Freedoms Reign – Self Titled

    If you are looking for an album of pure, irresistible, and thrilling heavy metal than the self-titled debut album from Freedoms Reign is a must. Certainly the release is not going to send you into new undiscovered adventures but for insatiable and uncompromising rock n roll, it is a riot to devour with greed.

Formed by original Fates Warning guitarist Victor Arduini in 2011, Freedoms Reign is his return to metal since leaving former band in 1985 after the release of The Spectre Within. Alongside the vocalist/guitarist the band consists of guitarist Tommy Vumback, bassist Michael Jones, and Chris Judge on drums. It is a formidable unit with a sound to match, the Connecticut quartet fusing old school metal with an energy and breath borne of the now. Released via Cruz Del Sur, the Nick Belmore (Toxic Holocost/Hatebreed) produced album is a brawl of energetic intensity and hungry passion sounding like the incendiary offspring of Sabbath, Kyuss, and QOTSA with a loud whisper of Fates Warming to it too. It is a scintillating ride of compelling rhythms, greedy rapacious riffs, and pure adrenaline honed into one tempest of contagious might.

From the moment Ritual flies at the ear with thumping drums, leering basslines, and flesh chewing riffs the sense of something beyond pleasing is rife. It may only be a few seconds in but there is a feel and strength to the opening invitational assault which inspires immediate attention complete with a hope soaked grin. The track gets to work upon the passions with driving rhythms and sonic spirals of invention within the course of infectious riffing and alongside the drawing vocals of Arduini. It is expressive rock n roll with a mischief to its invention and adventure to its imagination. There is arguably nothing new on show but equally there are few rivals to its almost exhausting passion and high intensity realisation of existing aural weaponry.

From the extremely impressive start both Shadows Of A Doubt and Brother confirm the instant emotion about the album. The first of the two enslaves the senses with a rampant onslaught of intensive riffs with rhythms just as merciless whilst the vocals seal the deal with their persuasive earnestness. In many ways the track reminds of early Therapy? in the way its relentlessness comes with a hook laden intrigue and contagious forcefulness yet is enriched with flourishing melodic enterprise to temper and reinforce the temptation at large. The second of the two is a less imposing but equally as dramatic encounter with the lyrical narrative and thrilling solo leading the track into deeper ardour. Again with a greed which drives it on with no respect for allowing a breather for the listener, the song is an infectious enticement into what at this point already is a more than pleasing companion.

The outstanding Believe asserts its authority next with both Judge and Jones taking command of the senses with demanding beats and a throaty beast of a heavy riff respectively whilst around them the guitars scour the ear with caustic persistence. It is a rampaging storm of excellence ridden by the again impressive vocals. Bone splitting slaps posing as breaks herald the start of a great guitar solo whilst the bestial tones of the bass prowl and resonate through the ear drum, their impact as rich and compelling as the furnace of energy which thrusts the song forward from first note to last. Easily one of the biggest highlights on the album the track is the perfect way to leap into the release for newcomers, though any song can fit the role to be fair.

The likes of Up From Down with its doom laded presence and weighty intensity, the openly seductive To Be with its wanton harmonies and crunchy textures not forgetting corrosive sonic veining which ignites all the passions, and Long Way with its emotive shadows and impossibly absorbing sounds, all enslave the senses and emotions in very individual but equally virulent ways whilst in amongst them No Excuses unleashes another pinnacle upon the album. A ferocious blend of aggressive inventive rhythms and snarling riffs seduce the appetite into a rabid devouring of the offering whilst the broody grizzled bass tones make the prefect ally and temper to the warm expressive vocals, whilst the guitars especially in their solos, just ignite a sweltering enthrallment.

Looking Around completes the release with an opening almost chilling embrace, the guitars carving emotive lines in its air whilst the bass and vocals sculpt their own unique voices within the emerging narrative. As mesmeric as it is potently haunting, with muscular crescendos to intimidate, the track builds up an atmosphere of inevitability yet stands in its way by erupting into an explosive landscape of sinew framed intensity with a sizzling flesh burning solo surrounded by impressive vocals harmonies centre stage. It is a deliciously imaginative and skilfully painted experience which sums up the whole of the album in its majestic way. Arduini may have been away for a long while but with equally accomplished colleagues he has returned with what will be one of the best albums this year.

http://www.freedomsreignrocks.com/

9/10

RingMaster 03/05/2013

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Godsized – Time

    Time, the self–released debut album from UK rockers Godsized, quite simply slams the senses from pillar to post with massively chunky riffs and tight enslaving rhythms. It is a heavy handed storm of satisfaction veined with sonic enterprise and classic rock energy which admittedly does not rewrite the pages of rock music but does add an invigorating chapter.

Since its formation in 2009, the band has built an impressive reputation for their high octane sound and live performances with shows alongside bands such as Life of Agony and My Ruin included, as well as two extremely well received EPs, especially Brothers in Arms. That EP secured the London quartet the main support slot for Black Label Society on their 2011 tour, Zakk Wylde hearing and loving the release. Acclaimed appearances at festivals such as Bloodstock, Hammerfest, Bulldog Bash, Download Festival, and numerous other festivals across Europe have done their standing no harm either, the strength of all over the past years making the anticipation for their first full length release more than merely eager.

With a strong breath of southern rock riding their intense riffs and melodic tones, the band in Time has created an album which immediately lights up the senses before working on the passions. Opener Soul Taker instantly makes its entrance upon a fire of inviting riffs and punchy rhythms before reinforcing it with further rhythmic sinews and muscular riffing. The vocals of Glen Korner are an easy persuasion upon the ear, his rich expressive swagger holding a snarl and equally potent cleanly delivered persuasion, whilst the guitar craft of he and Neil Fish chew and entrance the ear with sheer accomplishment and inventive intensity. The band has had comparisons to the likes of Black Sabbath, Led Zeppelin, Corrosion of Conformity, Down, Black Label Society, Clutch, and Alter Bridge, and this track instantly tells why. Admittedly it and subsequent tracks are not pushing existing boundaries but deeply satisfying riots of sound and pleasure they certainly are.

The following Through to You and latest single Heavy Load continue the strong start though for personal tastes their predecessor holds sway, both songs again soaked in addictive riffs whilst the bass of Gavin Kerrigan finds a growl, especially in the first of the pair, which sends tingles and intimidation ripping across the senses. A less intensive encounter but still bringing a towering stance to its pressing, the song is a flame of melodic strength and aggressive insistence whilst its successor is a cliff face of treacherous beats from drummer Dan Kavanagh, the attack restrained and controlled but with an edge which threatens to break out as upon other tracks. As mentioned it is the lead single from the release and it is easy to understand why the choice with the impressive sonic display within its heart but again it has a slightly less irresistible impact compared to the first song which would have been our choice.

As the likes of It’s a Hanging, a great track with a grunge lilt to its rock stance placing the song in the territory of Alice In Chains as much as say a Down area of sound, the stunning Mother, and the excellent Final Act, bring their varied and captivating presences the album continues to light the fuse to greater passion for itself. The second of the trio of songs is a continually shifting and unpredictable triumph; its slow stroll with rises of adrenaline powered enterprise is wholly magnetic with the guitars and vocals bewitching the ear upon the hungry prowl of the bass and punchy rhythms. It is also a song which slowly burns greater passion for its glory across each and every encounter, it is easily the most imaginative and impossible to predict track on Time. The latter of the three like the opener is a contagious brute of riveting riffing and melodic seduction, a song which plays with and recruits the listener into an infectious stomp of thoughtful yet unchained passion soaked rock n roll.

Around and between these songs the likes of No Reprieve with its heaving chest of muscular creative energy, the carnivorous Perfect Moment with its predatory intensity, and the equally intensive track The Bounty Hunter, inspire further submission to the cause. The songs fluctuate in their heights with none quite slapping the plateaus of the previously mentioned tracks, but neither do any leave anything but a pleasing lingering taste of expertise and rampant pleasure.

Ending on another forceful highlight in the cantankerous shape of Still Waiting, the album is a thoroughly satisfying brawl of rock n roll. The nagging thought that Godsized are on the brink of major things is rife upon Time and even if the album is not the trigger it is only a horizon away one suspects.

8/10

RingMaster 22/04/2013

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Emerging Canvas: an interview with artist Anja Tvrtkovic

For every album, single, book, or DVD there is a cover or accompanying piece of art to portray what is within and tempt the emotions into the heart of the host. Always looking out for emerging independent artists The RingMaster Review had the pleasure to come across a young artist from Serbia, Anja Tvrtkovic, whose work has already grabbed thoughts and attention. Such the potency of the few things seen we felt the need to find out more about the lady and her work.

Hello Anja and thank you for talking with us.

Hello, and thank you for the interview!

Tell us a little about yourself.

I am a person that likes to  do too many things interested in art and music. I am a student of University of Applied Arts studying Animation. In my free time I work art designs for bands, t-shirt designs and illustrations for younger children. I am playing bass and back vocals in an all-female band called Plump (named after a song played by Hole). Two months back I ended up in a band called Jailbait (an all-girl band that is a tribute to the Runaways and Joan Jett and the Blackhearts)! And I don’t know what else to say and not end up sounding like an egoistic person  haha )

When did art first catch your imagination and who were your early influences?

When I was a kid, it was my passion, so most of the time I was watching Flight of Dragons, The Last Unicorn, The Railway Dragon and many more cartoons in that style of drawing! Of course those were the times of VHS so I would record a lot of cartoons and watch them over and over. I can’t say who would be my influence as a person. I was more in my world at the time, with an idea of dragons and dinosaurs in my head.

How would you describe your style of art?

My style? Hmmmm, I always wanted to look badass with my drawings and make people go into “WOAH!” effect, but I would always end up drawing something cute and attractive to a child’s eye. But there are the times when I get into my more serious state, but I never published it.

Is there any particular medium you prefer or find better for your ideas?

Digital art. Definitely. I am too clumsy to work traditional and would always end up all in colours and not satisfied.

What inspires your work and ideas predominantly?

Other people, friends, but mostly artists all over the world. Internet is a great tool in meeting other styles and techniques.

Music is obviously also an important thing in your life?

Oh yes, very! My bass and love for singing also helps and inspires!! Music is a big part of my life, the thing that gets me going. Every time I stay up late, working for my University, I crank up some good old grunge and metal so I could get through.

What bands and genres are your favourites?

There are too many but, there are some times when I am into grunge, rock, sometimes punk, sometimes I end up in heavy, death and some older thrash. Few of the favourite bands would be: Gojira, System of a Down, Black Sabbath, Offspring, Nirvana, Queen, Deep Purple, Slayer, Kultur Shock, Babes in Toyland Hole, L7, Guano Apes….
I have many local bands that I love and support so I would include them too: NoYz?, Hatred, Uneven, Fandango, Seljačka Buna, Cannot and many more!

When and how did the two mediums come together with you designing art work and posters for bands?

When I was in high school. Because it was a school of Design, a lot of projects were designing CD covers and posters. I was always glared down by my teachers because of doing a design for Opeth, System of a Down and a few more local bands haha.

If given just one choice would you choose working in music or illustrating for children’s books etc?

I would probably find myself more in illustrating then in music. Drawing is more my thing, I would leave music making to more talented people

I believe you are creating the artwork for the forthcoming album from Serbian band Noyz?

Yes! I am doing the cover and booklet for upcoming album. It is a lot of work, but that is a dream of every artist. To work with a band that  you love, and gets you easily inspired. So I am the lucky one

Can you give any insight as to what it will be like?

Well, Sharkey(frontman and guitarist) and I had a long talk about the album, and I know very well all the songs (yeah I am a big fan), so there is going to be greyish, a little bit dark, but with symbolic elements. I will try to keep the grunge spirit that Noyz have!

What other artists have you worked with or are looking at in the future?

I haven’t had a chance to work with other artists, but I hope I will! I like collaborations! But if you think for music artists I worked with tons!

You create music yourself so what do you feel is the biggest similarity between creating pieces of art and making music?

I literally did just one part of a song in collaboration with my friend and Sharkey, as a gift to one dear friend. I  always have a blockade in my head when I am starting to do something. Even for this song I had a blockade, I had to make the melody and lyrics and couldn’t do it. Few days later it just hit me, out of nowhere! That is the same process I am having with my art. So yeah there is a big similarity

Have you an aim or ambition for your art ahead?

I can’t say there is an aim. I am still in the shell, I don’t have goal in my life, maybe dreams, but those are still far away!

Where can people see your works of art?

For now, I don’t have an online portfolio, and my deviant art page is old and hasn’t been updated in a long time, but I am hoping in making a site as soon as possible! Some of my really old stuff can be seen here: http://njanjadesign.daportfolio.com/

Once again many thanks for talking with us.
It was my pleasure! The questions were fun!

Would you like to end with three of your favourite works of art and three favourite albums?

I would end up with: From Mars to Sirus – Gojira; Bleach – Nirvana;  Diabolus in Musica – Slayer.

The RingMaster Review 06/04/2013

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Kruna: Last Century

   

    Last Century, the debut album from Italian extreme metallers Kruna may not be offering anything distinctly new but it is one hell of a towering confrontation with torrents of anger, passion, and intensive sounds to please any metal driven heart. The release unleashes a compelling fusion of viciously addictive rhythms, frighteningly carnivorous riffs, and scorching melodic fires for a result which is constantly compulsive listening and more often than not quite irresistible.

Having sparked strong attention with their 2007 demo Fragments Of Memories, the quintet from Vajont spent the past few years expanding and honing their songwriting and creative skills whilst consistently igniting live stages. Now they are set to enflames passions with their Riccardo Pasini (Ephel Duath, Slowmotion Apocalypse, Extrema) produced first full length confrontation. Their previous release is said to fuse their early influences such as Sepultura, Slayer, and Black Sabbath with the newer sounds of Black Dahlia Murder, Soilwork and Hatesphere at the time. That description still stands in regard to the album but the Bakerteam Records released Last Century shows the band has stretched and expanded their ferocity and invention even further  to at times also offer loud whispers of bands such as Whitechapel, Napalm Death, and As I Lay Dying.

Opener Man God’s Temple immediately takes chunks out of the senses with ravenous riffs, crippling rhythms, and a fiery groove which twists around the ear whilst searing its flesh. As the caustic vocal squalls of Daniele De Piero bring their abrasion to bear upon the listener, the thrilling rhythms of drummer Aaron Sabadin cage and quell all resistance whilst the guitars of Irvin Sabadin and Enrico Clarin prey and torment with acutely crafted grooves and venomous sonic riffery. It is a wholly impressive first encounter with the bass of Riccardo Padoan bringing its own individual menace to the raging onslaught with malice and enterprise.

From the corrosive start the album continues its immense stance with Bloody Centuries and the excellent Confessor. The first gnaws and consumes with a furnace of intensity and abusive rhythmic violence speared by again finely tuned acidic grooves and breath-taking energy whilst the latter is a tsunami of rhythmic violence and exhausting intense malevolence. It is also highly contagious with an intermittent groove lashing the ear and an insatiable hornet like insistence and sonic spirals igniting the strongest passions before its stunning presence. Complete with eager melodically gaited guitar persuasion the track is easily the best on the album and impossibly infectious.

Phoenix comes next and features a guest appearance by Alberto Zannier of Italian melodic death metal band Slowmotion Apocalypse. Again it is an excellent fury with equally striking musicianship and melodic blistering to its tumultuous presence. After the brilliance of its predecessor it certainly has a battle on its hands to compete but nearly grabs the same heights and passion to compete with Confessor.

Songs like Death Without War, Back In Time, and the closing pair of Death By War and Armor impress but also underwhelm a little as arguably they of all the tracks, fail to deliver anything unheard before. They are still fully imposing and enthralling riots though and will continue to find an eager welcome for their feisty and merciless passion and sounds. Before those final songs though extra fires are ignited firstly with Ten Lies, its crushing energy and ruthless rhythms leaving feelings in bliss whilst a bass resonance complete with a throaty quarrel is possibly the finest moment on the album, Padoan finding a satanic menace and voice with his four stringed beast which is just stunning. Mob and Not For Me also leave a tortuous and deeply satisfying ardour in their wake to complete what is an arousing and impressive release.

     Last Century may not have anything particularly new to bring to the storm on the surface but with things bubbling below and an insatiable intensity as well as skilled enterprise; the album shows Kruna to be a band extreme metal is destined to have a lot of time and greed for.

http://www.kruna.me/

http://www.facebook.com/krunaband

8/10

RingMaster 26/03/2013

 

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Beneath the wings of shadows: an interview with Csaba Zvekan of Raven Lord

Unleashing a furnace of melodic might and invention with their debut album Descent To The Underworld, Raven Lord has given classic metal a shot of adrenaline and traditional passion which reaches far beyond just the fans of the genre. Consisting of six of the finest rock musicians with a pedigree and experience to match, the Csaba Zvekan formed band combine power metal and neo classical influences with their heavy metal heart for a towering encounter in sound and album. Taking full use of the opportunity and pleasure to talk about the band, album, and his inspirations with Csaba, The RingMaster Review looked at all things Raven Lord.

Hello Csaba and thank you making time to talk with us.

Raven Lord is arguably a ‘supergroup’ with the pedigree and experience of its members. Started by yourself what is the history before and build up to the band?

Thank you and indeed that was the idea. To have a band with experienced players who have been around the block and played some high profile shows before. I was looking out for players who would fit the RAVEN LORD code that I had in mind. After leaving KILLING MACHINE in March 2011 I was all ready to go to make some more Heavy Metal. All I needed is to write a bunch of songs with a release so we can start playing shows, so the idea.

Just for the record can you give the current line-up and their band history as I believe the personal has changed since the album?

The current line-up is JOE STUMP on lead guitars. Joe is known for his superfast shredding technique and has been working with bands like HOLYHELL, REIGN OF TERROR and of course his solo career. GEORGE KARAFOTIS plays rhythm guitars for RAVEN LORD and also for his other band called VERMILLION DAYS. JAMIE MALLENDER is our bass player and he is best known for his work with EX-BLACK SABBATH’s singer TONY MARTIN. ALESSANDRO DUO plays all keyboards and is also active in a band called VOODOO HIGHWAY.  Then we have RICH SMITH with us playing drums who previously played for POWERQUEST. And I was singing in bands like KILLING MACHINE, STREAM, SARDONYX, ROUGH ANGEL and EMERGENCY.

Was there any specific intent or purpose when starting Raven Lord?

Yes, my main idea was to play festivals all over Europe and become a touring band. For that we needed a release of a CD. I never thought that this product would receive so much interest from the press, fans and listeners.

From an arguably bland stance for heavy metal in recent years, Raven Lord is the proof that actually it is vibrantly alive and kicking. Do you feel outside of the band it has been lacking a spark as a genre for a while now?

Must be a true fact as this is not the first time somebody mentions this. We get this question a lot and feel that the true and pure heavy metal seems to be a rarity these days, almost as if it is reserved to be played by the “biggest in the business”. Instead it’s the music we grew up with and the genre that started all of this to begin with. Also there seems to be a void in all this as newer bands try to go a different approach. RAVEN LORD can act to patch up the need for this type of music.

I believe the band took a while to get going and emerge, took time to become an active project?

The first record did take more time than originally intended. I think that is normal under the circumstances we were in. Looking for the right player took some time. Also producing the right music and arranging what I had in mind. Truly I believe the band now knows what sound we play and what our goals are. This wasn’t always the fact. So the next RAVEN LORD album is already in process and shouldn’t take that long as the first one.

What are the major influences which have helped define your ideas and the band’s sound?

There are so many influences all and each of us have. We have been compared with the biggest names in metal. As for the vocals and overall sound I’m strongly influenced by Dio, Black Sabbath, Judas Priest, Malmsteen, and TNT but also with singers like Ian Gillen, Glen Hughes and even Chris Thompson.

You linked up with Axel Wiesenauer, a man who has been very kind to The RingMaster Review, from ROCK’N GROWL promotions before the band became a reality, how has his help and expertise impacted on band and its progress to date?

This is very simple to answer hahahaha. Without Axel from ROCK’N GROWL there would be no RAVEN LORD. No band name, no band logo, no artwork, now producer, no record deal absolutely nothing. I cannot say enough thanks to this man who I call the 7th band member. He might be not on stage with us visibly but he sure is with his overall work and dedication for the RAVEN LORD concept.

You have just released your excellent debut album Descent To The Underworld, an accomplished and imaginative slab of classic metal. I get the impression the band members are not local to each other so was the album an internet spawned release or did you find time to get together for a studio adventure?

At one point at the very end of post-production we almost got together for the final mix down in Gothenburg, Sweden. Unfortunately it didn’t happened. So the very next event is rehearsals around June 7th that’s when we come together for the very first time and shake hands and meet as a band. The recordings were done all spread out at every band member’s home country. This has some major advantages in time management but also had a few drawbacks. I would do it again for pre-production as it saves a lot of time. But for the recording and post production I prefer to go to a bigger studio and work with a producer on site. Let’s not forget that this is all depending on how much budget is available. On the first record we didn’t have a budget. We still managed to pull things off with recording the album in our home studios and then had it mixed with FREDRIK NORDSTROM in Sweden. Later we gave it a good polish in the mastering studios of MAOR APPELBAUM in Los Angeles. Both engineers were doing an excellent job!

Recording albums without losing any unity or technical craft using the internet and various computer programmes to transfer and translate files seems the way some music is heading. Do you feel that there are negatives to this which will never evolve the same results as a band being together in person to either write or record?

There are a few negative drawbacks. In particular for the producer to interact immediately with the player who comes up with some recordings and perhaps it’s not liked. So then things would have to be discussed and rerecorded again. This of course is double work for the player who is involved. Sure it is more efficient time wise if you produce the record on site. The other thing is engineering yourself was never a good thing. You might be over picky with yourself. Making endless takes or quite the opposite thinking it is good enough. That’s where an engineer and producer are valuable to the outcome of the product. At the end of the day it’s still a budget issue.

Can you tell us about the album and its songs; is there an underlying theme across Descent To The Underworld?

All though it’s not a concept album as many believe it to be the majority of the songs have to do with life and death. And since it’s a debut album and “Black Friar” describes the band name RAVEN LORD in a fantasy story. So I didn’t want to use the very same song name as the album title. Instead I describe “Black Friar” with a different title, hence “Descent to the Underworld”. And the very same title seems to work just fine with the rest of the songs as well.

What has inspired your songwriting and lyrics the most for the album?

Life!

Life, nature, people, animals, the whole cosmos as a one working organism. And where there is life there is death. It’s an endless cycle of birth, death and rebirth. Forever! You see I believe we have always been and will always be. As the energy is never lost it only changes form and appearance. And even if the whole galaxy would collapse in a black whole tearing us up in billion pieces we would be reborn in time again. But there is always the inevitable “end of things” which actually marks a new beginning.

What is the songwriting process and how does it work for the main within Raven Lord?

For the first record it was quiet difficult to create something that only I knew how it should sound. The players didn’t always know what I had in mind. It needed some explanations first. Now that we’re working on already new songs for the second record it’s much easier to follow that style. The routine would be like with many metal bands I worked with. The guitar players come up with some riffs, I then would piece them together so the length with the vocals can fit. Changing some chord progressions so I can fit my desired melody that I have in mind. I would also sing some riffs to give it the initial spark and occasionally I would record guitar tracks on my own and hand it to the guitarist to work it out in a more detailed and better fashion. The rest comes from all of the RAVEN LORD members with their individual styles and melts into this shiny slab of metal.

Now finished in all its glorious and thunderous presence, is there any part or moment of Descent To The Underworld which gives you the biggest personal thrill or tingle inside?

Yes, I am amazed by all these positive CD-reviews. Never expected this. I mean I’ve been doing this pretty much all my life and now of a sudden it’s the new “masterpiece”, “best record in decades”, we’re being compared with top metal bands and that is just overwhelming. We must be doing something right!

Anything in it which, not that you would change or could have done better in hindsight, but has sparked fresh ideas to explore in your next recording?

Oh yes hahahahaha. I am so looking forward for the sequel of the record as there is so many more stories to tell. Believe me. Life gives me inspiration on a daily basis. And it can do it for anybody. Simply stop what you’re doing for a minute open your eyes and inspect your world around you.

Have the songs on the album all come fresh to the band and release or are there some parts or ideas which have seeds in your previous bands and projects?

All the songs are brand new and have been made exclusively for RAVEN LORD. I like new fresh ideas. No need to reuse old ideas if we can do them “new”!

The album is released via Mausoleum Records, how did that link up come about and there is a second album planned with the label?

Again, the whole credit goes to Axel Wiesenauer who is our general manager. He worked out the two-album record deal with MAUSOLEUM RECORDS. The label boss knew some of us from previous bands and liked the product so they picked it up. There were other offers from other labels. But I didn’t want to pass on a label like MAUSOLEUM RECORDS that was celebrating 3 decades of Heavy Metal success.

What comes next for Raven Lord, have you live shows or tours in the works?

Yes, RAVEN LORD is growing very rapidly and I started booking us some shows on my own. Until someday I realised the workload is getting too much. I asked for help with a very professional booking agent who now is working to get us on some festivals in Europe. Later this year around October we should announce our first EU/UK tour. One big festival is already confirmed in Tongeren, Belgium. It’s the R-MINE METALFEST 2013. We’re going to be playing the main stage Saturday the 22nd June 2013 with bands like Symphony X, Rhapsody Fire and Hell. This is going to be a blast. There will be even more shows confirmed this summer so stay tuned and check our website periodically under www.raven-lord.com  or even better like or Facebook page at www.facebook.com/ravenlordmusic.

I will admit before hearing the album I was not sure about the band name but now having heard your sound and release it is the perfect fit to the shadows and ominous, slightly classical breath of certain elements and the heavy metal sound overall. Was there much deliberation over the band name and how it should represent the music?

It’s amazing how things fall into the right place with RAVEN LORD. I felt the same way when we brainstormed about band names. Did not like the name at all at first. After I investigated the Raven as a bird and it’s meaning in mythology I was inspired instantly. It’s the gothic, dark, Middle Ages look that grabbed my attention. And with the neoclassical musical background, logo and lyrics it gave even more persona. Suddenly it was all making sense. Just as if a hidden and invisible force would put all these things together for us. Maybe that’s really how everything is.

Many thanks again for taking time to talk with us, any last words for readers and fans?

Thank you so much for this opportunity to make such an interesting interview with RingMaster Review. Also thank you for your great CD-review earlier. We thank the readers, our fans and supporters for this successful release. It’s because of all you out there that we’re making these things happen. Come meet and greet us on festivals near you!

Finally what are the songs or albums you would go back in time to create first and grab all their credit for?

I think I would jump in the time machine and go back to the year 1979 for the Black Sabbath – Heaven and Hell album. But then again this sounds like blasphemy hahahahahahaha

Read the Descent To The Underworld review @ http://ringmasterreviewintroduces.wordpress.com/2013/02/20/raven-lord-descent-to-the-underworld/

The RingMaster Review 16/03/2013

Copyright RingMaster: MyFreeCopyright

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Tombstone Highway: Ruralizer

    Ruralizer is one of those unexpected gems which come out of nowhere awareness wise, to thrill and invigorate the emotions and ear. Unleashed by Italian band Tombstone Highway, the album is an immensely satisfying encounter of stoner rock, blues, and southern rock all soaked in the sinews of doom metal. Refreshing in its imaginative use of existing formulas within the above genres all captivatingly transformed into something distinct to the band, the Agonia Records released album leaves an insatiable appetite for much more from and strong passion for Tombstone Highway.

The band comprises of duo H.M Outlaw (vocals, guitars, banjo) and Emilio Sobacchi (drums), and has its beginnings back in 1999 with the pair inspired by the likes of Black Sabbath, Lynyrd Skynyrd, traditional Root Blues, and Bluegrass emerging as Leaf Season Death. Employing the heavy shadows of low-tuned guitars and bass to their ideas, the band failed to take off through the lack finding additional members to create their invention. The duo moved into other bands soon after but then 2006 saw them join up again and begin writing new material, with bassist Mike B. of Viscera brought in to the line-up.  Debut EP Padus River Graveyard Blues followed the next year and received strong responses to its limited release. Another hiatus for the band followed with Mike B. leaving but in 2011 the Piacenza pair united again to write and record their first album, the mighty creation Ruralizer.

The album combines the heaviness of a Corrosion of Conformity and Down to the southern fires of Lynyrd Skynyrd and ZZ Top before immerses them in the heavy metal power of Black Sabbath. It is an inspirational result which is soaked in the rural and folklore essences of its homeland to further ignite the flames of all its other fires of sound. Outlaw and Sobacchi also brought in additional musicians in the shape of Mario Percudani (HungryHeart), one of the very best rock guitarists in Italy, guitarist Razor SK (Forgotten Tomb), and Paolo Apollo Negri whose Hammond keys bring another flavoursome persuasion to the album.

Opening track Old Blood is a sensational invitation to the album, the weighty lure of the riffs and basslines veined by irresistible banjo teases to immediate intrigue and please. The track strolls through the ear with purpose and a sure hunger which with ease demands eager attention whilst leaving a depth of pleasure which is immeasurable. The guitars carved a place in the passions with skill and enterprise whilst the rhythms without unleashing their full venom cage it all with craft and intensity.

From the startling beginning the album piles on the thrills with firstly Acid Overlord, a track with grooves as addictively sour and sharp as you could wish within its snarling insatiable presence, the sweltering Graveyard Blues which has whispers of Soundgarden within its Orange Goblin coated furnace, and the outstanding Hellfire Rodeo. The last of the trio is a virulently infectious romp with riffs and sonic taunting causing an epidemic of ardour within the emotions. As in all songs vocally Outlaw has a dust coated growl which ignites the whisky fumes of the music into another hot wind of satisfying enterprise, the union of all aspects within the band and songwriting forging something new and inspiring within a familiar context.

The title track employs that irrepressible banjo sound again within more searing sonic mastery, its swagger and muscular gait an imposing yet deeply stimulating instigator to feet and passions. Up to this point every track ignites the fullest hunger for their contents and the same can be said for Bite The Dust (and bleed) and At The Bitter End though both despite their quality and energy fail to quite match up to what came before. The two songs do not quite find that something to step forward into their own unique spotlight but nevertheless cannot be offered any real negatives.

Completed by a strong and inviting cover of the Mountain track Mississippi Queen and the excellent closing inventive maul of the ear Hangman’s Friend, Tombstone Highway has brought the world an album which is rock at its most rousing and bracing. If references mentioned above work for you than Old Bones is a real awaiting treat.

https://www.facebook.com/Tombstone.Highway

9/10

RingMaster 15/03/2013

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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Raven Lord: Descent To The Underworld

    Looking at the line-up of Raven Lord it is impossible not to imagine and expect their debut album to be a rather accomplished and imaginative slab of creativity, and Descent To The Underworld certainly does not disappoint. It is a thunderous expanse of riffs fired by a furnace of melodic might and invention, an explosion of classic metal all fans of the genre will expel a full passion for.

The sextet consists of the fiery vocals of Csaba Zvekan (Killing Machine, Sardonyx, Emergency), guitarist George Karafotis (Vermillion Days, Operation X), bassist Jamie Mallender (Tony Martin Band, ex-Black Sabbath), keyboardist Alessandro Duo (Voodoo Highway), drummer Lawrence Paterson (Blaze Baley, Iron Knights), and newest member lead guitarist Joe Stump (HolyHell, Reign of Terror). Together they have ignited a sound which combines power metal and neo classical influences to their core heavy metal heart for a towering encounter which commands the ear. Released via Mausoleum Records, the Zvekan produced and Fredrik Nordström (At The Gates, Arch Enemy, Nightrage, In Flames, Dream Evil and Opeth) mixed Descent To The Underworld is a continually enthralling album which offers plenty to reward anyone with a taste for melodic metal if not the genre it is settled in. It is a muscular confrontation at times which sparks as much enthusiasm as the sonic and melodic flames which sear and engross the senses throughout.

The album opens with the compelling charge of pulsating bassline, tightly grasping riffs, and warm mesmeric caresses from the keys of The Rebel. The track is soon blazing with the expansive vocals of Zvekan who rings the emotion and sound from every note with skill and passion to match the guitar play of Stump. It is an impressive start to the release which immediately confirms expectations and more which were in place over the formidable line-up.

Through the likes of Attila the Hun with its Middle Eastern kiss from the keys and surging sonic enterprise, the mesmeric Seal Of The Cross with its symphonic gait, and the rampant hunger and energy of Promised Land, the album persistently offers variety and smouldering imagination to keep a strong intrigue and unpredictability within the umbrella of classic metal electricity. The latter of the trio is an outstanding brawl of seductive mysterious keys, ravenous riffs, and evocative solo mastery from Stump which leaves one breathless.

Further greater highlights come with the majestic yet corrosive Black Friar and the riveting Metal Knights, another song where the keys wash the senses with a golden glow of Eastern promise from within an exhausting drive of devouring riffs and caging rhythms. Both tracks show the band at its best creatively and musically with the vocals of Zvekan certainly in the latter of the two, scorching the small hairs from the surface of the ear with his sonic squalls which run the fine line between pain and bliss for great results.

Descent To The Underworld is an album fans of the likes of Dio, Yngwie Malmsteen, Judas Priest and Black Sabbath will find a rich home within but it also has plenty to keep those of us who do not necessarily find the deepest of riches in classic metal more than satisfied. Raven Lord is a band destined to lead their chosen genre in the near future.

www.raven-lord.com

www.facebook.com/ravenlordmusic

7/10

RingMaster 20/02/2013

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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Mothership: Self Titled

    The bio for the self-titled album from US rock band stated the band Mothership had a sound which ‘satisfies like a steaming hot stew of UFO and Iron Maiden, blended with the southern swagger of Molly Hatchet and ZZ Top’. Now that statement is enough to send an army of classic rock fans across battlefields and sultry deserts to grab an ear full of the promise suggested and in this instance they would not be disappointed upon arrival. The trio from Dallas is a formidable and impressive unit which knows the richest essences of rock n roll and how to brew them into feisty and fiery melodic encounters.

Founded by brothers Kelley (guitar) and Kyle (bass) Juett, the band fuses stirring elements of hard rock, stoner, blues, and classic rock into a thrilling guitar driven sound all of their own. The pair grew up on the seventies record collection of their father John, who they recruited on drums as their rock project emerged in 2010. Creating songs bursting with raucous riffs and melodic flames, the band knowing the contribution of their father was temporary began searching with his help for a permanent replacement who came in the shape of Judge Smith late 2011. The following year saw the band enter the studio to record their debut which was then self-released later in the year. Now given a re-release though Ripple Music, and following a successful end of last year supporting bands such as Prong, Red Fang, Gypsyhawk, Earthen Grave, and Lo-Pan, Mothership is set to ignite 2013 for all heavy rock fans.

The album opens with the mesmeric instrumental Hallucination, a track which emerges from a spacey ambience through firm beats and a sultry guitar glaze upon the ear. Its early presence is a slow smouldering enticement of sonic caresses and sinewy rhythms which equally burn and kiss the ear to capture the imagination, a union which goes into overload once the track instantly shifts up a couple of gears to rock the air out of the passions. It is an enthralling encounter to announce the album and ensure only a riveted focus is at play for the rest of the release.

With barely time to lick the lips of the prospects to come the following Cosmic Rain engages the ear with punchy rhythms and spires of sonic persuasion. Within seconds it has feet and emotions in league with its passionate gait and heated expanse. As the fine vocals of Kelley launch from the musical fire to add to the already anthemic stoner swing, the track rampages as a delicious agreement of blues and rock wrapped in heart driven energy. Mid-way the song takes a step into an aside full of bass beckoning to intrigue and elevate the already submissive senses further before returning to its uncomplicated and fully enthralling revelry.

As the songs City Nights and Angel of Death open up their hard rock hearts with craft and eagerness there is a continued variety under the overall pulsating lick and hook raining skies of the album. Though neither song steps onto the same lofty plateau of their predecessor, both crowd the ear with inciting blues guitar mastery and refreshing winds of instinctive and satisfying rock n roll, with the second of the two especially rife with a seventies brilliancy recalling the likes of Thin Lizzy.

Adding another step into new avenues Win Or Lose is a strolling treat of heavy rhythms and unavoidable intensive energy veined by a niggling sonic insistence and melodic elegance. Within its expressive stance the track moves through levels of pace and creative heat whilst offering moments of simmering beauty, rampant guitar crafted pulses, and heavyweight rumblings all delivered with invention and passion. It is a tremendous track which makes way for the equalling spellbinding and explosive Elenin and the towering closer Eagle Soars.

The final track is a masterful treat of lung bursting energy driven by robust rhythms and scintillating sonic seduction. The song rides the passions with majestic ease and accomplished skill as it immerses the senses in searing sonic bait and wickedly tempting melodic glamour. It is a final triumph which directs one straight back into the arms of the album, the lure of diving right back in to the release too irresistible.

Mothership, band and album, are encounters any fan ranging the likes of Red Fang to Orange Goblin and Black Sabbath to Thin Lizzy will find an ardour for as the band primes itself for a massive year.

http://www.facebook.com/mothershipusa

8/10

RingMaster 12/02/2013

Copyright RingMaster: MyFreeCopyright

Creepy Band: The Curse Of The Cloak

    Uncanny in name and sound, Creepy Band is one of those encounters you never forget or drive out of your mind no matter your reaction to their unique and evocative sounds, though it is hard to imagine anyone not being enthralled and wrapped up in the sinister creativity going on especially within their debut album. The Curse Of The Cloak is a delicious eerie encounter which paints and evokes colourful haunting emotions and imagery through its collection of aural ‘horror movies’ and makes for the most compelling playmate each and every time its long spooky fingers are allowed to tease the senses.

The Chicago quintet of Dave Henderson (vocals), Sam Huff (keys/organ), Jake Gold (guitar), Ray Knipe (drums), and Benji Jacobs (bass), came together to play one show on All Hallow’s Eve 2010, but they and the devils raised had such fun that the Creepy Band emerged from the carnage to go forth and overrun the souls of their home city ever since. Influences for the musicians and thus the band come from the likes of Black Sabbath and The Doors, the latter an open rich and mesmeric flavour with their first album. To the influences which seemingly spice what is a truly distinct sound on The Curse Of The Cloak, you can also add potent flavours of bands such as Th’ Legendary Shack Shackers, Danzig, and with the dark vaudeville tones which wash over the ear throughout the release, The Shanklin Freak Show. Their sound is a masterful conjuration of delicious discord, slashing guitars, predatory rhythms, and enveloping church organ, a combination that leaves its mysterious prints on every thought, emotion, and atom.

As the opening caress of church organ within the opening Intro wraps the ear with blistered prayer inside its touch, the album immediately is one of intrigue further enforced by the emergence of Doomsday Device, a song with heavy resonance, snapping rhythms, and pagan like psychedelic breath. The song is a weave of lush melodic strokes within the continuing to re-sound presence and heart of the song created by the deep dwelling bass stalking and punchy drums. The vocals of Henderson sway over the emerging tale coating the musical canvas with an expressive story telling as compelling as the sounds coaxing them forth. It is a hypnotic start carried right through the album starting with the following Ray’s Riff, another song like all which offers a fascination impossible to pull away from. Dark and shadowed the track entwines vocal and energy squalls with questioning melodic intrusions and sultry enticement for a wholly engaging evocation of the passions.

As Shipsong floats upon the shores of the senses with its bewitching xylophone spawn probing and stomping beats, the album takes a riveting detour into different but equally compulsive waters, the track with vocals from Huff leading the romp aural addiction. The song has received strong airplay with The Bone Orchard radio show, the lush soak of delta blues and psychobilly with a polka to its stance adding its own distinct character to the fiery touch of the song one of the most potent invitations into the album. The breeze of steam punk also within its passage is another thrilling kiss upon the heart and helps breed a full and overwhelming persuasion for the passions, not that it or the album finds any resistance.

The garage rock gnarl of Live Amongst Horror takes the listener to another portentous port of call, its occasional teasing and pick-pocketing of the senses adding extra mischief to the overall unrestrained eagerness whilst songs like the dramatic, emotive Ballad and Damn The Old Man with its theatrical gait unveil further evocative aural paintings for thoughts and emotions to immerse within.

The contagious swagger and beckoning of Shipsong pt. II incites full rapture and anthemic indulgence from the listener before the addictive sonic drizzling of Red Fish, Dead Fish frees its own irresistible wanton temptation from which there is no escape. The unrelenting insistence of the latter is insatiable and once winning its cause leads one into the conflagrant depths of the magnificent Chromatic Descent; a seventies psychedelic sonic blaze from which there is no escaping the Doors comparison. It is a sensational track which in turn passes its triumph to the similarly layered closer Let There Be Light with its more caustic and rasping voice.

It is a final fanfare of excellence from The Curse Of The Cloak, an album which deserves every ounce of acclaim it receives and more. Need an engrossing companion for the beckoning shadows or a bedtime chill for those dark nights than Creepy Band is the perfect instigator to those welcoming nightmares.

http://www.creepyband.com

8/10

RingMaster 08/02/2013

Copyright RingMaster: MyFreeCopyright

Southern Badass: Born In Mud

     Hailing from Perpignan in France, Southern Badass is a band which in Born In Mud has released an album as intriguing as it is pleasing. With a core of southern/stoner rock and other added spices such as doom and heavy metal, the release is an imaginative and engaging album, it is not always as successful as it could be but is continually brewing up pleasure and positivity to its enterprising encounters.

The project of multi-instrumentalist Arno Bechet, Southern Badass brings essences of artists such as Kyuss, Down, and Corrosion Of Conformity into a healthy and inspiring brew with flavourings from others like Metallica and Black Sabbath. It is a mix which gives the album a good variety across its length as well as making individual songs unpredictable and captivating for the most.

From the instrumental At The Gates the album takes a grip on the thoughts with Wrath Temptation, a pulsating piece of sizzling stoner rock with a heavyweight presence through the excellent bass work and snapping rhythms. The guitar is a fiery creature throughout which adds extra spice to a captured imagination. As with the album as a whole, arguably there is not a lot of open originality on show but with the enjoyment given for the main it is hard to really care. The vocals of Bechet have a near perfect American drawl which belies the mother tongue of the man and just add to the authentic heated breath of the track.

From the very strong start the album shuffles things up through the dirty blues tinged furnace of Call Of New Orleans and the cruising gait of Nowhere Man. The first of the pair sparks with tight melodic flames and a raw acidic energy and continues the impressive start whilst the second is simply a rock n roll party for the road which gets the job done without firing up any extra passion its way.  Both songs, as the album too, are slow burners, tracks which reveal their persuasion over several plays rather than in one union with the ear. It is a release which needs focused attention but rewards the time given.

Further highlights come with The Witch and its grumbling bone shaking basslines, Back To Where I Want, another song where the bass growls to offer a deeper textured snarl, and Voodoo Girl. The first pair of songs are feisty riots of southern grit and towering stoner touching sludge might to agitate and provoke the senses and emotions into a strongly receptive stance whilst the latter is a smoky southern croon to soundtrack a whisky drinking session and seductive wanton encounter. All three songs leave an appetite to keep a keen eye on the project in the future whilst making many returns to the release in the now.

Closing with the outstanding pulsating instrumental Sons Of The Sun, the album is one all stoner fans should take a look at. It is not perfect, the production at times offering a cloudy surface upon a sound from a genre which already is thick with intensity, whilst there are a couple of songs and other moments where the ideas feel either forced or given too much rope. Overall though Born In Mud is a highly enjoyable release which just needs time to state its case.

http://southernbadass.bandcamp.com/

RingMaster 07/01/2013

Copyright RingMaster: MyFreeCopyright