The meaning of the name of Los Angeles based blackened death metallers Insentient means ‘devoid of sensation or consciousness; inanimate,’ something you certainly cannot apply to their debut EP Remnants. The six song release is a dramatic and exhausting piece of emotive enterprise and evocative intrusiveness, a heavy shadowed expanse of exploitive and scintillating provocation exploring and inspiring the psyche of its recipients with relish and skilled venom. The release and band has earned comparisons in many ways to the likes of Death, Hypocrisy, and Dissection, something which is hard to argue over but with essences of neo-classical and thrash to their imaginative ideas and craft the band stands apart from the crowd with a unique and expressive presence.

The band was formed in 2009 by vocalist/guitarist Leslie Medina with the line-up of Medina, guitarist Kimberly Orellana, bassist William Palacios-Toledo, and drummer James Coppolino in place from the early part of last year. With a stable line-up in place the band has begun to make a stronger impressive mark which Remnants will only send deeper into the heart of melodic extreme metal.

Wrapped in the excellent artwork of UK artist Thomas Bates, who has graced releases from the likes of Bleed From Within, The Soulless, Siege of Amida Records, Federation, and Promethee, Remnants instantly seduces the ear with the opening of Winters End, crystalline kisses falling around a melodic temptation from the guitars courted by a bass lure. As the temperature rises and melodic blazes spark off mutual fires of intensity, the song evolves into a ravenous torrent of rapacious riffs, merciless rhythms, and voracious vocals from Medina, her guttural squalls and esurient rabid passion startling and impressively malevolent. The track evolves across a charge of sonic invention and melodic imagination which as potently captivates as the intensity devours making an immense and riveting start to the EP.

     Decrepit Minds taunts the senses next with its initial welcome sonic irritant erupting into a rampant snarl of malicious riffing and mutually violent rhythms, a black metal grace wrapped over a death metal maliciousness is once more ridden by the insidious vocals. The emerging thrash rabidity to the riffs infuses another rush of pleasure and satisfaction whilst once more exposing the diverse intent and creativity of the band.

Through both Seethe and its successor As I Wither, the experience raises its game yet again, the first a slowly prowling menace sizing up its victim with bass and guitar as enthralling as they are menacing before taking an unrelenting chew out of the senses with an avalanche of bass drum animosity and controlled vocal savagery, whilst the second is quite simply a furnace of devious imagination and deviant sonic temptation all honed into a gorging depredation.

If the listener was not already convinced the release seals the recruitment of the passions with the closing pair of Death Toll Rising and finally the title track. The penultimate track is a pit borne snarl with hunger and spite to match, again the vocals of Medina a savage contagion alongside the inventive voice and charm of the guitars that bewitches within the at times bestial rage and furiousness of drums and riffs, not forgetting the wonderfully hostile and seemingly rancor soaked basslines. The title track provides a final thrash sculpted maelstrom of passion and intensive debilitation, blisteringly completing a thoroughly engrossing and impressive debut.

Insentient and the Remnants EP make you work at times to discover its wealth of creative ingenuity, its corrosive surface overwhelming what lies beneath but the effort to explore is rewarded with even greater imagination and pleasure. This is a band we will be hearing a lot more of and with even greater successes one suspects.

https://www.facebook.com/insentientofficial

9/10

RingMaster 19/06/2013

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As their debut self-titled EP shows, North Carolina rock band Shadow of Myself straddles a vast plain of rock/metal music to offer an appeal which can easily seduce the passions of melodic and hard rock fans through to southern and classic rock ones, not forgetting Bay Area type thrash hearts too. The three track release is a fiery and enterprising slice of pleasure making a near irresistible invitation to check out the band’s first album scheduled for later in the year.

Taking inspiration from the likes of Avenged Sevenfold, Three Days Grace, Metallica, and Pantera, the Charlotte quintet has earned an impressive reputation for their sounds, with extensive national radio play, and live shows which has had them grace stages alongside a diverse expanse of national bands from Three Days Grace through to L.A Guns. With a newly revamped line-up, Shadow of Myself is poised to make 2013 the launch pad to greater recognition and success with firstly this EP and then the following album.

Produced by Jamie King, renowned for working with artists such as Between the Buried and Me, Devin Townsend, Protest the Hero,  The Human Abstract, and KillWhitneyDead, the release sets about the ears with melodic fire through opener Supraliminal. Thumping rhythms from drummer Dustin Foley cage the senses with intense potency before the guitars of Brian Baker and John Conway shape the track further with sonic endeavour and enterprise. It is an immediately welcoming and impacting song which leaves a wealth of satisfaction in its wake as vocalist Travis Keziah brings his excellent emotive tones to bear on the narrative with diversity and great caustic squalls within his cleaner expressive delivery. Though not a song to ignite burning fires in the passions, it more than makes a rich invitation into the sound and creative songwriting of the band which the following pair of songs exploits to its deepest compelling depths.

The following Until the End makes a strong if not dramatic entrance with once more the guitar carving a sonic web to wrap within, but once the tsunami of primal ridiculously contagious beats from Foley overwhelm and ignite the senses the track explodes into a ravenous feast of thrash lined rapacious intensity and mutually hungry invention. Riffs gnaw the ear whilst the bass of Brian Riley adds delicious intimidation, or rather extra menace to what is now a pleasing brawl of a confrontation fuelled by a fine melodic persuasion. More aggressive and impacting than its predecessor, the track is an outstanding storm of inventive, evocative passion, and stylish songwriting, the best song on the EP.

The closing Your Addiction is bred from the same thrilling template as the second song but delivers it through a blaze of thrash lilted rapaciousness with a clear Metallica like growl and melodic lure to its body. Its incisive groove is an enthralling flame around the again excellent vocals and fine rhythmic seduction, and on top of the virulence infectious call of the song even in its less urgent gait, makes for another outstanding track and temptress to the impending full-length release.

It is probably fair to say that Shadow of Myself is not breaking down boundaries or offering anything new in originality but when they use existing varied essences in such a refreshing and intriguing way there is only full satisfaction and hunger for more sparked into life. Roll on the album is all that is left to say.

http://www.shadowofmyself.net/

8/10

RingMaster 19/06/2013

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If you are looking for something a little fresh and promisingly explosive to your metalcore than allow us to suggest checking out the debut single from UK band Harlot. Infusing their sound with a captivating melodic weave, band and song is a richly satisfying and exciting slice of intensity. Equally as thrilling, as the song rifles the ear and senses with invention and enterprise, is that you can only feel that the band is still at the beginning of exploring its creative depths and that the quartet from Newcastle is only going to get better and more impressive in time.

Consisting of vocalist/guitarist James Mclackland, guitarist Adam Lathan, bassist/vocals Daniel Johnson, and drummer Cameron Brown, Harlot has earned a strong and passionate following since forming in 2007 through their relentless and continually impressive live performances which has seen them alongside the likes of Flood Of Red, Obsessive Compulsive, Tiger Please, Kobra and The Lotus, Voodoo Johnson, and Fury UK. With inspirations bred from bands such as Avenged Sevenfold, Bullet for my Valentine, Pantera, Metallica, Killswitch Engage, Protest the Hero and more in their invention,  Harlot make their the first wide declaration with Saviour, taken from their forthcoming debut EP Wolves, that they are a true emerging force in UK metalcore.

A barrage of drums opens the ear for the following eager guitar to lay down an initial fire before all combine with great intensity fora hunger bred rampage through the ear, this time driven by the caustic squalls of vocalist Mclackland. Into its stride now the track has a familiar groove and gait to its presence but it is a deceit as soon the great vocals, singular and group, lay down a compelling narrative across the constantly looking to evolve sounds. It is a stirring mix of melodic passion and voracious aggression, skilfully sculpted and merged in an inventive and persuasion sonic tirade. Jagged riffs and sonic lances have their moment to recruit further passion midway into the song before a drifting atmospheric and emotive breeze allows a welcome breath to be swallowed and evocative thoughts to breed, but soon band and song returns to an intensive blaze of enterprise and riveting fury.

Unpredictable, fiery, and potently imagined, Saviours is an outstanding introduction to Harlot sparking a certain hunger for the Wolves EP, due out later this summer. For a new breath to metalcore this is a band well worth taking stock of.

http://www.facebook.com/HarlotNewcastle

8.5/10

RingMaster 19/06/2013

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When rampaging in league with the hungry sounds upon Civilization Under Threat, the new album from Bay Area thrash metallers Potential Threat SF, quite simply everything is right with the world within its primal attitude and passionate aggression. It is a ten track tempest of old school thrash which is ridiculously contagious and an incendiary confrontation that ignites the purest passions with its adventurous but set in the seeds of the genre thrilling provocation. We are not witnessing new realms or depths for thrash created by the release but undoubtedly riding prime Bay Area aggravation at its best.

Formed in 1986, Potential Threat SF has ripped up stages with the likes of Testament, Slayer, CroMags, Nuclear Assault, Death Angel and many more over the years, always leaving audiences basking in the high octane sounds and deeply satisfying passion of the band. Arguably they have never earned the strongest recognition but with Civilization Under Threat they are surely set to be pounced upon by a new expanse of eager awareness and acclaim. The Old School Metal Records released album is unapologetic in its original thrash potency brought to bear through exhausting riffs and powerful enterprise from a two prong guitar attack, heavy bludgeoning rhythms, and coarsely sculpted impressive vocals. Engineered and mastered by Juan Urteaga (Machine Head, Testament, Heathen), the album is metal at its demanding yet unfussy best, a torrent of pleasure with essences of the likes of Metallica, Exodus, Vio-lence and at times Suicidal Tendencies whispering loudly within the captivating assaults.

Through the warning sirens and ‘battle’ preparations of the intro intrigue is open and soon sent into a fire of sonic tempting and rhythmic badgering. First full track Destroy and Dominate slowly unveils its muscles and intensity through melodic guitar flames and cagey rhythmic beckoning from drums and bass. It is an appealing lure but soon reaching deeper into the passions as the elements all raise their urgency and provocation into a raging torrent of thrash mastery. There is a sense you already know the track, especially in its thumping choruses and greedy riffing, but that only goes to make the anthemic temptation even more potent and successful. It is an excellent start leaving the senses punch drunk, soon backed up by the next equally scintillating trio of incitement.

The Threat of Things to Come stomps over the already emerging bruising with heavy handed drums and acidic sonic teasing before tirades of thrash rapaciousness are soon allowed freedom. Like the first it is another predatory charge with the vocals of Mike Noble outstanding over the adventurous and accomplished guitars of himself and Daniel Sheridan, whilst the torrential plundering sinews of drummer Kenny Noble continue to leave a black and blue hue to the senses and the bass of Damien Sisson chews and intimidates with primal hunger. Also as its predecessor and continuing throughout the whole album, the song is unafraid to twist and divert its stance and direction through impacting and contagious unpredictability. There may be no new ground being carved up but there is nothing predictable or expectation feeding about any element of Civilization Under Threat.

Both Stick to Your Guns and In for the Kill sneer and carve their lasting imprint on the passions, the first through a dazzling web of sonic mystique and great group backing vocals alongside Noble, which is the first loud hint at that earlier Suicidal Tendencies reference, as well as a ravenous appetite from the riffing, and its successor from offering a darker voracious snarl to its attack, vocals, and again riffs which attack with pack like intensity. They complete what is a rousing and exhilarating first half of the album and alone make the release a must have for all thrash fans.

In many ways the following Edge of Insanity and Beneath the Surface is the band at its most exploratory and imaginative on the release without lessening its insatiable and unrelenting attack. The first of the pair pounds and romps through the ear with unbridled enthusiasm and aggressive persistence then adding to the temptation with sonic blazes from the guitar midway through whilst opening the door to melodic emotive evocations which flirt with thoughts. It is a surprising and pleasing aside leaving the listener in contemplation before a return to the psyche gnawing. The second of the pair lays down a weave of invention and thoughtful diversity as well, the mesh of thrash and melodic rock sure captivation and fulfilment.

With both the mesmeric sonic lancing that is Behold the End and the ferocious Written in Blood adding their voracious intentions, and the closing Rise of the Apocalypse providing a fury clad storm of debilitating rhythmic destruction and ravenous riffing for a final call to arms for the passions,  Civilization Under Threat is a dramatically satisfying triumph. It is thrash metal at its very best and invigorating and Potential Threat SF one of its very best antagonists.

www.facebook.com/potentialthreatsf

9/10

RingMaster 19/06/2013

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Whether rampaging with the hearts of a hundred stallions or coaxing the senses with the melodic charm of a symphonic tempest, Thundergod the second album from power/heavy metallers Angels Of Babylon leaves a rather tasty flavour in the ear. It is not an album which consistently sparks the passions but when it does it is with furnace like intensity whilst the least successful moments of the release still captures a concentrated engagement with the listener.

Founded by former Manowar drummer Kenny “Rhino” Earl in 2008, Angels Of Babylon recruited strong acclaim with 2010 debut album Kingdom Of Evil, which featured Megadeth’s Dave Ellefson on bass. Line-up changes followed but now the potent force of Earl, vocalist Diego Valdez, guitarist Ethan Brosh, and bassist Steve Handel, return with the band’s new album and a powerful ear catching onslaught it is. With rampant rhythms and sinew bred riffs coursing the melodic expanses giving breath to the songs, Thundergod is a thoroughly enjoyable if inconsistent encounter and one which power and heavy metal fans you can only suspect will devour greedily.

The release starts and ends on an explosion of excellence which in many ways gives everything in between a formidable plateau to match, and though all valiantly try many pale in comparison to varying degrees. The title track starts off the release, its torrential charge of exhausting and contagious riffing speared by senses caging rhythms irresistible. It is automatically anthemic in energy and breath becoming virulently so with the vocals of Valdez impressively riding the heavy steer of sound and even more so again from the incendiary passion of the chorus. There is nothing to dislike or dismiss about the primal rock ‘n’ roll assault and it makes for the most compelling and epidemically tempting start to the album. Though there is plenty to get teeth into across the album, only closing track Bullet truly stands side by side on the same pedestal as the first song. Less intensive but equally as rapacious in energy and unrelenting persistence, the track is a tide of metallic aggression and melodic persuasion taking the passions by the scruff of the neck and sending them down a flume of delicious sonic invention. Predatory at its core and fiery in its guitar invention it is an exceptional tail to the mutually stunning head of Thundergod.

Between these highlights the skilfully accomplished likes of the emotive Sondrio with its soaring melodic caresses, the epically carved Queen Warrior, a song bringing carnivorous riffs and colour drenched keys into a pleasing union, and The Enemy ensure the release is never less than intriguing or satisfying, if at times predictable and walking the outskirts of being underwhelming. Each song does make strong company in their presence however you look at it through the excellent musicianship and vocals on offer but often without leaving anything to linger after their departure. There are exceptions as with the first two mentioned, with further highlights coming with the mesmeric White Star Line, its initial acoustic embrace merging through symphonic grandeur into an epic seduction of heavy metal passion and raging creative energy, keys and guitars sculpting a net of bewitching narrative and drums framing it all with understated yet hungry might.

Redemption stands further apart from the rest to also rival as best track, its heavy epic walls standing breathlessly over an imaginative pit of emotive fire and sonic enthrallment. It is an aural fascination and possibly the most inventive track on the album, certainly right to the fore as one of the most scintillating.

The Scarlet Records released Thundergod has everything a great heavy metal needs, passion, invention, and melodic ingenuity, it just fails to have enough hooks to secure the fullest ardour for its presence, when it does hit the nail though it is a monster of a treat.

https://www.facebook.com/rhinoaobofficial

7.5/10

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When releasing their five track EP New Light two years ago Massachusetts band Deadfall easily impressed and set up strong anticipation of things to follow with their djent carved progressive instrumentals. It was a release which sparked a real appetite for the creative explorations  of duo Eddie Kim and Sean Dusoe. It also came with areas which you hoped they expanded further as well as elements where the release suggested it could benefit from investigating, like adding a vocalist and live drums. The Sentinel EP finds the band, now a sextet, has indeed experimented with and brought in those aspects as well as pushed their imagination and invention on, and the result is quite magnificent. The three track release is a thrilling and inspiring slice of progressive metal, the band still seeded in its initial sound but a fuller, healthier, and more potent beast.

Now alongside Kim (guitar) and Dusoe (bass), the Watertown based Deadfall consists of vocalist Chris Greene, guitarists Kyle Brennan and Keith Dusoe, and drummer  Marc Brennan. Taking inspirations from the likes of Periphery, TesseracT, Meshuggah, Cloudkicker, and Animals As Leaders into their own adventure, the band has with   Sentinel laid down a declaration of an emerging impressive force which can only improve to greater stirring heights. The release is a teaser to a debut album scheduled for later in the year and it certainly has hunger licking its ravenous lips in anticipation.

The title track opens up the release and immediately has attention snapping in its direction especially when the vocals and organic feel of the drums make their early declarations. Initial contact comes from gnarly riffs picking and chewing on the ear whilst beats crisply lay their sinews across the instantly eager senses but it is the smouldering expressive tones of Greene which make the biggest statement for thoughts to leap upon and passions ignite to. His delivery is a Chino Moreno like wrap around words, a warm seductive tone emotively washing the intensive riffing and spiralling sonic invention of the guitars. The song is a startling and enthralling encounter and for those aware of the earlier release an exhilarating evolution. The persistent gnawing from riffs and rhythms adds riveting shadows and menace to the contrasting temptation and when vocals take on their own caustic growl later into the track, the union is sealed with rapacious majesty.

The other two songs are re-workings of two of the instrumentals on New Light, and it is fascinating to hear and see their progression from exploratory and open promise into intense and scintillating pieces of carnivorous beauty. The first Shades Of Inception takes no time to wind the senses into its muscular knot of sonic manipulation as brawling coarse vocals rage against their walls. Whereas the original version took its time to ignite its predatory passion now it is more urgently into its attack, softening up its victim for the following melodic voice of Greene and the atmospheric caressing keys to colour a tempering ambience against the rabidly tinged riff fired confrontation. Again there is nothing but lustful satisfaction ignited by the eagerly shifting blend of aggression and resourceful elegance. Deadfall have discovered the perfect alchemy to merging spirited spitefulness and incendiary incandescence, a result which leaves the listener basking in hot-blooded imagination.

Final track The Divergence shimmers with melodic crystalline warmth and light bursts before being cored by another torrent of voracious djent honed riffs, once more the union irresistible and skilfully brought to bear on the ear. Bruising and alluring in the same and every breath it takes, the song escapes into every pore, synapse, and esurient thought rife before its enterprise, whilst conjuring another unique and contagiously evocative blaze.

The Sentinel EP, as impressive as it is straight off the bat reveals more of its triumph with each additional venture, the already renowned guitar craft of Kim creating stunning paintings of sound aided and matched by each element and member of the band. Deadfall has arrived at its full sound but the EP still only suggests they are scratching the surface of their promise which is undeniably exciting. As a name your price release their Bandcamp page, there is no reason not to make the first step in joining their sure rise which has its next major landmark one suspects with the forthcoming album.

www.facebook.com/deadfall1

9.5/10

RingMaster 17/06/2013

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With masterful potency and invigorating imagination Transcension, the new album from progressive metallers Sleepers Awake, takes senses and thoughts on a seventy minute flight through incendiary soundscapes and emotionally fuelled journeys leaving the richest captivation on ear and passions. It is mightily compelling and accomplished slab of inventive melodic fire which incites the surest pleasure and ignites a new beacon within the genre.

Formed in 2005, the Columbus, Ohio quartet of vocalist/guitarist Chris Thompson, guitarist Rob Bradley, bassist/backing vocalist Kedar Hiremath, and drummer Chris Burnsides, first made a wider impression on certainly the progressive and post-metal underground with debut album Priests Of The Fire, a release which was no stranger to acclaim with its adventurous intent and diverse flavours and textures. The self-released Transcension is no different and destined to find the same reception at the very least, and one suspects, even stronger passion fuelled acclaimed reactions with its impressive and thoroughly exhilarating evolution. The greater invention to songwriting and sound is breath-taking at times and always enthralling as tracks and album lifts the listener into a realm of torrential emotive provocation. There is also an anthemic energy to Transcension, its excited presence and voice thrusting a rich fascination of ideas, lyrical narrative, and seductive enterprise straight to the heart. It is not a perfect album but walks the rim of that plateau from start to finish, standing as one of the most thrilling albums this year.

The names of the likes of Tool, Opeth, Mastodon, even Rush have been cast over the band leading up to the album release and at times it is easy to see why especially in regard to Tool but there is much more to their sound and immediately across the opening tracks we would add the likes of Life Of Agony for the depth of emotion and dramatic structures to the songs, and Poet Of The Fall for the more instantaneous melodic temptation offered. Do not mistake this as suggesting the album is an echo of such references or from the constant mention of its melodic heart that it is a mellow or restrained beast. The album stands apart from most with ease and has a snarl and aggression which leaves you exhausted. It offers a seamless merger of glowing sonic beauty and stern merciless shadows making for a sensational exploration.

With a concept based around the tale of an augur (a priest in the classical world) and his struggle with higher forces while exploring the depths of existential contemplation as the venture moves through magical worlds lined with fantastic creatures and surreal imagery, Transcension opens up its experience with The Augur and takes mere moments with its first breaths of sonic guitar beckoning to draw strong attention. Soon into its charged presence with the excellent vocals of Thompson making a further deeply persuasive introduction to the unfolding lyrical emprise and mutually charismatic sounds, the track stirs up appetite and emotions with continually intriguing and evolving invention, intensity and melodic imagination a fluid shifting instruction for hunger and rapturous reactions.

The impressive start is soon built upon further by the outstanding Burdened and the equally stunning Apparitions. The first of the pair is a nine minute plus epic of melodic parades and vigorous rhythmic enticements which again never stay in a single stance for longer than necessary as it ignites visual soaked thoughts and poetic imagination. There is a loud Perfect Circle/Life Of Agony whisper across the track, especially vocally, as well as a prowling and intimidating guttural glaze found by the vocals which adds a caustic embrace ensuring the course of the song is never straight forward and safe. Arguably the track is over long for personal tastes but in saying that there is never a moment where captivation wanders or thoughts look at the hands of their impatient watch. Its successor opens on an expansive ambience with the enveloping breezes soon joined by fervent expression and zealous emotion from vocals and the melodic call of the guitars. Veining this throughout the drums and bass reveal inciting sinews for a predatory essence behind the even more Keith Caputo like tones of Thompson. It is a song of aural alchemy and such its power and craft alongside its predecessor gives the rest of the album a tall order to replicate, something it valiantly fails at such the strength of these songs.

If the album started at this point there would still be nothing but full praise and greed for the release, the likes of the rapacious Slave Within with its unexpected guttural squalling, the equally scowling Saint Condemned, and the magnetic instrumental riveting Circles Without Division, all explorations of and inducements to the ripest depths of mind and soul. The fusion of light and ferocious dark in the first two of these songs is immense whilst the crystalline sonic shimmers and melodic flames around a busy populace in the third pure temptation.

Through to its conclusion the album continues to seize and paint upon the listener’s emotional canvas, the deliciously descriptive beauty of Throat of Winter and the tempestuous Equa Mortuorum two more major landmarks in the traversing of the chronicle. Transcension is an intoxicating album which though it has its greatest strengths at the fore of its spellbinding company never slips below giving an intensely emotion and mentally arousing impact, and leaves one final slice of galvanic glory with closing track The Fulcrum to linger in its wake.

If progressive metal with true heart and sizzling imagination without any form of indulgence is on your menu than  Sleepers Awake and Transcension is a must. It is a fulfilling and invigorating piece of artistry, a must have should have for all melodic metal fans.

http://www.facebook.com/SleeperRock

8.5/10

RingMaster 17/06/2013

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On hearing that UK rap metallers One Minute Silence were about to rampage across thoughts and senses again after a seven year hiatus it is fair to say excitement was high and expectations hungry. Just maybe there was also a wonder and fear that the band would have lost their potency through the long break. Listening to new EP Fragmented Armageddon wiped any such concerns away, the release confronting the ear with the power and imaginative attitude sculpted sounds we are used to from the quartet and when played alongside last album, the 2003 released One Lie Fits All, and the likes of the Revolution EP or the single We Bounce, it is like they have never been away. It is an absorbing and inciting confrontation which awakens thoughts and passions and though the release has elements which do leave one a little dissatisfied in the lack of more new material, it is impossible not to  feel even more enthused from its creative tempest.

Since the hold on the band its members have eagerly explored new musical styles within projects set in the likes of folk to electronica and jazz to beat poetry. These are essences which appear to have brought influences and inventive ideas to the new phase of One Minute Silence though their core is still openly rap metal with hardcore/punk grievousness. The band on the evidence of the EP has certainly lost none of its fire in sound and politically inspired narrative neither, lyrically and in attitude but at the same time appear to have stretched into new avenues to express their passions and intrigue the mind and senses. It is hard to make a full declaration of there being new venture to their sound and enterprise and imagination from two songs of course, the planned album to be released next year will confirm if that is so, but it is easy to be assumptive in the strong possibility indicated by Fragmented Armageddon. With original members vocalist Yap, guitarist Massimo Fiocco, bassist Glen Diani linking up with new drummer Martin Davies, One Minute Silence will easily grab attention with their returning release, the collection of new material, re-workings, remixes, and an acoustic track sure to spark up and refresh the greedy appetites which feasted on the band before.

The Freeport Entertainment released EP brings opening track Fruit From The Lie into view through a compelling sonic mist but as soon as the recognisable voice and taunt of Diani’s bass and the vocals of Yap encroach the ear everything steps into place musically and emotionally for the passions. As spine-tinglingly distinctive as ever and ripe with that expected sense that band and song are about to leap for the jugular, the track instead takes its time, teasing with chilled atmospheric embraces and melodic dances whilst drums brew up an agitated framework to further captivate and feed on the listeners reactions. Once the explosive heart of the track does erupt air is driven from the lungs and thoughts ignited from the blaze of rapacious energy and provocative lyrical persuasion. The track continues to ebb and flow in intensity and attack but is a continual aggravator of the mind and instigator of unashamed selfishness to hear and feel more from the song, which it delivers with raging invention across its rhythmic barracking and sonically carved melodic fascination.

Second new song Pandemic Schizophrenia opens amidst street unrest and a social emergency call, vocals beginning a raw stance whilst bass and drums spear the scenery with monosyllabic punches. It is a potent warning on the ear with the guitar riling the ambience further as it leads to another contagious bruising laced in a sonic heart driven fire of intensity. Not quite corrosive but defiantly abrasive, the song tantalises and strokes the ear with addictive grooves and predatory imagination whilst the vocals of Yap prowl and incite it all, his delivery at times an acidic torrent of expression which sounds like a mix of John Lydon and Kirk Brandon. Like its predecessor it is a stunning track and ensures the wait for their proposed album is going to be impatient.

The release continues with firstly a reworking of You So Much As Move, a track from the One Lie Fits All album, and two remixes the second of the same song by Fiocco with before it a remix of Fruit From The Lie by Ben Hurd. Though they all feel like fillers to stretch the comeback release they do not hold back on providing satisfaction, the first of the trio a rampant and slightly rabid expanse of atmospheric temptation and carnivorous ravishment. It is shaped with enthralling enterprise and thought, its intent chewing on the senses whilst simultaneously bewitching them into uncaring submission. Though not a fan of remixes here, both tracks do leave a welcome taste in the mouth even if fires are not sparked by their presences, which also applies to the closing acoustic song Early Morning, though again the melodic emotive caress offered leaves sure and undeniable pleasure.

     Fragmented Armageddon is a great return from One Minute Silence which shows them to be as strong and creative as ever. It is also a rich tease for their future album and following stage return. World be warned the impacting storm has not lost its bite.

www.facebook.com/oneminutesilence.band

8/10

RingMaster 16/06/2013

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It may have taken a few plays to fully persuade but one thing which was soon apparent as the Ruin EP from UK alternative rock band Stars and Flights laid its cultured riot of rock ‘n’ roll upon the ear, was that there is something instinctively appealing about the band. The three track release shows a certain craft and passion to its songs which makes a string impression and though the EP does not quite light the energy and fire inside towards it that maybe it suggests it was capable of doing a confidence in saying that this is a band with a rich future is easily sparked.

Hailing from Neath in South Wales and formed in 2010, Stars and Flights first made a noticeable mark with their Ghoulish Records released debut album Dropping Anchors in March of last year. Recorded with producer Romesh Dodangoda it turned heads in the band’s direction whilst offering promise of greater things to come. Whether the Ruin EP comes close to realising that promise is debatable but it undoubtedly leaves the feeling that something formidable from the trio of James Davies (vocals/guitar), Kierran Tomkins (bass), and Brad Ratcliffe (drums) is on the horizon.

The Pete Dowsett produced release immediately clutches the ear in a tirade of guitar confrontation as the opening title track makes its bold and feisty presence known. With firm crisp beats and a great roving bassline instigating undiluted focus with their lures the guitar sabre sweeps with acidic and appealing flashes of sonic temptation across their intriguing design. It is not long before the expressive vocals offer an evocative plea to add to the emotive wash in place and as the music sweeps into imaginative corners and inventive ideas the further the song expands, there is a solid springboard for satisfaction to launch from.  Admittedly the track never truly ignites and seizes the senses but the enjoyable adventure given is impossible to dismiss.

The following The Lights Went Out as its predecessor makes the strongest opening persuasion, the bass tempting the richest reaction with its throaty and vibrant stroll through the ear as percussive accompaniment frames its call. Soon vocals and guitar add their voices to the mix and as energy and emotive intensity rises at the same time the track evolves into a rather compelling encounter. Again the spark to inspire a full blaze of passion to give in return for the magnetic and thoughtful endeavour is not found but throughout the song there is the sense of something desperate to break out and make the strongest demand on the heart which makes for an intensive bait. As in evidence on the first song musically, the band tease and invite a rich depth of acclaim for their offerings though at times they do seem reluctant to push the limits of their dynamic and inventive ideas to secure the most potent returns, but vocally is where things fall short. It is not a major issue as such but the tracks on the EP alone request more work needs to be made on the less successful aspects of Davies’ delivery to match the elements the vocalist does hit the spot with.

Final song Inhale/Exile thumps at the ear first before barging through with eager energy framed by impressive flexing rhythmic sinews. Bass and guitar rampage with skill and thoughtful  invention as the track stomps along with contagious diversity and fiery intensity to secure the biggest mental applause and satisfaction of the release, and though still the vocals fluctuate too much they add to the rawer and more raucous flight of the riotously enjoyably song.

Released June 17^th as a Name Your Price download on the band’s bandcamp page , Ruin is a release deserving of as much attention as possible. It may not itself set the band into the limelight of UK rock but provides plenty of appealing ammunition to believe Stars and Flights will be in that glare at some point in the not so distant future.

www.starsandflights.com

7/10

RingMaster 16/06/2013

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

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Ahead of their June 24^threleased debut EP, UK band OneGirlOneBoy set free their emotively and aurally seductive single Wasted, a song which takes the listener on a stroll of infectious enterprise and melodic intrigue. It is a mesmeric joy which ensures a heightened appetite for the forthcoming seven track release all on its absorbing lonesome, though the accompanying Dirty Town alongside the lead song easily reinforces the vibrant temptation too.

A duo from Nottingham consisting of Natasha Miller and Chris Howarth, OneGirlOneBoy declare on their bio that they do not write songs about love, but of the accompanying aspects such as jealousy, suspicion or seduction. Wasted is ready proof with its enveloping shadows and dark depth venturing potent tones. There is an air of mystique to their sound as well as an emotional discord, all traits wrapped in a scintillating wash of heart bred musical imagination cast with an electronic stance and rhythmic provocation. As already evidenced on their previous singles If This Is Love and Sylvia, both also on the new Forth Recordings released EP, there is a dark intensity at play on ear and senses within the enthralling sounds the band creates and no more potently than on Wasted.

The single swings into view on a vine of sizzling melodic beckoning and harmonic calls, their lure soon sat astride by the sensational tones of Miller, her voice a weapon to immediately fall before and expel rapture over. The track offers a repetitive call to its core with keys and guitars teasing and hypnotising the listener behind the equally mesmeric and passion seducing vocals whilst the lively energy to the song belies the compelling one paced drive of the song showing the depth of the strong and imaginative songwriting through to its exciting realisation. It takes no time for the brewed contagion to wrap around the listener with instinctive devilry conjured by musicians who know how to harness primal needs through a sonically seeded melodic temptation. It is a riveting encounter which simultaneously smooches with and challenges the listener to enter their own darkened emotions but most of all it simply leads one on a scintillating excursion of dramatic beauty and inciting warmth.

Second song Dirty Town immediately takes the ear into its majesty with sultry rhythms and sonic probing heralding further tantalising vocals skirted by additional bewitching harmonies. Like its companion the song is measured in its energetic gait and melodic inducement but with the drums forming a resonating cage for the powerfully emotive vocal delivery and guitar/keys sonic alchemy the band energetically charm another impacting visual tapestry for the listener to immerse and colour their thoughts within. It is a striking bait for the passions and challenges Wasted for the most powerful invitation to band and the coming EP, both a stunning welcome and temptress for both.

Like a mix of The Mouth Of Ghosts and dare one say Fleetwood Mac, the single is a delicious and captivating call which it is hard to imagine many able to resist  and certainly one suspects the soon to fall EP will complete a lasting deal. OneGirlOneBoy is destined to soundtrack all our emotional shadows and more.

http://www.onegirloneboy.com

8.5/10

RingMaster 15/06/2013

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