Forged In Black – The Exodus

Forged in Black Online Promo Shot

Though UK heavy metallers Forged In Black is far from being a new band, they have found a new shift and exploration in their sound and thoughts which has led to a relatively recent name change, a renaming which reflects line-up changes and this progression in sound. Their new encounter is The Exodus EP, a release consisting of one brand new track and a couple of early demos of older songs. It is sure to be a tonic for all fans of adventurous classic metal, imposing riffs, and flesh scoring vocals, whilst for the rest it still has enough to stir attention.

The band began in 2009 under the name Merciless Fail, emerging with the intent to merge traditional heavy metal with a unique contemporary essence. The band swiftly earned a strong reputation for their live performances, playing both Bloodstock Festival and the main stage at Red Roar Festival in 2012 and going on to win Metal to the Masses and Band Quest competitions. 2013 was the band’s most successful to date, playing Metal Gods Festival 2013 alongside the likes of Beholder and Savage Messiah, supporting Skreamer and again Beholder, and re- releasing acclaimed debut album Forged in Black. As the following and similarly well-received The Tide EP, the album came out last year for its second outing, two years after the first appearance and under the new band name. It was the four-track EP which showed a suggestion of a twist in the band’s sound, something far more pronounced and exploratory now with the Romesh Dodangoda (Motorhead, Sylosis, Bullet For My Valentine) recorded The Exodus.

The opening melody of the title track is simple bewitchment, a potent lure reinforced by the emerging stride of imposing rhythms and climatic swipes of guitar. There is a definite thrash breath coverto the track once fully in view, an early Metallica essence to ignite imagination and appetite. It is swiftly infused with heavily toned riffs and the rich vocals of Chris Storozynski, his classic style standing eye to eye with the rugged elements of the track but matching the acidic sonic flames around him. A great bruising vocal backing from bassist Kieron Rochester badgers the fiery tones of Storozynski as they lie on the skilled weave set by guitarists Tim Chandler and Andy Songhurst. The track ebbs and flows with its driving torrents and dramatic crescendos, providing a fascinating encounter offering something for thrash, classic, and heavy metal fans and as suggested previously enough for even those not as enamoured in the genres to find intrigue in.

A 2013 demo of Accusations Of The Innocent is next, the original track having previously featured on album and last EP. Once again a thrash invention helps open up ears and focus before the track spreads into more classical metal scenery wrapped with a creative web of guitars and spicily delivered vocals. Again there is plenty to get your teeth into even if the track feels a little reined in compared to its predecessor. With a cauldron of impressing guitar craft and invention courted by the excellent punching rhythms of Joshua Moreton, the song before it makes way for the 2011 demo of the song Forged In Black, shows exactly why the band has inspired such a potent fan base and reputation. Its successor instantly reveals the rich seeds and bait which has been persistent within the band from their start. Comparisons to the likes of Judas Priest, Iron Maiden, and Black Sabbath come with the mention of the band’s name and it is easy to see why with the closing song. Muscular and sonically sultry, it has feet and neck muscles pumped whilst the operatic calls of Storozynski finds a welcome home in the rich melodies veining the incitement.

The Exodus is a release to put a smile on all heavy metal fans but as shown especially by its lead song, it also has the potential to awaken strong appetites in those less taken with its core breeding, a potency shown by it persuading our less than enthused tastes for classic metal and its vocal styling.

The Exodus is available through all stores from December 1st.

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RingMaster 01/12/2014

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Metal Moth – Rise EP

Rise Artwork

Though the band name might not have convinced yet, there was no such problem with the aggressive incitement unleashed by UK metallers Metal Moth on their Rise EP. The band’s debut is four slabs of classic metal bullied and twisted into a rampage of modern melody enriched rock ‘n’ roll. It has more familiarity than originality to its potency and presence but this only fuels the potential and thorough enjoyment given by the heavily flavoursome entrance of the band.

Formed in 2012, Metal Moth was soon stomping across country and venues with their adrenaline fuelled barbarous sounds. An enthusiastically growing fan base came hand in hand with their emergence, one sure to be reinforced and accelerated with the release of the Rise, the first of three consecutive EPs. Band and release ignite appetite and imagination within seconds as opener Moth To The Flame stands toe to toe with ears, flinging weighty rhythms and sinew crafted riffs with antagonistic intent. It is a ferocious start which only intensifies as the riffing and heavily swinging beats stampede with flared nostrils across the senses. Around this assault invention mischievously offers acidic grooves and a deliciously carnal bassline whilst vocally Kurt Hudson excels with his melodic yet snarled delivery. From the merciless swipes of drummer Natalie Gaines to the threatening bass predation provided by David Collinson (who announced his departure from the band in recent days), and the fiery adventure and skilled devilry provided by guitarists Mark Gibbons and Chris Fisher, the track is gripping drama and ruggedly impressive.

The same can be said of the following One More Time, again a proposition which has speakers bulging under its savage rhythmic onslaught and ravenous riffery. Equally there is no escaping the rigorous contagion uncaged within the track or the unpredictable twists and jagged barbarism which gnaw on the senses as wiry flames of melodic endeavour flirt with similarly rapacious intent. It is a full blooded stomp which again has recognisable traits but just as plentiful new designs and invention in its lyrical and sonic provocation.

Melt Down steps up next and immediately is a haze of sonic menace swiftly speared by those pungent beats of Gaines and the crunchy scythes of riffs from the guitars. Either side of that core Metal Moth Pic 2there is the vocal quality and fluid expression of Hudson and the dark predatory tones of Collinson’s bass, each complementing and sparking against the other. It is a blend which magnetically colours the threatening prowl and confrontation of the track, especially when aligned to the intermittent eruptions of melodic and unpredictable intrigue offered by Gibbons and Fisher. Though the song does not brawl with and corrupt the passions at the same strength and immediacy as its predecessors, it reveals more depth to the invention and skills of the band whilst laying down a tasty appetiser for the EP’s finale.

The closing Metal Maniac also takes a more restrained approach to its seducing of ears, the bass rumbling with dark devilry whilst guitars create a web of melodic coaxing. It is not long though before the song settles into a fevered stroll as addictive grooves and hooks provide riveting barbs to the feisty lure of the track. Providing a thrilling end to a just as exciting debut, the track sums up the band and release perfectly, that being rock ‘n’ roll at its instinctive and insatiable best.

If the next pair of EPs matches and confirms the promise and already accomplished quality in skills and sound of the band, it will be impossible not to suggest that as they evolve Metal Moth will be a band playing a big part in the evolution of British metal ahead. To be honest though, if this is as good as it gets there will be few complaints either.

The Rise EP is available digitally now @ http://metalmoth1.bandcamp.com/album/rise

https://www.facebook.com/MetalMoth/

RingMaster 12/11/2014

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Asomvel – Knuckle Duster

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Roaring at and bruising up the senses with a riot of belligerence and unkempt rock ‘n’ roll, Knuckle Duster the new album from UK band Asomvel is an uncompromising and thrilling storm of prime beef heavy metal. With a more than healthy throbbing vein of punk rock and Motorhead like bruising rock to it also, the album is a pungent blaze of sound and attitude which continues the impacting and sparking presence of the band since their first days and provides the year with a release which has no want to create new pastures for metal but is more than ready to churn up and reseed existing fields.

The band was formed in 1993 by guitarist Lenny Robinson and bassist/vocalist Jay-Jay Winter, with a line-up completed by ex-Cathedral/Acid Reign drummer Mark Wharton. The position behind the beats changed on numerous occasions in the earlier years before The Blood Eye demo was released in 2002. Establishing a strong reputation for their sound and live performances Asomvel released the To Hell with All the Rest Demo in 2005 and the Full Moon Dog EP two years later to strong responses and acclaim. It was debut album Kamikaze of 2009 which really set the metal underground and media on alert with its raucous presence and set a rigorous platform for the band ahead. Within a year though tragedy struck when Winter was killed in a road accident which understandably devastated the band. Determined to continue with the spirit and presence of Winter still part of the band, Robinson took time to find a musician to not only match what the frontman brought and intended for the band, but to continue his attitude. It was with the finding and addition of ex-Deathwing bassist/vocalist Conan that the band came back to full life, Asomvel soon after headlining their own inaugural Full Moon Dog Festival in Bradford in 2011 in honour of Winter; the event also seeing the stage thriving with the likes of Carcass, Anvil, and Orange Goblin. Following the Stare at Death & Spit EP of the same year and the split release Vol. 1 of last year, the band with drummer Jason Hope surge back with the Bad Omen Records released Knuckle Duster and it is a fluid continuation of the last album and sound.

Produced by James Atkinson (frontman of Leeds rockers Gentleman’s Pistols), Knuckle Duster flies at the ear with opener Dead Set on Asomvel Knuckle Duster cover loLivin’, drums and bass making an instant rapacious charge around and through the ears whilst the guitar scorches their surface with sonic causticity. The vocals of Conan snarl and growl with a throaty rasp which you could easily mistake for Winter without prior knowledge, to again cement that feeling of the band around the time of Kamikaze though there is also an air of the now in the venom and inciting breath of the track, and subsequently album. With a raw edge suggesting the release was recorded live in the studio and an unpolished touch which only ignites the instinctive appetite for dirty rock ‘n’ roll, the track makes a strong and magnetic  start to the album, its groove one which only eager submission is the order of the moment.

The following Cash Whore and Sheep in Wolf’s Clothing immediately take the impressive start and shift it up another adrenaline fuelled gear, the first of the two a carnivorous persuasion which grinds its way to the passions whilst tearing up the scenery with a blaze of hungry riffing and rhythmic barracking whilst its chorus is simply a primal torrent of pleasure giving dirt throwing excellence. The melodic flames of the guitar also send shards of addiction causing pleasure through to the heart to help sculpt one of the early pinnacles of the album. Its successor stands side by side with its swagger of blues bait and intensively contagious punk ‘n’ roll teases. There is a southern lilt to the hooks which only light greater attraction whilst the punk rock scythes of guitar and anthemic vocals add to a combination which leaves senses and passions with a great greedy hunger for more.

Both Thrash Talker and Waster settle down the climb of the release though each provides a provocation which continues the compelling draw of the album and the uncluttered, organic fire bred fury of sound. The pair again leaves appetite fully satisfied though its greed is ready to devour the insatiable thrashing surge of Shoot Ya Down and the groove carved Wrecking Ball with a grin on its voracious lips, a lust the songs feed but incite further. Like their predecessors the two encounters leave ears full of cutting riffs, commanding vocals, and a bass grizzle which especially on the second of the pair is as predacious as any offering this year.

From the outstanding title track, a song which glares at the listener eye to eye and challenges it to resist its irrepressible temptation, the album unleashes a closing ravaging of the senses with firstly the savage Final Hour. The track is a ferocious yet melodically grooved blaze of ridiculously infectious combative posturing which is backed up within a gulp of breath by the sizzling intimidation that is Strangehold, the drums of Hope a hypnotic conjuror and instigator of instinctive compliance so the riffs and vocals can cut and graze their punkish vitriol into the psyche.

     Hangman’s Rope closes up the album with a searing heavy metal finale though it is the one song which noticeably pales against the rest of the tempests upon Knuckle Duster. It is still a satisfying and easy to return to growl finishing off a powerhouse of honest to the ground rock ‘n’ roll which maybe is not offering anything new but provides a potently exciting bruising and thrilling confrontation. Asomvel are still one of the true joys of UK’s metal underground just now you sense they may get a much wider recognition.

http://www.asomvel.com/

8/10

RingMaster 07/10/2013

 

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Eutopia – Satellite of Love EP

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The Satellite of Love EP is the debut EP from the London based power-pop/electro-rock band Eutopia, a release which toys with the senses and thoughts to emerge as one vibrant and intriguing encounter. It is a proposition which does not exactly ignite raging fires within the passions but certainly one which keeps them entranced and riveted to its enterprising persuasion from start to finish.

Eutopia consists of Alexander Kotziamanis (music/lyrics /guitars/vocals) and Leah Lennick (keys/synths/vocals), the pair forming the band in 2011. Their first EP is a blend of classic and electro rock with plenty of pop and dance spawned tantalising. It offers a collection of four tracks which are individual in presence and in success but combined make for a magnetically calling piece of energetic revelry. The opening title track immediately tells you what Eutopia is all about, bold electro weaves flirting wantonly with the ear whilst guitars add a raw glaze to the atmosphere above snappy beats. It is an instantly intriguing premise given an extra drenching of tempting by the Russell Mael like vocals, their expressive devilry evolving into a more classic rock delivery further into its energetic flame the song ventures. There is a certain familiarity to the song which has an essence of the eighties in its classic rock and metal fusion and reminding of David J Caron at times, but equally there is a sizzling imagination which sets it in its own limelight.

The following City Lights continues the strong start arguably elevating its introduction to another step of satisfaction. The song again 294920_416945564989548_1720032215_nemploys the same essences but has a broader snarl to its presence which adds a pleasing shadow and texture to the contagious exploits of song and sound. As with the first there is plenty of invention and energetic ideas going on within the electro classic rock bred conjuring which brings enough for those without an appetite for old school eighties rock and pop rock to chew over and contemplate.

Wave Goodbye and Life complete the EP, the first an emotively sculpted pacey ballad with a great guitar enticements and an almost folky whisper to the keys and melodies. At times the song feels like the band is merging two different songs into one landscape, the at times awkward union of electro and melodic rock seemingly coming from individual direction but then when the excellent chorus harmonies wash over the senses it is all forgotten and rich satisfaction sets its claws in. The closing track also takes a slower classic rock gait as its core wrapping it in electro beats and melancholic keys whilst shard of crystalline sonics tenderly shine upon the expressive narrative.

It is a strong end to Satellite Of Love, a release which leaves a healthy appetite for it and the band in its wake. The electro beats for personal tastes do not do some of the songs any favours, their mechanical touch too regimented for the flowing melodies elsewhere, and as mentioned you need a strong taste for eighties classic rock to fully appreciate the release one suspects, but for those of us without that palate Eutopia and Satellite Of Love are still a meeting you cannot pull away from and the promise they show very tempting.

www.facebook.com/eutopiamusic

7.5/10

Ring Master 18/09/2013

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Die No More – Blueprint EP

Die No More Online Promo Shot

With a sound bred from the inspirations of the likes of Metallica, Megadeth, Black Sabbath as well as softer essences of a Pearl Jam and Muse, Die No More step forward with a debut which suggests we have a very promising and exciting band on our hands. Consisting of four riotous and impressively sculpted songs, the Blueprint EP gets the job done with accomplished craft and scintillating energy. It is possibly not the most original sound which eagerly accosts the ear but it is an encounter which lights a deep satisfaction and hunger for plenty more.

Formed in 2011 and hailing from Penrith, Cumbria, Die No More consists of four friends with an unmissable passion for classic and modern metal. Originally under the name Dynamo up to just before recording their debut, the band has forged a loyal and enthusiastic fan-base across the north of the UK. The release of Blueprint should see the rest of the country and beyond beginning to stir to a similar awareness and greed for their potent presence. Mutually inviting and confrontational, muscular and melodically charming, the EP is an eventful storm offering familiarity and freshness, but mostly it simply brings inescapable enjoyment.

Opening track Conscious Indecision instantly leans against the ear with enticing riffs soon joined by tempting rhythms. With a swift Die No More Cover Artworkbreath the track erupts into an intensive push of thrash seeded riffs from the guitars of Kev Smith and Marc Farquhar, the latter’s vocals riding confidently and impressively on the crest of the powerful energy now in charge of the song. With a definite Hetfield lilt to his delivery he brings an expressive narrative to the track whilst the bass of Andy Minnett adds extra delicious intimidation, especially when given a space mid-way to drive the track into another transfixing venture. Guitar flames from Smith flare up magnificently at this point and with the sinews of drummer Steve Orchiton framing it all firmly and at times antagonistically, the skill of the band shouts loudly. It is an excellent start which without lingering after its departure ensures the release has a strong grip on the appetite.

The following Council Of War emerges on a wall of menace and building intensity, slow predacious riffs and rhythms caging the ear before the rampaging heart of the song erupts. With an arguably more classic metal feel than its predecessor though that thrash breath is still laying a hand on proceedings, the song is a relentless gnawing of the senses yet merciful enough to allow amidst its rapacious rabidity, melodic and sonic colour to burn brightly with the fullest temptation and imagination. The best track on the release it alone makes Die No More a band that has to be watched closely and with intent.

Nightmares steps up next with a warm blues lacing to its opening guitar beckoning joined swiftly by the heavy anthemic rhythms of Orchiton which build another compelling stage for the full body of the song to explore and ignite upon. Mellower than its predecessor but still bold and big boned in, the track is a pleasing and easily engaging companion, vocals and riffs easy to unite with whilst the sonic flare unveiled by Smith is magnetic. With its successor also a mighty assault on the passions, being sandwiched between two pinnacles does leave the track a little pale in comparison but it more than satisfies any need and has a lure which pulls you in time and time again.

The closing Oblivious is pure metallic tempestuousness with a more than healthy dose of punk attitude to its lyrical and belligerent riffing. With a chorus that commands the voice, rhythms which act like a puppeteer for feet, and riffing that takes care of the neck, the track is another anthemic high spiced with glorious spires of sonic invention. It is an irresistible climax to an equally contagious release, a final enslavement for thoughts and passions.

Certainly the Blueprint EP shows that Die No More has a little way to go to find a unique presence but at the same time it suggests that it is merely a matter of time. Most importantly it entertains from ear to heart and leaves you wishing this had been an album. A band on a rapid rise…

www.facebook.com/DieNoMore

8.5

RingMaster 07/09/2013

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The Mezmerist – The Innocent, The Forsaken, The Guilty

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    The Mezmerist , a project which few have heard of and even less has music from, is the centre is attention from the newest release of Shadow Kingdom Records. A reissue of two EPs the band recorded back in the mid-eighties; The Innocent, The Forsaken, The Guilty is an intriguing and riveting insight to a band almost lost to time with a background as interesting as its engaging sounds.

The band was the project of Thomas Mezmercardo, a young guitarist taking influences from the likes of Van Halen, Black Sabbath, and Mahogany Rush into his own ideas and creativity. With a sound which merges psychedelic and classic/heavy metal driven with a strong mix of vocals highlighted at times with falsetto squalls and expression, The Mezmerist released The Innocent, The Forsaken, The Guilty in 1985, the ‘double EP’ release filled with tracks recorded over two sessions two years apart.

The first notable thing about the release is that the 1983 4 track EP section features Black Sabbath drummer Bill Ward alongside Mezmercardo and bassist Roger Abercrombie. As Ward was with Sabbath at the time his contribution was un-credited for legal reasons on the 500 copied pressing, which with the band holding on to a great many of the copies has become very collectable with those in the know and selling on eBay for extreme high prices. Mezmercardo himself has been a sought after and hard to find man since for many interested parties in re-releasing the EP, but finally tracked down and coming to an agreement with Shadow Kingdom for its reissue, which took five years to come to pass even from that point, the described as ‘ by far one of the best cult classic metal albums you’ll ever hear’, is finally available for all.

Whether the release does fit the label’s declaration is debatable but certainly it is an engrossing and enjoyable step back in decades which is very satisfying to have encountered. The first quartet of songs come from that previously mentioned 1983 session featuring Ward and starts with The Forsaken, a caustic atmospheric confrontation with the droning hum of destruction soaring its skies and stark chilling winds wrapping their cold intimidating tendrils around the spoken narrative of Mezmercardo. It is an excellent intro to the release though arguably what follows is an anti-climax to its ruinous suggestion as they seem to steer away musically from the menace and aggression laid down.

The following Dead Ones Cry No More is instantly expelling a scorched heat of guitar and sonic persuasion, a sizzling psychedelic haze on the wasteland of its predecessor. A Middle Eastern temptation lines the immediately skilful and entrancing guitar work framed by the appealing bass prowl and strong rhythmic craft of Ward, though neither of those steal the glory from the guitars or attention from the vocals of Mezmercardo whom when hitting those high levels takes a little getting to use to, his lower cleaner presence more preferable for personal tastes. The song is a sultry caress which opens up the appetite for the next up Arabian Nights, another song reaping those seductive eastern essences to fine effect.  There is a Led Zeppelin/Sabbath feel to the sound which draws in the emotions potently though this is tempered by the vocals which at this point has for these tastes, lost their flavour.

Victim of Environmental Change completes the first part in more than decent style though feels far more of a demo than the other tracks, before the three songs from the 1985 session take their place before the ear. With a line-up of Mezmercardo, bassist Steve Conrad, and drummer JR, as soon as Kingdom of the Dead steps forward there is a breeze of freshness and clarity over the previous songs. The bass has a swagger and mischief that has lips licked whilst the drums are easily an equal to what Ward offered previously. The vocals also have a greater control and persuasion with Mezmercardo staying to a less acidic delivery which with a raw and unfussy breath really works well with the great sounds around them. The track has a doom clad crawl and stalking to its presence whilst guitars and bass twist and turn with enterprise and invention.

No Family, No Friends has a definite punk stroll and snarl to its riffs, their hungry belligerent course seared and entwined in defined and potent sonic spirals of imagination and skill whilst the rhythms again cage it with eagerness and craft. Like the song before it is an excellent taunt for the passions and easily the pair steal the honours on the release.

Completed by the instrumental The Jam Song, a track which feels like it says, an improvised playtime for the musicians which flows and courts the imagination with ease, especially the underlying surf rock dance to its controlled charge, The Innocent, The Forsaken, The Guilty is a release all heavy metal fans should take a look at. A cult classic…maybe not, a thoroughly entertaining and flavoursome treat…undoubtedly.

www.shadowkingdomrecords.com

www.shadowkingdomrecords.bandcamp.com

7.5/10

RingMaster 04/09/2013

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Tempest Rising – Calm Before The Storm EP

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Just as the excellent Australian Reapers Riddle is putting Perth on the map in the sight of a growing legion of fans we find another emerging force in the sinew powered shape of Tempest Rising. Bringing a refreshing fusion of many distinct metal flavours, the quintet make their debut with the Calm Before The Storm EP and a quite formidable attention grabbing slab of power it is too.

Formed in 2012 with influences coming from the likes of Slayer, Metallica, Exit Ten, Disturbed, Karnivool, and Lamb of God, the band has forged a strong status within the underground metal scene at home, drawing acclaim and sparking up an ardour driven fan base at the same time. Consisting of vocalist Vin Trikeriotis, guitarists James Ward-Armstrong and Sheldon Blackwell, bassist Jarrad Cracknell, and drummer Bill Mann, Tempest Rising now set their sights on a wider field of awareness with Calm Before The Storm the hopeful key. Listening to the muscular and fiery release you would not bet against it opening up a new wealth of attention even if at times it maybe lacks enough uniqueness to set it strikingly apart from the constant wave of bands clamouring for the same focus, but with a furnace of passion and openly strong craft to its body it will certainly make a loud enough noise to lure many more into its intensive arms.

My Extascy opens up the release and is easily the best track on the EP, though admittedly seriously challenged by later songs. With a calmbeforethestorm_portraitblaze of guitar scorching the ear to herald the entrance of vocalist Trikeriotis who from his first breath and the soon to join thumping drums of Mann, shows strong diversity and strength to delivery and voice which carries right through the whole of Calm Before The Storm . With every sinew making its impact the track explodes with a bruising energy and carnivorous ferocity framed by the now towering rhythms and predacious riffing. It is a furnace of intensity and thrills which eat the passions alive before slipping into a lighter classic and alternative metal flame which eases the intimidation before a return of the flavoursome assault. It is a compelling confrontation and welcome to a band that arguably is offering little new but delivering what it exists in a fresh and inventive way.

The only niggle with the song and EP as a whole is the less than satisfactory and complimentary production which blunts some of the really potent skill and sound of the band, and though the vocals generally seem to escape its touch at times they too get submerged in the unsatisfying production approach. The fact that the song still impresses so much is all down to the band and its quality which is just as striking across the other songs starting with The Descent. The song is less rapacious than its predecessor but just as hungry and inventive and actually has moments where Tempest Rising sound like the previously mention Reapers Riddle, but then with a more purposeful metal structure they also discover a distinct lustful sound wholly theirs. With the guitars carving out another fine design of sonic aggravation and the vocals continuing to ooze strength and passion, the track presses the first for that best of accolade from start to finish whilst lighting a fresh helping of greed for their sound.

Hollow Dream is a ballad which merges keys and acoustic guitar for an emotive hue filled enterprise whilst Trikeriotis shows his slow narrative telling is as powerful as his raging stances. It is a more than decent song though lacking the temptation and hook of the previous tracks in person and in staying as a lingering presence. It does show the depths of the band though and how they have much more to show ahead which is extremely promising. It is followed by the returning rabidity of the band’s sound in No Remorse, a track which again savages the senses as it simultaneously treats them to more classically toned metal. Probably it suffers most of all from the production, the guitars and drums finding their energy and power dissipated by the coarse handling of their potency, but it still makes for an exciting end to an impressive and enjoyable release.

That the Calm Before The Storm EP rises above its main obstacle is more than creditable and shows the strength and promise of Tempest Rising, a power sure to earn the band a greater waiting hunger from around the world for their currently being recorded debut album.

https://www.facebook.com/tempestrisingofficial

8/10

RingMaster 29/08/2013

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