Trucker Diablo – Songs of Iron

If The Devil Rhythm, the debut album from Northern Ireland rockers Trucker Diablo set your passions racing, than hold onto your gear sticks as the juggernaut has returned with second album Songs of Iron. Cut from the same template and loaded with the same high grade fuel of rock ‘n’ roll as its predecessor, the new fourteen track release burns another riveting expanse of intensive rubber on to the road The Devil Rhythm left ablaze for another irresistible contagious fury of rebellious rock.

Since forming in 2008, Trucker Diablo has been on an accelerated rise, the band consisting of four friends who united to unleash music they have a full passion for whilst employing experiences gained in the ranks of Joyrider and TILTED to full potency, making deep lingering marks by the day. It was not long after starting that the band was reaping acclaim and support with their live performances, the likes of Ricky Warwick, Ginger Wildheart, Joe Elliot, Damon Johnson, and Cormac Neeson endorsing their rising presence. Supporting and playing alongside bands such as Foo Fighters, Terrorvision, Anthrax, and Thin Lizzy in shows and festival as well as their own intensive touring has only reinforced their stature with The Devil Rhythm marking another impressive statement in their ascent last year.

Released through Ripple Music, Songs of Iron explodes from its very first second never letting up through to its final sizzling lick ofenergy. Red Light On opens up the brawl with heated riffs and concussive beats beckoning the ear around the snarling temptation offered with intimidating power by bassist Glenn Harrison. It is an immediate hook to the senses and lays an inviting canvas for the impressive vocals spread and shared between guitarists Tom Harte and Simon Haddock. Thumping rhythms and big boned riffs seize the air with strong craft and energy to taking the listener on a contagious and commanding ride, a charge which makes no demands but incites a full involvement with its muscular intent. With melodies and barbed hooks, not forgetting the scintillating solo, as striking as the rippling sinews framing them the song is a pleasing start soon surpassed by the excellent Year Of The Truck.

From the first note the song gnaws in the ear with savage rapacious hunger, the riffs iron clad and as intrusive as any Meshuggah or Mastodon could conjure and lying somewhere in between the two in voice, ensnaring the passions with intensive persuasion whilst the drums of Terry Crawford cage all with crisp and potent invention. It is again the bass growl of Harrison which seals the ardour in tight, one of the highlights of the last album just as riveting and viciously seductive this time around in nothing but impressive attributes offered by all members on  Songs of Iron. Virulently anthemic and catchy, the track launches an irresistible call on voice and limbs for a full involvement and contribution towards its gasoline burn up, though all the songs have that power in varying degrees.

The southern rock toned stance of passion and enterprise, The Rebel steps up next to leave further irresistible inducement working on the passions. Loud whispers of ZZ Top and Black Label Society add their rich vapours to the track and single from the release, a song which with ease accelerates the heart rate, and beyond safety levels one suspects such its epidemic call. It is a staggering start to the album which is continued now into the heart of the release through the likes of Drive, the outstanding Not So Superstar and its dirty brew of scorching rock ‘n’ roll, and the melodic hard rock honed The Streets Run Red, whilst others such as the muscle bruising Lie to Me and the emotive ballad Maybe You’re the One bring further variety and depth forward. Admittedly not all the tracks ignite the same heights of passion as others but there is never a moment where satisfaction is left half-filled or the stirring skill and invention of the band not openly there to be hailed.

Further especially enriching highlights come through the crushing Bulldozer, where again that bass rips the senses to tattered remnants of their former self aided by corrosively greedy riffs and rhythms whilst the anthem bearing chorus and group harmonies light a melodic fire to sear the wounds, When’s it Gonna Rain with its seriously chunky riffs and southern heat, and best track on the album Shame On You. The last of these three has a swagger which like it’s delicious grooves is an addiction of toxic suasion, its lure permanent and deeply entrenched in thought and heart by its end, the delicious addiction cast by devil spawn riffs and rabid rhythms wrapped in a sonic furnace.

Completed by the excellent I Want To Party With You, a song giving you exactly what it desires, Songs of Iron is an exceptional slab of rock ‘n’ roll, all songs mentioned and left for your discovery pure adrenaline raising pleasure. There is no boundary breaking going on here just riotous rampage within what is one of the most exhilarating albums this year so far, and that is more than good enough for us.

https://www.facebook.com/TRUCKERDIABLO

9/10

RingMaster 14/05/2013

Copyright RingMaster: MyFreeCopyright

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Death By Ki: The Right Of Might EP

   

    Add a pinch of Slayer and As I lay Dying with a healthy dose of Metallica and Anthrax, and you get once thrilling and powerfully accomplished band in the shape of Death By Ki. The British metallers as shown by their tremendous debut EP The Right Of Might, is a new invigorating force in UK metal and a band which breathes honest and rampant rock n roll through songs which scintillate and exhaust. Their first EP is a mighty introduction and though arguably it is playing with already seeded ammunition in the genre, the record is one of the most enterprising and exciting releases to hit this year.

From Bridgwater, Somerset, the quartet of Josh Ayerst (guitars and lead vocals), Chris Chamberlain (guitars and backing vocals), Will Robins (bass and backing vocals), and Nick Cope (drums), has grown into a compelling and richly satisfying presence since seeds which began when Ayerst and Cope jammed together as school friends. Subsequent time saw Robins join but it was with the addition of Chamberlain in 2011 that the band found its whole and solidity. The past couple of years has seen the band unleash impressive stage shows on their own and alongside the likes of Gallows, Revoker, Romeo Must Die, Evile, and Be’Lakor, all the time honing and exploring their sound and ideas until ready to record their first offering. Recorded with Jeff Rose (former guitarist for Dub War and Skindred), The Right Of Might is a stunning collection of songs which whilst not exactly re-inventing existing formulas certainly gives them a fresh and impacting fury.

Released May 20^th, The Right Of Might instantly raps on the senses with the first sinewy beats of opener Like Oxygen To Fire. Soon joined by ravenous riffs and keen acidic sonics from the guitars, the track slaughters the ear with crisp rhythms and rabid energy for an instantaneous rewarding confrontation. The vocals of Ayerst brawl with impressive craft and expressive passion to add to the already in place intrigue and pleasure, and as grooves and hooks tease and entwine the energy the track needs to make no more persuasion as to its impressive stance and purpose. But impress further it does with great melodic flames from Chamberlain and a raptorial menacing prowl to the bass of Robins. The song has a familiarity to it which for sure is a consequent of the band playing with existing essences but it also makes it an immediate best friend for the heart, as with the whole release. The fact that the band conjure these already in place endeavours into their own creative rampancy does the release or the massive enjoyment no harm either of course.

The title track follows and within seconds is searing the senses with fine guitar heat and craft. As with the first song soon the storming blend of hungry riffs and bone shuddering rhythms drives the track deeper into the passions with an excellent scraping yet picky melodic vein, which actually reminds a little of the Skids back in their early days, adding another spiral of lust to the brewing ardour. A seamless collision of styles and attitude, the track ignites an anthemic appetite which captures the imagination with merciless efficiency and backed up by the great skill and imaginative rhythmic and guitar sculpting, it is no surprise why the track steal top honours on the EP.

Control (In A World Of Free Will) is a less intensive encounter though still drives with a muscular intent and energy which leaves many other similarly gaited bands sounding pale in comparison. The track again entices and seduces with musicianship which exploits every ounce of quality within the songwriting and a vocal attack which growls and harmonically persuades with matching strength. The fiery solo of Chamberlain again leaves one grinning whilst the song as a whole is a rampant and wholly rewarding bruise of aggressive invention.

The band expands their sound further with Tao, a song with an emotively melodic embrace and enveloping atmosphere which wraps itself warmly around ear and thoughts. The vocals of Ayerst shine even further here, his part gravelly tones given further space to expel every syllable and lyrical intent with expressive breath. The excellent track then passes the metallic baton to closer Lights Out, a tempest of insatiable and debilitating energy which sparks even greater fires. Grooved, greedily riffed, and rhythmically uncompromising, the track ends the release as impressively and powerfully as it all began.

The Right Of Might EP may lack a little originality but whether you can find the same rapturous enjoyment and energising experience that easily elsewhere we doubt. Death By Ki is going to be big, mark our words.

www.facebook.com/deathbyki

8.5/10

RingMaster 28/03/2013

Copyright RingMaster: MyFreeCopyright

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Beissert: Darkness: Devil: Death

    Darkness: Devil: Death is an album where during its rampage through the ear inspires a varied mix of thoughts, at times some confused and uncertain, but by its end one thing is distinctly apparent, it is overall quite simply a thoroughly  enjoyable confrontation. The fourth release from German metallers Beissert, the album is a persistent tempest of groove, heavy, and thrash metal, which continually captures the imagination even during moments when its ideas fail to spark the same enthused responses bred elsewhere within its muscular onslaught.

Formed in 2005, the quintet from Dresden has forged a strong reputation, their self-released demo a call to arms [for failed ones] the same year, the first encounter with their formidable sound. The 2007 album …nothin’ left to luv! brought a wealth of flavours and styles into its aggressive breath whilst, like the new album, the Agonia Records released thePusher two years after, unleashed a darker and more intense breath to its forceful destructive invention. Darkness: Devil: Death in many ways is the blossom of the seeds sown in the previous two albums, its heart and venom the blackest yet but brought through a wealth of creative spicery and diversity within metal and rock. It also has that insidious tendency of brewing up its attraction in the shadows to suddenly hit thoughts during numerous visits that actually the album is one enthralling and deliciously tasty treat.

A constant storm of sound and intensity, the release opens with Thy Chthonic Cathedral, a track which brews up a darkened atmosphere of impending shadows and energy before letting loose a riot of ear grasping riffs and bone snapping rhythms. Immediately grasping attention from its lazy stance the song begins to work its sonic alchemy on the senses with a tight serpentine groove with licking sonic flames surging around it and the impressive vocals of Bssrt. Coarse, clean, squalling, his delivery alongside impressive backing elsewhere ignores boundaries and definition to ravage like the varied sounds but all is rich in skill and stunning creativity. It is an impressive and pulse racing start easily matched by the following title track. DarknessDevilDeath is a bruising course of thrash and hardcore speared by scintillating spikes of classic and melodic extreme metal with vocals again rich in variety to inspire further impressed passion. At times the rhythms threatened to fall into chaotic disorder but the band hold a tight enough rein to let their randomness intrigue and leave the listener lost in thought and satisfaction.

Through tracks like Age Ov Darkness where the vocals are as manic as they are contagious, the fiery Zorn Der Geister, and My Path Shall Be Your Wrath, Beissert continue to expand their invention and intense ferocity with a soaking of changing essences, the latter of the three splitting the classic core of the song with nu-metal and charred ravenous grooves. Though the trio do not find the depths of enticement and triumph as do the opening pair, they still leave the listener greedily focused and ready to taste more, the latter of the three epitomising the album as a whole in that the more time spent in its company the stronger and lasting the persuasion.

Perm Trias steps forward as another invigorating highlight, the abrasive scowls of Bssrt and flesh searing grooves an irresistible temptation soon surpassed by the expanding intense grind of the song and the clean vocals, though at times they do push the limit pass personal pleasure point. One of the less dramatic and aggressive tracks it nevertheless hits the target with ingenuity and simple insatiable rock n roll.

Through the following I Am The Lore and Do What Thou Wilt the album drops into a bit of a lull though both songs have plenty to offer, the first especially with a White Noise era Anthrax like presence but against next up DXXXV they are warm up acts to its towering presence. The track gnaws the senses from its first rabid note, riffs chewing flesh and rhythms dissecting cartilage. There is a death metal malevolence seeping from the heart of the savagery whilst the guitars sculpt a melodic lattice of flames with sonic expertise to temper the primal devastation at work. The best track on the album it carves its place in the passions with malice and inventive vivacity.

Ending with the again Anthrax whispering De Profundis Clamavi with its spidery sonics and Die Diamantenen Tore Der Hoelle (Polaris), a track offering a stoner seeded invitation, Darkness: Devil: Death is an album impossible to ignore once bitten by its rapacious claws. It ebbs and flows at times in regard to lighting fires but at all times Beissert twist the screw of imagination and adventure resulting in a release which emerges as richly pleasing.

https://www.facebook.com/beissert.dwtw

www.deathworship.com

8/10

RingMaster 14/03/2013

Copyright RingMaster: MyFreeCopyright

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Antagonising the quiet: an interview with Fuckshovel

February 18^th sees the release of an album from powerful and incendiary UK rock band Fuckshovel, which is quite simply a masterful brawl of irresistible rock n roll. An insatiable muscular pleasure, This Is What We Are incites and thrills with every rampant note to leave the listener breathless, exhilarated, and ready to take on the world. The London quartet has worked long and hard to bring the album to the world and such its impressive quality it feels like it will be the trigger to a massive year for the band. Obviously we wanted to find out more about band and album so did not need asking twice when offered the opportunity to question the band…

Hi Guys and welcome to The RingMaster Review. We are on the eve of the release of your debut album ‘This Is What We Are‘, how are things emotionally in the Fuckshovel camp?

We’re just about holding it together! It’s been a rollercoaster of a ride making this album. It’s taken a long time and we’ve put so much into it both physically and mentally. For us up to now it has always seemed like it’s on the drawing board, so to finally be putting it out there seems bizarre, like the end of an era. Maybe the release is the closure we need to get on with the next album!

The first single from the album Schizophonic certainly brewed up a fevered anticipation for the album, as represented by the enormous reception when playing the track on The Bone Orchard podcast. Has its success and deserved acclaim, made you less tense and more confident for the album’s introduction to the world?

Well to be honest, we know that the playing is good and we’re confident in the songs so the only thing we’re really concerned about is finding enough people who agree with us! Reviews and the like are so subjective it’s not something we can control so we try not to worry about it too much.

Before talking more about ‘This Is What We Are’, tell us how Fuckshovel began and those early days starting out?

The original plan was basically Jon, Ian and another mate (Kermit) getting together with a couple of mates and playing for a bit of fun. For various reasons this never really happened so John and Dave were recruited to the good ship Shovel. We started writing and gigging immediately and got some good reviews and feedback but it was quite difficult to settle on a sound that we were all happy with. Eventually we parted company with Kerm and began writing material that suited the remaining four of us.

What is the history of the band members previous to the band?

Many and varied: Dave (Virago – drums) played with Cradle of Filth, did the MTV Awards with Basement Jaxx and more recently appeared with Dizzee Rascal. John (Faulkner – bass) was formally with Latch and played on a couple of tracks on the first Plan B album, Ian (Fisher – guitar) was in Decimator and before doing this Jon (Stone – vocals) was working with Laurence Archer (Phil Lynott’s Grand Slam & UFO).

Many bands have been raised as having essences in your music, including Discharge, Anthrax, and Ministry. For us your distinct sound held strong whispers of Therapy?, The Wildhearts, and definitely Ruts. Any of those fair and what are the major influences which inspired you as musicians and band?

As you can see from our previous histories we’ve got quite a disparate bunch of influences. For instance, Ian is into old school thrash, punk and Eminem! Jon likes Thin Lizzy, Soundgarden and Killing Joke. John would cite Deftones, Rage Against The Machine and the Bronx while Dave is a big Pantera and Alice In Chains fan. And we all agree on Slayer. And Peter & The Test Tube Babies! From our first rehearsal we wrote new stuff without ever knowingly incorporated any of our influences into the overall Shovel sound so whatever we sound like is just us playing what we enjoy; which is generally the sort of noise made by the bands you mention. So yeah, those references are fair in as much as Therapy? and The Wildhearts go for an aggressive sound with strong melodies, which is something we aim for.  The Ruts is a niche reference but we’ll take that – Babylon’s Burning is one of the very few covers we’ve ever bothered to learn!

Obviously we have to ask about the brilliantly provocative band name. It smacks you in the face like your sounds with energy and mischief, any problems or restrictions come because of it though, especially in the regard of radio play?

It can be slightly problematic! As most bands will tell you the hardest thing to agree on is the name – we had the name before we’d even rehearsed so we were lumbered with it from day one! We’ve had radio play from BBC Radio 6 (Bruce Dickinson’s show), XFM (Ian Camfield and John Kennedy) and the likes of Total Rock so it’s not impossible but they do tend to call us F-Shovel which might make us slightly harder to track down. We had the video for Long Time Dead on Headbangers Ball quite regularly too so it can be done.

You have already grabbed strong attention both sides of the Atlantic Ocean, how did you come to play over in America?

Quite simply, we applied to showcase at SXSW and got accepted. It was a bit of a shock! We did it all off our own back so we probably didn’t get as much out of it as the more established bands… having said that, we did get a big crowd at the main showcase and a really good reaction too. It was great fun but not as fruitful as we’d hoped.

Back to This Is What We Are, an album which for us ‘is a riotous storm of rampant rock n roll with no intent to compromise or accept mere appreciation of its forceful sounds, it is all or nothing’. Do you have any set intent when writing songs?

Mainly we try to write to keep all four of us happy and as the meeting of our influences is generally in the aggressive section of the Venn diagram that’s what usually comes out. Plus, obviously, being called Fuckshovel does tend to mean we weed out the power ballads quite early in the writing process!

There is an open defiance and inciting attitude to your music, what predominately inspires your ideas?

People and politics (with a small ‘p’. And sometimes a big ‘P’). Basically, anything we get worked up about. Lyrically they deal with subjects like the nanny-state (Portia’s Box), people letting their lives drift by (Long Time Dead) and the mongrel nature of society (Schizophonic). Germs of Empire is a line from the novel Heart of Darkness and is about the nature and genesis of tyranny (or so Jon tells us!)

 Did the tracks and album emerge from the studio how you envisaged going into its realm or did they evolve further?

Well, this is the second time we’ve actually recorded the album so they’ve definitely evolved! We originally had the album pretty much done and nearly dusted but when we listened back we’d got so immersed in the whole studio technology thing that we’d lost the band, so we scrapped it, which was quite time-consuming… And expensive! We went back to basics, took the songs apart, reworked some, dropped others completely and started again.  So when we began tracking we were pretty sure we had all the sections as we wanted them. We allowed ourselves one week for all the tracking and did the vocals and overdubs later.  The vocals were predominantly recorded in our rehearsal space which gave us time to play around and experiment with them so they definitely evolved.

How did you record the album? The songs have such a live and organic feel it suggests they maybe were recorded live so how did you lay down the tracks?

That was the initial aim. As we mentioned earlier, we were very concerned with capturing the sound of the band playing live. Long Time Dead and Skull &Bones were definitely done live. The rest were a combination of live and layers.  Although, we did institute a 3 takes rule for everybody. And sometimes we stuck to it.

Is there any particular moment on the album which brings the deepest tingle and feeling of pride personally?

Probably the little things that you wouldn’t notice or know about if you hadn’t been involved in making the album:

Our children all shouting ‘You’re not one of us!’ in Auslander, the various musical parts all played by different people visiting the studio e.g. Jon’s daughter on the wah pedal in Schizophonic and remembering the atmosphere at various different times in the studio during recording. When we tracked Vegas Nerve (which used to be called God) the lights were really low in the studio and there was an epic thunderstorm that shone through the sky-light in the studio ceiling. There are also the one-offs such as Johnboy’s high-pitched scream in All You Got, a total random one-off fluke that has and will never be replicated. If you go on youtube you can see quite a lot of footage taken during tracking, for example Randy (Ian Fisher) in the vampire cape recording Auslander – that one in particular lives fond in the memory.

The artwork for ‘This Is What We Are’ comes from the legendary Jamie Reid. How did that link up come about and did he have a free rein to interpret your songs visually?

Jon and Ian know his agent (who used to do A&R for Poison Idea trivia fans). We asked him if he thought Jamie would be interested and were told to write to him and ask. So we drafted up a begging letter, sent him some lyrics, a couple of tracks and the track-listing and he said yes. He came back with a choice of 4 or 5 ideas and we got to pick the ones we wanted. It was quite surreal!

Usually we are asking bands what they learned from working with renowned and acclaimed producers, but here we have to ask did Jamie offer something other than his art which impacted on you?

Well, due to his schedule the process from start to finish took about 6 months so we definitely learned patience! And the fact that it’s okay to refine and re-do until something works. A good idea’s a good idea but it doesn’t mean you can’t make it better.

What is in the immediate future for Fuckshovel in association with the album?

It’s due to be released on the 18th February so we’re pushing to get as many people as possible to be aware of it. We’ve got some gigs already confirmed and we’re actively looking for more. It’s all about searching out people who agree with us!

We imagine, not having the joy yet to see you live, that your gigs are brawls of energy and attitude. How do you approach each show, like it might be the last one and give it your all every time one assumes going by the album.

Yeah, pretty much. These aren’t the sort of songs you can play half-arsed so no matter how many people we’re playing to we tend to go at it full-tilt. The aim is get everyone into it and singing along with Portia’s Box by the end.

Many thanks for sharing time to talk with us. Any parting words you would like to set free?

We’ve probably said too much already!

Lastly give us some of the most important albums which shaped your personal musical direction.

Killing Joke (2003 album with Dave Grohl on drums)

Velvet Revolver– Contraband

Peter and The Test Tube Babies – Loud Blaring Punk Rock

Read the review of This Is What We Are @

http://ringmasterreviewintroduces.wordpress.com/2013/01/17/fuckshovel-this-is-what-we-are/

The RingMaster Review 13/02/2013

Copyright RingMaster: MyFreeCopyright

Ion Vein: IV v20

Photo by: Beth Piarowski

Continuing the DR (digital release)concept began by Mortal Music and veteran metallers Ion Vein of taking a snap shot of an album of music and releasing it into the market a “chapter” at a time’, the pair has just released the next instalment in the riveting and impressive IV v2.0 from the band. The new three track instalment in the passage to the full album is just like its predecessor IV v1.0, a vibrant and thrilling slice of progressive and classic laced metal.

The gap between their last album Reigning Memories released in 2003 and the first EP of last year was a long wait for fans and most likely an impatient one for something from the Chicago band which formed in 1995 but the release showed the band was as mighty and inventive as ever, in fact at their strongest to date. Founder and guitarist Chris Lotesto, vocalist Scott Featherstone, bassist Rob Such, and drummer Chuck White, have continued their impressive return with a trio of songs on like its predecessor, the Neil Kernon (Nile, Nevermore, Queensryche, Redemption) produced EP, a release which leaves the majority of emerging melodic metal bands in the shade.

The opening song Seemless accosts the ear with thumping rhythms and delicious senses churning riffs which are all muscle and simple but effective enterprise. Settling into a more reserved gait though the track strokes the ear with a rich melodic ambience whilst the pulsating bass of Such prowls and probes the ear magnificently. The vocals of Featherstone are as expressive and powerful as ever, and though he may not be the vocalist with the greatest range in metal he persistently delivers an immense presence and passion to each song which flares up superbly within the equally fiery sounds,  as proven on the first song of the release. The rich guitar explorations of Lotesto dazzle without indulgence to stoke greater fires within the already burning appreciation of the stylish composition and its skilful and inspiring presence whilst that rapacious bass switches on primal needs as eager as the sonic caresses tease out a devouring greed for more.

Fools Parade steps forward next to elevate things to an even greater plateau, the stalking riffs and sonic scorching an acidic feast veined by the tightly controlled yet hungrily barbed rhythms of White. Weaving through corridors of energy and an enveloping furnace of passion and imaginative melodic invention, the track has a loud whisper of the John Bush fronted Anthrax which adds extra richness to the stomping presence of the enjoyably resourceful song. It stands as the best track on the EP with ease though the final piece of engagement in the form of This is Me completes the EP with an expressive relish and melodic metal strength which rivals. The track winds itself around the ear with provocative riffs and further excellence from the sonic inventiveness of Lotesto to invite a feisty response in thought and passion for the creative flames within it and the whole release.

Arguably the concept being employed raises as much impatience as satisfaction when the tracks are as strong and enthralling as they are on both EPs to date and the want to dive into the full length lying at the end of it all overwhelming, both extremes of emotions rife  because of the great sounds and songwriting within the impressive stature of the releases. Bottom line though is that IV v20 is an accomplished piece of metal which just hits the spot from every angle and thrills throughout.

www.ionvein.com

RingMaster 17/01/2013

Copyright RingMaster: MyFreeCopyright

Derek Buddemeyer: Afterthoughts

   Afterthoughts is one of those albums which needs numerous plays to explore its many diverse corners of sound as well as the thoughts and emotions it incites during its engagement. The release from rock guitarist Derek Buddemeyer unveils a little something more within its expanse of instrumental pieces with each encounter whilst lighting different imagery each time too and though it is not always as consistently successful, it is a rewarding and enjoyable engagement which is easy to return to and often.

Originally from Kansas City, Missouri, the musician moved to San Jose, California at an early age and found musical influences which included The Beach Boys, Hall & Oats, and Barbara Streisand. As a young teen, Buddemeyer then discovered the likes of Van Halen, Def Leppard, and Stryper, inspirations which led him to buying a guitar at 15. Another move this time to Southern California drew him to the sounds and skills of George Lynch, Steve Vai, Warrant, Scorpions, Skid Row, Metallica, Megadeth, Testament, Anthrax, and many more. Taken by the heavier and rawer sound, as well as the melodic imagination borne from such artists, he evolved his own blend of melodic hard rock with sinewy veins and pop metal warmth. Debut album Afterthoughts, which is released through the Jerry Dixon and Erik Turner of Warrant owned Down Boys Records, is the vibrant result of his inventive ideas and honed craft, a release which breathes with enterprise and rich and full sounds.

The album starts with a storm of a track in the mighty Wicked Little Sister. The track immediately fires up the heart with flesh grazing riffs, insatiable energy, and a melodic teasing which smoulders with skill and sonic manipulation. It is an adrenaline soaked piece which is unrelenting in its purpose and inspiring in the open invention driving its course. Amongst the ten tracks which make up the release there are a trio which stepped to the fore instantly upon first listen, the opener heading that impressive first thrill.

The album is a varied little pleasure which investigates and ventures into numerous premises and soundscapes of sound. From the metal rush of the first song the album strolls into the progressive and metal expression of Breathing In The New, the powerful guitar adventure an invigorating and expressive heat supported by electro showers of sound. Then the title track takes over, it another of the great  pinnacles within Afterthoughts. It is a symphonic wrap with emotive keys and a brewing epic atmosphere which surges thoughts and senses through a striking escapade of melodic elegance and lush imagination. Whereas the previous songs were guitar driven this song is a delicious weave of keys and sonic beauty which leaves one basking full of content in a flush of strings and dramatic grace.

As the likes of the magnetic New Groove with its gentle and sunny coaxing of the ear, the classy and refined Morning After, and the fiery Lift Off with its burning temptations, reveal their creative and distinctly individual gaits, the album is a continuing captivation. Occasionally as with the brief presence of the last of these three songs, it feels like a track is written with the thought of soundtracking a cinematic moment so often depart without a defined climax but it only adds to the imagery incited during their usual dramatic breaths.

The third of the previously mentioned greatest heights attained by the release closes the album up. Sandstorms is an immense piece of writing which seduces the senses with its Eastern promise and intrigue setting imagination. Completed with coarse riffs and snarling guitar rubs shadowing the majestic melodic whispers, the track is an evocative delight.

For personal tastes and no other reason, there are moments on Afterthoughts which do not quite rise up to spark the same enthused ardour as at other times, like the mechanical rhythms and shallow electro  drizzles in some places, but it is a minor niggle in the overall quality of the album and does not deter from offering the recommendation to check the album if you are looking thoughtful and inventive instrumental melodic rock.

https://www.facebook.com/DerekBuddemeyerFanPage

RingMaster 20/11/2012

Copyright RingMaster: MyFreeCopyright

Kill Ritual: The Serpentine Ritual

One word speared thoughts as the debut album of US thrashers Kill Ritual unleashed its barrage of old school modern breathing sounds, exceptional. The Serpentine Ritual is outstanding, a release which just lights up the heart and captivates the senses as it chews on them with rabid glee. It is an adventurous album with no desires to break down new realms but just twists steadfast essences into something unique and thrilling to the band.

Kill Ritual formed in 2010 with Steve Rice and Wayne DeVecchi, ex-Imagika guitarist and drummer respectively, continuing the music they had began working on before the demise of their former band. Recruiting former Eldritch guitarist Roberto Proietti, former Dark Angel bassist Danyael Williams, and SF Bay Area vocalist Josh Gibson, the quintet began writing and working on their debut. The result a thrash driven sound with plenty of progressive and classic essences which combined makes The Serpentine Ritual released through Scarlet Records, one of the most enjoyable albums this year. It is a riotous beast of a record which recognises its target and unleashes slabs of essential and enterprising rock music to ensure capture. Imagine a fusion of Testament, Anthrax, Exodus, and Arcticflame and you get a measure of the hungry pleasure ready to explore upon the ear.

Produced by Steven Rice and Andy La Rocque, the album conquers appreciation immediately with the brilliant opening title track. The Serpentine Ritual is a song which stands there snarling and intimidating from its opening seconds, the scorched guitar spiral only reinforcing the muscular fire about to erupt. Once from its reins the track ravishes the senses with growling basslines, writhing and scything riffs, and a sonic whipping which just hits every sweet spot. The vocals of Gibson are instantly impressive and as track and album progress his stature just grows and grows. Beside his great delivery and range the predatory darker toned vocals add that extra shadow and devil to proceedings in the same way the heavy aggressive rhythms and bass stalk alongside the soaring guitar sonics and melodic invention. With a groove to seduce any resistance the song is a classic, arguably best thrash track this year.

The following Torn Down and Time TO Kill stand strong alongside the staggering starter, both in their distinct shapes, the first a classic bombardment of perfectly crafted venom and musicianship not to mention unbridled energy and the second a contagion of crippling rhythms and heart exploiting riffs. They are both songs which if they do not grab full allegiance suggests maybe thrash metal is not for you, such their irrepressible and irresistible classic presences.

Every song on the album is a boisterous and winning engagement, their towering aggression and intent an unstoppable infection of instinctive invention and domination brought through dazzling skills within energetic songwriting and sound, as ever though some tracks do rise above others for an individual though it is quite marginal to be honest. Tracks like Ambush and Cold Hard Floor alongside the opener ignite bigger fires of passion within compared to others. The first of the pair is a raw and bruising brute of a song where the band exposes extra malice and violence in their music, from the coarser delivery of Gibson to the merciless rhythms of DeVecchi and the destructive riffs. The latter song is a magnetic brew of classic rock n roll, a devil dance of majestic guitar play from Rice and Proietti completed by a brilliant guest solo from Andy La Rocque. Gibson again stretches his range to greater and skilled expanses, he is destined to greatness.

The thumping onslaught that is The Day The World Dies and the hardcore/classic metal tinged Prisoner Of The Flesh equally match those great heights with their combative breaths and antagonistic riff and rhythmic imagination. They again show the strength of variety from band and release as well as the extreme skills of each individual perfectly harnessed with clarity into an unrelenting stunning consumption.

The Serpentine Ritual is as mentioned at the start exceptional, a release drawing on established wells and through sonic alchemy producing music which is as fresh and refreshing as found anywhere in the genre and metal as a whole. The Kill Ritual has begun, in band and musical destiny.

http://www.killritual.com

RingMaster 30/10/2012

Copyright RingMaster: MyFreeCopyright

Noyz?: 12 Jinxes

It has been a long while since we have heard anything from Serbian rock band Noyz? but the wait is over as the band return with their new single 12 Jinxes and what a mighty comeback it is. The single is outstanding, a thrilling brew of alternative metal, rock and grunge wrapped in a heated attitude drenched energy.

Noyz? was formed in 2004 by vocalist/guitarist Stevan ‘Sharkey’ Radoičić and found good success and acclaim for its infectious and well crafted sound, though arguably it was outside of Serbia where people were really connecting with the band, their homeland unable or unwilling to support and give real and full attention to metal and rock, a statement many muscular genre bands from the country make. The band worked hard, constantly gigging around their country and participating in festivals Around Europe to again great if not sustained responses. Around Europe though their music was lighting ears and the band through songs like the outstanding Happy- Hour In A Junkyard, Dreams, and The Sky Is Falling found a strong welcome and prolonged radio play, their music appearing regularly on shows like The Reputation Radio Show.

It is fair to say though disillusion with the scene back home won out and the band split in 2011. Sharkey is never one to stop making music though and finding a determination and resolve not to let the apathy back home win out, he has returned with the excellent 12 Jinxes taken from a forthcoming debut album. With bassist Ana “Anki” Joševski (ex-Synapse, Alhemia, Svartgren, Fandango) alongside him, the songwriter shows his sounds and writing craft is better than ever, the single the first step in the new fighting presence of the band in rock music and a truly impressive tease for the album ahead.

The song immediately shows its muscles with sturdy riffs and heavy probing bass lines. In to its stride the track is soon barging through the ear with a punk metal like presence bringing a mix of the urgency of an NOFX or Mindset X with the aggression of an Anthrax or Bloodsimple, though as ever Noyz?just sound like themselves. As the track explodes with sharp and mischievous lyrics and an irresistible wider fusion of sounds, it stirs up a grungier breath to its charge. The song fuels deeper infection through this further spicery recalling bands like Sick Puppies and Jane’s Addiction, and leaves one with no option but to press play again and again upon each ending note.

The song is a pure enthused pleasure and will ensure the wait for the new album will be impatient and very eager. 12 Jinxes is like the band has never been away and with the luck all bands need it will finally be the spark to trigger deserved wider recognition at home and abroad for the band.

To get your free copy of the track go to http://nocturnemagazine.net/vest/1546/noyz-preuzmite-numeru-12-jinxes and listen out6  and listen out for more sounds from Noyz? on The Bone Orchard podcast from The Reputation Radio Show.

https://www.facebook.com/pages/NoYz/23126157757

RingMaster 18/09/2012

Copyright RingMaster: MyFreeCopyright

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Apache Gunship: Unleash

If you read that Apache Gunship is a thrash metal band then take it with a pinch of salt. Well to be fair they do have an aggressive core to their sound which is pure thrash but with an insatiable progressive heart to their music as well as an apparent exploratory hunger, the band and their debut single Unleash, only leaves one thoroughly impressed.

The quartet from Larne in Northern Ireland, take their influences from the likes of Metallica, Slayer, Anthrax, Testament, Exodus, Dream Theater, and Children of Bodom, to name a few. A band for only six months and making their debut live appearance on August 17^th, Unleash makes an instant declaration of a band with enormous potential and promise. The fact that just one song can inspire such strong feeling shows just how impressive it really is.

Unleash announces its arrival with celestial harmonies and a melodic stroking of the guitar before exploding into an inferno of destructive riffs and guttural growls. It is immediately mouth watering, guitarist Aaron Gowdy churning treacle thick riffs over with an intensity which is near crippling whilst bassist Jamie Mills ravenously chews on the ear with deep predatory basslines. It is powerful and concussive especially with the rhythms of drummer Scott Rodd knocking ten bells out of the senses with precision and venom. If this was all the song had to offer one would be satisfied but the band do not deal in the same stock as most other thrash bands and soon vocalist Warren Boyd from his rabid growls produces an excellent clean delivery to temper the persistent onslaught. It is unpredicted and welcomingly enterprising as is the seamless turn into a progressive aspect. With guitar and bass skilfully expressive and teasing every facet out of their notes it is a jaw dropping and inciteful twist, enhanced by the vocals of Boyd finding yet another distinct approach to impress with as do the great harmonies behind. The track emerges into its rampaging corruption again to add a climax as immense as its introduction to the ear. Once the final concussive note has smashed against flesh, feeling breathless and glowing with respect is the order of the hour.

The intent from the band is to try and release a one track a month until they assemble an album which makes the anticipation already feverish and impatient for their next imaginative assault. With a band like Apache Gunship there is no option or decision to take other than to go check them out and with Unleash being a free download the only surprise is you are still here.

https://www.facebook.com/apachegunship

Ringmaster 16/08/2012

Copyright RingMaster: MyFreeCopyright

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Seven Deadly – The Allegiance EP

Many a heart became heavy when the tail end of 2011 saw the demise of UK metalers Panic Cell, a band which shared and ignited stages alongside the likes of Metallica, Disturbed, Anthrax, Slayer, Alice In Chains, Papa Roach, and Megadeth, as well as hitting the thousands in cd and digital download sales and topping video charts. Those shadows though can now be driven away though there will always be a part of the band inside, with the arrival of the mighty Seven Deadly. Formed by former members of Panic Cell, the band has released their debut EP The Allegiance and has immediately declared themselves as not a replacement but a massive and impressive new beast to fill the void. They are so good that one almost whispers Panic who?

     Seven Deadly consists of former Panic Cell members bassist Bobby Town, drummer Rob Hicks, and guitarist Harj Virdee, who are joined by vocalist Archie Wilson and guitarist Dave Irving (ex-Denounce). Released a few weeks ago and following their very well received single From This Darkness and its video, The Allegiance is a stunning slab of power and invention, its bruising blend of thrash, groove, and melodic metal an insatiable imaginative assault.

The release opens with the scorching high octane rampage of Allegiance, a track which blisters flesh and senses from its first note. Riffs and rhythms surge and cluster around the ear like storm clouds, setting emotions on edge with their electrifying intensity, whilst the melodic enterprise of the guitars send shards of acidic pleasure through to the heart. Vocally Wilson is outstanding and backed up perfectly by Irving their combination is as strong and satisfying as heard anywhere. The same can be said about all aspects of the song though and its towering might and craft suggests the release already one of the most important ones to come out this year soon proved by the following pleasures.

Blood On Your Hands barges and barracks the senses next, its muscular and feisty purpose impossible to refuse. Thumping rhythms from Hicks incite the heart to pump its fuel harder whilst the unpredictable guitars of Virdee and Town explore corners and unexpected avenues within the formidable and driving frame of the song. Though the band is not the most brutal you will meet by a long way, the track has a weight and aggression not to be ignored. With an additional metalcore thrust to the song it shows an expansive depth to the sound of the band which one assumes will become even stronger and obvious ahead.

Next up End Of All opens up an even fuller melodic well in the band without losing the intensity and near violent impact brought before it. A song which maybe does not have the more instantaneous impact of the first two it thumps its chest and cruises down explosive roads and melodic soundscapes to excite and light up the ear and emotions. The skill and impact of the individual members and their invention was never going to be in doubt but they combine it to a level which arguably one would not expect at this early stage and it is immensely impressive.

Previously mentioned single From This Darkness completes the EP with further excellence and a combative bustling of the senses. The band once more find the perfect flowing blend between their inventive melodic poise and a knee buckling near destructive magnificence to leave one basking in their triumph. It is not often one gets real tingles whilst listening to music but it has to be said The Allegiance is a definite exception.

One gets the feeling that the strikingly impressive release is just a marker for Seven Deadly and there is so much more brewing inside them which is scary and very exciting.

www.sevendeadly1.com
Ringmaster 30/07/2012

Copyright RingMaster: MyFreeCopyright

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