeded lack of light its successor romps like The Monochrome Set meets The Jazz Butcher, a distinct British kind of eccentricity which as its companion only expands the diversity and boundaries of the album further.

The pair of Service of the Lord and Nectar of Instruction also takes longer to wrap their persuasive toxins around the passions though imagination is soon enlisted by the temperate yet solemn caress of the first and the anti-folk smile of the latter. The evidence of their success is the lingering enticements which swim around the memory after their leaving, the jazz funk invention of guitar in the second of the two leading into an eagerly catchy chorus one of the persistent lures.

The virulent seduction of instrumental Slowcore Puck absorbs next, its impassioned climate and melody hued colours flirting with thoughts before the post punk/electronic minimalism of The Sun & his Sunglasses brings its entrancing psyche encircling hypnotism to the party. The humour of the band as everywhere simmers and spills with glee, adding to the fun and creative irreverence often at work as in closing song Charge my Pad. An infectious stroll of guitar crafted indie rock with pop spice and drama which seems seeded in The Cure, band and song turn on its audience with a great flume of Bowie inspired mischief, this passage of the song simply the illegitimate yet endearing bastard son of Starman. With blossoming keys and a constantly flavoursome throaty bass line, the song leaves album and its recipient with a gleefully wide grin.

It is probably fair to say that Select All Delete Save As is still an incitement for a certain audience but as we stated in our review of the last album, the band does not care when it comes down to it as long as they light up their own and some other hearts somewhere. Ultra Cultura is sure to recruit a great many more adventurous appetites to the band and its ever evolving presence which has really leap in impressive growth between albums.

The self-released Ultra Cultura is available now @ https://itunes.apple.com/us/album/ultra-cultura/id868037607

http://www.selectalldeletesaveas.com

8.5/10

RingMaster 27/04/2014

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Oh Captive – Advance Creature EP

Oh Captive Online Promo Shot

Disregarding the deceptive label of post punk seemingly placed upon them, certainly on the accompanying promo sheet, what UK’s Oh Captive actually cast is a magnetic brew of pop punk and alternative rock around a rigorous spine of muscular melodic rock. Presented on their debut EP Advance Creature, the band’s sound it’s an exciting blend of passion and sonic textures drenched in striking craft and undeniable potential. It is a release which sparks fires in the emotions though not always retaining the same intensity, but from start to finish provides a fuse to the imagination and ignites a keen appetite for Oh Captive now and in the future.

The Bristol quartet emerged in 2012 and took little time is awakening an eager following locally before last year striking out around the country with bands such as Sonic Boom Six, UK Subs, Straight Lines, Max Raptor, Sharks, Blitz Kids, I Divide, Fighting With Wire, and Scholars. Comparisons to the likes of Coheed & Cambria and Twin Atlantic have fallen upon the band over time, comparisons relatively easy to understand listening to their four track debut.

The release opens with Beds Of Many Ghosts and immediately has ears entangled with enticing melodies, crisp rhythms, and a coaxing Oh Captive Cover Artworkhook which lays down the first seductive bait. Settling into its confident stride, the track relaxes around the vocals of guitarist Tim Kelly but all the time is creating a virulence of hooks courted by an emerging groove. It is a striking narrative coloured further by thirsty shadows provided by bassist Tom Hitchins and the guitars of Kelly and Curtis King which weave a provocative and contagious web of enterprise. The song is an irresistible encounter, one which has a familiar air to it in many ways but steps beyond that security with bold imagination and a thoughtful swinging design from the impressive rhythms of drummer Chris Hill.

The excellent start is swiftly supported and matched by Terrible Lives. The track again shows no restraint in unleashing contagious hooks and evocative melodies around a persistent rhythmic beckoning which frames the fine tones of Kelly ably supported by those of King. The song teases with guitar and rhythms alone at times; the bass held in reserve but once involved in the suasion opens up the depths and darker textures of songs and songwriting. Like the first track, it creates a tapestry of smart twists and turns employing a skilful persistently changing gait evolving the face of the song whilst brewing an almost toxic groove to wrap the track and subsequently steal the show in a quite scintillating climax. Both songs are strongly memorable but the second really gets under the skin with that deviously addictive groove most of all.

The remaining two songs do not reach the stature of their predecessors though both only cement an impressive introduction to the band. The title track steps up next, its tender melodic start courted by a sonic mist before it expands into a rich and evocative blaze of passionate sounds and lyrical reflections. Perfectly balanced and vibrantly poised, the track courts the senses with a masterfully woven venture of dark rhythms and radiant melodies aligned to similarly captivating vocals, and though it does not entrench itself in the memory as those before, its presence only enhances the promise of the band.

The closing Retreat Being reasserts punchy rhythms and almost rapacious sinews to the skeleton of another track which is just at ease crooning at and seducing ears as it is forging a sturdier imposing persuasion. The bass of Hitchins is especially vocal and melancholic in the track to lead thoughts deep into an emotional intensity but as excellent as the song is again it lacks the spark to impact beyond its departure.

Overall Advance Creature is an EP which potently grips thoughts and emotions throughout. It is a striking entrance by Oh Captives, one soaked in a promise which suggests the band is going to have a rosy future whilst providing plenty of exciting investigations ahead.

The self-released Advanced Creature EP is available digitally from April 28th

www.facebook.com/ohcaptive

8/10

RingMaster 27/04/12014

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King Goat – Self Titled EP

     King Goat Online Promo Picture

     King Goat is an intimidating provocation, heavy in intent and in weight, and as evidenced by their new self-titled EP, mightily compelling. Consisting of three immensely imposing tracks stretched by tempestuous riffs and impossibly alluring grooves, the release pushes King Goat into a new intensive spotlight. Its riveting weave of stoner and doom metal with psychedelic and progressive flames is a raw and thorough captivation of ears and imagination, a proposition sure to arouse a wealth of new allegiances.

Hailing from Brighton, King Goat emerged at the start of 2012 and was soon stirring up attention locally. Their debut EP, Atom was released early 2013 to good responses but soon followed by a change of frontmen. Once back into its stride the quintet began working on their second release and unleashing again their powerful live performances across London and the South coast to stronger responses whilst garnering an ever increasing legion of fans. The new EP is the next potent step in the rise of a band which you sense has the potential to eventually impact intensively on European psychedelically fuelled doom metal.

The EP starts with an epic track in length and presence. The Final Decline is a towering and thoroughly absorbing journey for senses and King Goat Cover Artworkimagination which breeds from an opening suggestive ambience. It is a stark and chilled atmosphere which initially caresses ears, a portentous breath in climate with a lone emotive guitar coaxing which stands engagingly within the cold wind and barren landscape unfolding around it. The song slowly emerges with dark weighty tones of the bass and resonating beats prowling the senses matched by the equally shadowed vocal calls. It is an intensive proposition but lit by enthralling guitar design which without being flashy or dramatically startling simply seduces the imagination with its eastern temptation and repetitive virulence. The song gradually increases into a stroll, all the time brewing and accelerating its rapacious energy and rhythmic enticement until from a moment of catching breath it erupts into a primal swagger with equally bestial growls before an excellent melodic roar of vocals soar across the incendiary scenic maelstrom now smothering the senses. It is an exhaustive and alluring encounter which only enhances its bewitching grip with every taking of its dramatic journey.

The following Cult Obscene is swifter in its emergence but like its predecessor is bred by a provocative and imagination sparking scenery soaked in a sinister ambience. It is not long though before hypnotic rhythms enslave attention, soon sharing that entrapment with scorching melodic flames of adventure from the guitars and again a bass tone which simply resounds within ears and the narrative of the track. The track shows a mix of Cathedral and Ten Foot Wizard to its enveloping shadows and blazing melody defined drama whilst the caging sinews and rabidity of the rhythms has a certain Mastodon predation to their intent. As its predecessor, the song simply consumes the body, feet and senses wrapped up in the riff driven stomp of the track and imagination through to passions enslaved by the sonic invention of guitars and grooves.

Already the release has a hungry appetite alive and greedy for itself which is only driven to stronger urgency by final track Melian’s Trance. The closer is inescapable, every aspect of its sculpting working like an epidemic on the listener. It is a blazing tempest of adventure and metallic devilry employed by dark ravenous emotions and deeply rooted shadows lying in the heart of the songwriting and unrelenting imaginative sounds of the band. With riffs, rhythms, and grooves an overwhelming horde of insatiable predators submission is inevitable, the song a thunderous end to an equally massive release.

With Sabbath essences permeating the whole EP as rigorously as those already mentioned, King Goat has announced themselves to the whole country with a metallic bellow which is hard to ignore or resist.

The self-released King Goat EP is available from Monday 28th April @ http://kinggoat.bandcamp.com/

www.facebook.com/kinggoatbri

8.5/10

RingMaster 27/04/2014

Copyright RingMaster: MyFreeCopyright

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Exorcism – I Am God

ExorcismBand1

Considering the people involved in heavy metallers Exorcism, it is no real surprise that debut album I Am God is an impressive blaze of highly skilled and riveting adventure. It is a fiery encounter with a collection of tracks which for the main bring the imagination and emotions intensive satisfaction whilst taking them on incendiary explorations. The only uncertainty is why band and album are being classed as doom/heavy metal as though there are melancholic themes, slow and dark inciting shadows, and weighty emotional textures at work within the release, its sound is dramatically heavy melodic metal.

Exorcism was formed in 2006 by Csaba Zvekan of Raven Lord and Zvekan with many of the tracks on the album written in that period by the vocalist. Originally set to be part of his solo album, the songs were set aside as the always busy Zvekan explored and emerged with other projects across the years. Resurrecting the tracks last year after his management company Rock’N Growl and Zyx Records/ GoldenCore Records took an interest in the songs, Zvekan has filled out Exorcism with the addition of guitarist Joe Stump (Raven Lord, Holy Hell, Reign Of Terror), bassist Lucio Manca (Raven Lord, Solid Vision), and drummer Garry King (Joe Lynn Turner, Jeff Beck, Achillea). It is a mighty line-up bringing their experiences rigorously to bear on the album.

The album needs mere seconds to impose its stature and potential on attention and senses, opener End Of Days stretching over the ExorcismIAmGodCoverlistener with stern rhythms and wiry melodic teasing whilst riffs and bass offer bestial textures to their sound which grips the imagination as much as the sonic enterprise. It is a potent and intriguing start increasing its suasion with the ever impressive vocals of Zvekan. As the track expands its narrative and shadows it is probably fair to say that you can concede the doom reference though it is more a spicy flavour than an imposing presence within the heavy metal consumption. In many ways the album is like the song, making strong and captivating first impressions but evolving into long term compelling triumph over time.

The guitar craft of Stump veins and flares within the track, repeating the act time and time again as proven by the following title track, its dark canvas a provocative wrap stalked by bass and rhythms and subsequently ignited by Stump’s prowess alongside the ever rich vocal flames of Zvekan. The track is a weightier proposition than the first, its gait a lumbering instigation but with the gritty vocals aligned to melodically driven keys and guitars, there is more of a thick stoner/grunge feel to the scenery. It is a powerfully satisfying track though not as potent as the previous track and the brilliant Voodoo Jesus which steps up next.

The song is a bewitching mix of rich styles, enslaving textures, and enthralling invention, easily the best track on the album. From its first second, grooves and sonic lures squirm through ears on the way to slipping right under the skin, their intent skirted by crisp rhythms and the again carnivorously toned bass. The bait and toxicity that Manca brews with his string plucking is pure addiction across the album, a definite highlight and here making an irresistible allurement. The track rumbles and twists like a demonic temptress; a metallic medusa with rippling riffs and sonic snakes mesmerising the imagination whilst that persistent warped groove and imposing hypnotic rhythms chain the passions tightly. It is a glorious slab of melodic metal with the sinews of a bear and poise of a robust gazelle, coloured by mouthwatering malevolence and demonic seduction.

The pair of Last Rock N Roll and Master Of Evil are given a hard task following such a triumph but both make a formidable attempt, the first with blustery sonic weaves clad in a pleasing acidity as rhythms and riffs ravage the air around them and the second with transfixing flirtation and muscular enticements. A shimmering glaze soaks ears first before the bass once again steals focus with its rapacious almost portentous appearance. Both aspects continue to coax potently as scarring riffs and the expressive tones of Zvekan explore the corners of the song. The unpredictable turns and avenues taken by the track greedily hold appetite and thoughts gripped but it is the bursts of ingenious invention which spear the song and the anthemic lure of the Zvekan which lights the fuse for a lustful devouring of the passions. It is another scintillating pinnacle upon the loftily peaked release taking the listener on an incredible journey through dark innovative climates.

In some ways the album never finds the same plateau again but certainly never leaves satisfaction and enjoyment looking for their next meals, though the song Exorcism admittedly does not stir up much more than approval when it steps up next. It is nicely crafted vocally and musically though but too deep into classic heavy metal for personal tastes. Things lift again with the blues kindled furnace of Higher as it roars and stomps eagerly, again a grunge essence joining the blazing melodic metal fuelled charge, before Stay In Hell merges a cinematically seeded wash of sinister yet elegant keys with enveloping emotive melodies and scorching sonic enterprise for an absorbing flight through climactic skies and a sultrily flamed emotional landscape.

The album comes to a close with firstly the vigorously smouldering and intensively heated Fade The Day before the old school metal surge that is Zero G brings a thrilling finale. Striding with heavy rabid Sabbath-esque rhythms and riffs the track simply cages the passions, inflaming their ardour with sonic exploits from Stump which send tingles down the spine and an imaginative adventure which reaffirms the aggressively inventive and exploratory realms the album continually offers. It is a breath-taking close to a raucously exciting release, though there are moments when you feel the band do not go far or often enough into the vat of ingenuity which sculpted the major moments of the album such as Voodoo Jesus. Nevertheless I Am God is a real treat and the marker which suggests Exorcism could be Csaba Zvekan’s most important project yet.

I Am God is available via GoldenCore Records/ZYX Music now!

http://www.exorcism13.com

9/10

RingMaster 25/04/2014

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Kaunis Kuolematon – Kylmä Kaunis Maailma

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Wringing every dramatic provocative texture and imposing emotion out of their dark creative depths, melodic death metallers Kaunis Kuolematon have unleashed a thoroughly compelling and intimidating debut album in the tempestuous shape of Kylmä Kaunis Maailma. It is a startling release, one bred in menacing atmospheres and thick emotive climates. It consumes and captivates without mercy though it is not always the easiest of journeys for senses and thoughts to explore, landscapes harsh and drenched in intensive causticity which permeates and scores everything from ears to psyche. It is a persistent danger which once undertaken rewards with continually strengthening potency.

The Hamina hailing Finnish band began in 2012 with vocalist/guitarist Mikko Heikkilä (Black Sun Aeon, Routasielu, Sinamore) forming the band to take his songs to the world. The first year saw the release of a self-titled EP to strong responses but it was the single En Ole Mitään last year which raised a definite appetite and anticipation for the band’s first full-length, a hunger which it impressively feeds. Recorded with Saku Moilanen (Red Moon Architect) and mixed and mastered by Saku Moilanen and by Juho Räihä (Before The Dawn, Gloria Morti) respectively, Kylmä Kaunis Maailma takes the listener into the darkest intrusive levels of life, almost welcoming death as a destined friend. It is frightening, intimidating, and impossibly seductive, a narrative to bravely embrace for the surest of pleasures.

Opening track Pimeyden Valtakunta emerges from a portentous sonic mist, its ominous breath a dark hum which is soon veined by a KK- Front_800riveting melodic design of guitar and a vocal sample seemingly seeded in negative events. By its entrance rhythms are rigorously casting heavy imprints, soon to be towering incitements, on the scenery as rapacious vocal roars spill across the air. It is a dramatically evocative experience, imagination running with the descriptive hues and vocal scowling, interpreting sounds and the Finnish language used for their own haunting and imposing visions. It is an immensely dramatic start to the album, a malevolent rapture which finds greater seduction with the clean vocals and melodic graces which colour the formidable soundscape surrounding them.

     Itsestään Kuollut follows with an electro coaxing at first though it is soon suffocated by the ravenous strides of antagonistic rhythms, savage riffery, and bestial vocals squalls. Predacious grooves only accentuate the weight and glorious toxicity of the track as it twists and tightly seduces the psyche, senses abused and caressed with pulsating keys which still hold that electro suasion, and a rampant urgency to the ravaging. It is a masterful slavery of the passions that increases its virulence with even more intensive repetitious grooving and a web of serpentine and varied vocals, the fade-out the only minor annoyance.

Both Kivisydän and Kuolematon seize their own unique grips on attention and thoughts. The first brings a swamp of emotive shadows over pestilential intensity, though it also washes the senses in a beauteous caress of keys and solemn melodies, whilst the second bursts from within a radio search with bulging rhythmic muscles and sinewed bred riffs, both caging the appetite as expressive keys and drifting angelic harmonies add their glancing touches before carnivorous intent brings its voracity to bear over body and imagination. As with the album, both tracks need plenty of time to truly reveal their full persuasions but start with a thoroughly compelling and lingering base, the second of the two an intriguing presence especially with its outstanding sirenesque female vocal calls.

The earlier mentioned first single from the album, En Ole Mitään steps in next, clean vocals wrapping the senses soothingly before coarse tones enter the scene. The music is equally restrained at first before inviting its malicious side to join the affair, the guitars of Heikkilä and Ville Mussalo entrancing and enticing before becoming sonic predators led by the intensive rhythmic examination provided by bassist Jarno Uski and drummer Miika Hostikka. The track expands across its beautiful but rugged terrain with enthralling skill and invention though arguably is less predacious and certainly more merciful than other tracks, such as the next up Sieluni Sirpaleet, though it too is unafraid to allow a delicious weave of keys and the ever impressive and welcome clean vocals within the band to radiate potently from within the stark and aggressive causticity climbing all over the senses.

The album continues to ignite thoughts and emotions as the likes of the spellbinding Pahan Kasvot, a track which manages to seduce an ardour and tear layers from the senses with its raw voraciousness within the less than four bestial minutes of its body, and the enchanting Aamu seize ears and imagination. The second of the two with melancholic strings and emotionally reflective vocals mesmerises across its extensive flight, the stormy passages and vocal tempests only enhancing its elegance stance and emotive beauty. The song is irresistible, setting the listener up for the final exhausting adventure of Haudasta Hautaan, an encounter as abrasing as it is sonically bracing and as rabidly emotive as it is blisteringly seductive.

Kylmä Kaunis Maailma is a striking debut from Kaunis Kuolematon and though it is a touch frustrating in not being able to fully understand each track’s theme because of language restrictions, that small aspect cannot hide the feelings raging within each encounter or stop the album from impressing intensely.

Kylmä Kaunis Maailma is available through Violent Journey Records now!

http://www.kauniskuolematon.com

http://www.facebook.com/KaunisKuolematon

8.5/10

RingMaster 25/04/2014

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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LIV. – Be The Change

LIV._BandPhoto

A release which bruises just as heavily with its passion as its sounds, Be The Change is a direct and formidable swipe of hardcore provocation. The debut album of Los Angeles band LIV., the release thrusts nine unfussy and aggressive punk songs at ears but they are encounters which potently offer twists of invention and angst drenched hooks to further capture the imagination and make the band stand out. Bursting from the South Bay section of their home city, the quartet of Matthew Salamante (vocals), Jason Diaz (bass), Ace Esguerra (guitar), and Tony Esquivel (drums) hit hard and true with their emotive anthems; as the accompanying promo says, ‘LIV. are Hardcore that embodies the love, the passion, the sorrow, the anger, the pain, the struggle, and the promise of life.’

Their songs also come with a rich vein of hope and defiance which fires up the dramatic and infectious narratives lyrically and musically. The 2012 formed band produce encounters which are well seeded in the tradition of the genre, holding familiar traits which keep major surprises at bay, but there is plenty of those earlier mentioned hooks and stimulating twists to seize strong attention and make a keen appetite hungrier. There is a sense of Gorilla Biscuits to the LIV. sound but just as healthily within the album essences of CIV and in less open ways Shelter also push the depths and colour of the band’s confrontation. Opening track Livin’ In Victory is immediate bold and thick evidence of the flavoursome incitement to come, a deliciously earthy dark bass snarl wrapping around ears first before the guitars join rhythms in a fiery evocation of eager energy and rapidly brewing intensity which explodes with the raw abrasive tones of Salamante. The track turns into a swagger at his entrance whilst the guitars cast metal bloomed sonic bait as the song works feistily and successfully on thoughts.

It is a tremendous start backed up forcibly by Make Moves, a more instant pressuring of senses and emotions with vocals and riffs LIV.-Be-The-Change-Covergrazing air whilst bass and drums provoke with rapacious intrusiveness. More straightforward than its predecessor, the song still plays with vocal delivery and sonic expression to provide something easy to get the teeth fully into before ‘Till Next Time fires up its turbo for a caustic blaze of scarring aggression and uncompromising intensity, its mid-way stop and emerging prowl an additional highlight.

Roots strolls in on a rhythmic coaxing next, the raw vocals soon stirring things up before riffs spill their contagious enticement over the scene. The restrained entrance and guitar urgency share time before the song digs out an anthemic vocal call from the band to enliven further the senses. Across its magnetic body, the track continues to flow through a shifting landscape keeping expectations empty and intrigue as well as its emotive flame high.

Both A Standard Issue and Rise provide incendiary climates and appealing tempests to get heavily involved in, the first a more formula yet thrilling blaze whilst the second almost stalks the senses as its vocal and sonic storm grows in pressure and incitement before exploding into a virulent ravaging, rhythms an addictive stomp and riffs a coarse yet inviting turmoil to embrace before joining the group shouts. The following Miles is a similar trap to lean into with greed and energy, its catchy hooks and antagonistic rhythms courted by sonic endeavour and vocal causticity.

The title track arguably provides the widest proof of the invention and still to be explored potential of the band, its masterful slavery of rhythms just the appetiser to a union of carnivorous bass lines, prowling riffs, and vocal abrading. It has a more resourceful enterprise and deliberately menacing breath to its intent than the other tracks, a presence which is predator like sharing an impacting voice in its emotive narrative.

The release closes with The New Liberation, a final compelling brawl to wrap yourself tightly up in, imagination and passions feeding on its old school punk breeding and modern hardcore voracity. It is a thrilling end to an impressive debut from LIV. with Be The Change looking like being the start of a very promising and potent ascent for the band.

Be The Change is available now via OnTheAttack Records.

https://ontheattackrecords.bandcamp.com/album/be-the-change

https://www.facebook.com/livsbhc

8/10

RingMaster 25/04/2014

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