Hellbent & Hammered – Death Rattle

Hellbent & Hammered Online Promo Shot

With far more deep rooted grooves than a wet weather race tyre and the torque to seriously send body and senses spinning, Death Rattle from UK metallers Hellbent & Hammered is a wake-up call for ears and attention to the band’s evolution and presence. Formed in 2004, the London quartet has certainly been through the usual obstacle bands come up against as almost perpetual loses and gains in the line-up create a turbulence to defeat most bands. Stability in that area has been found over the last three years or so and as the band’s outstanding and ferocious new EP reveals, Hellbent & Hammered has only relished in and flourished from that calm.

The band wears their inspirations on the sleeves of very note and viciously swinging groove it is fair to say but twists it into a rich flavour that appetites can only become greedy for. The accompanying press release cites Down, Lamb of God, and Clutch as a trio of references merging to fire up the band’s sound, and it really does sum up the potency and force of Death Rattle if not all the fury and raw enterprise fuelling each track on the encounter.

Since forming Hellbent & Hammered has been an acclaimed force on the live scene, blistering stages alongside the likes of Feed The Rhino, Godsmack, ANVIL, Godsized, Thunderhorse, Head-On, and Sons of Merrick along the way. Their groove metal has been an increasingly potent lure across the south of the UK from the start, but with the current line-up completed in 2011 when guitarist Junior Gouch linked up with vocalist Ryan Le Roux, bassist Dr. Jon Casey, and drummer Simon Bullock, the band has in a way shed a skin to their sound in creating an uncompromising and bordering on toxic strain of groove metal as evidenced powerfully by Death Rattle.

The EP’s title track opens up the seductive hostility, riffs and rhythms creating an imposing wall from its first breath before the first flirtatious groove entwines ears and appetite. There is Hellbent&H coverswagger not only to the increasingly tempting grooving but every mighty swing of Bullock, bassline of Casey, and the grizzled delivery of Le Roux. It is Pantera-esque in so many ways but with a blues toxin and the superb bait of Gouch’s inventive lures and craft, the song provides an invigorating freshness. The first predatory anthem of Death Rattle, the track stalks and overwhelms the passions with ease.

The gripping start is swiftly matched by Hung, Drawn & Quartered; the track showing a more merciful welcome for ears, if only by a hairs-breath, before turning out a relentless rapacious stride of abrasing riffs, crippling beats, and psyche searing grooves. As its predecessor, the song is inescapable in its anthemic tempting and the sonic binding of the imagination, whilst the searing solo of Gouch adds further toxic manna alongside a deliciously throaty stalking bassline which just lights the passions.

The gnarly yet beckoning tones of Le Roux hit the sweet spot too, and in third song All Consuming, which from another irresistible bass bred bait, launches a virulent and corrosive smog of torrential riffery and rhythmic slaughter, he unleashes a delivery of impressive grazing power and fury. The track itself is the most inventive on the release moving from a strong and appealing start into a fascinating cauldron of aggressive adventure and sonic spite.

The EP closes with Built That Way, a powerhouse of rhythmic muscle and sinew sculpted riffs roared over by Le Roux and the blazing enterprise of Gouch. It is an impassioned furnace of grooved causticity amidst a hurricane like energy, with plenty of inventive designs and melodic venom to ignite the imagination all over again.

The track is a tremendous end to a thoroughly thrilling release. There is a familiarity and originality to Death Rattle which aligns for the perfect recipe of grooved mayhem in undoubtedly one of our favourite propositions of the year. Hellbent & Hammered has found the spice to greater things going by their new incitement and the potential to sculpt plenty of major things ahead. A thunderous way to round off a great year of releases sent to us by Garry of SaN Pr, and we thank him for all his help and support, Death Rattle is a must for all groove and seriously anthemic metal fans

The Death Rattle EP is released on Monday 15th December through all digital stores.

http://www.hellbentandhammered.com/

RingMaster 11/12/2014

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

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HELLBENT & HAMMERED SERVE UP STUNNING NEW EP !

Hellbent & Hammered Online Promo Shot

After a prolonged battle with personnel changes, UK groove metallers Hellbent & Hammered’ nationally release their ‘Death Rattle’ EP on Monday 15th December through all stores.

With whiplash riffs, a Lamb Of God and Down honed groove and riot starting vocals from frontman Ryan Le Roux, you’ll want to be in Hellbent & Hammered’s gang. Established in 2004, Hellbent & Hammered have garnered a reputation as one of the South’s premier groove metal bands. However, the fiery foursome also possess a strong bluesy vigour that tips its hat to Clutch. Whatever category Hellbent & Hammered fall under, the scuzzy Londoners will without doubt grab your attention.

Throughout the band’s ten year history, Hellbent & Hammered have persevered through walk-outs, line-up changes and several unreleased EPs before finally re-inventing themselves with their forthcoming new EP “Death Rattle”. This record is their second with guitarist, Junior, who joined in 2011 after founding member Julien sought fairer climates somewhere in the South Pacific. Besides Le Roux and Junior, Dr. Jon Casey and Simon Bullock handle the band’s burly rhythm section, with Bullock hitting the tubs and Dr Jon supplying the bass.

Already known for their face-fracturing live performances, the band have ripped apart a series of UK venues, playing alongside everyone from Feed The Rhino, Godsmack, Canadian metallers ANVIL, through to Godsized, Thunderhorse (Raging Speedhorn & Viking Skull), Head-On, Sons of Merrick and StoneGhost (Snakebite).

The riff beasts’ forthcoming four track EP “Death Rattle” is released this December, and it’s a pedal to the metal, full throttle collection of power metal anthems. The EP’s name sake ‘Death Rattle’ melts your ear drums straight from the get-go with its blistering riffage handed to you by newcomer Junior Gouch, who’s aided and abated by Simon Bullock’s driving beats. The irrepressible ‘Hung, Drawn & Quartered’ just does not let up; imagine Pantera having a knife fight with Mastodon—its sheer brutality. While ‘All Consuming’ flaunts the bottom end groove of Bassist Dr Jon Casey to stunning effect and ‘Built That Way’ brings down the curtain on the record, there’ll be no doubt that your senses have been well and truly battered into oblivion. Hellbent & Hammered do what they say and say what they do. So come on in and join the party….

Hellbent & Hammered release ‘Death Rattle’ on Monday 15th December through all major online distribution platforms

Hellbent&H cover

http://hellbentandhammered.com/
https://twitter.com/hellbentvoodoo
https://www.facebook.com/HellbentandHammered

Black Art – Full Lungs | Empty Words EP

With a roar of an antagonistic sound sitting somewhere between the demised Californian band Red Tape and Brits The Ghost of a Thousand, UK punk ‘n’ rollers Black Art are an emerging proposition with the potential, going by their new EP, to ignite the punk scene. Driven with a melodic hardcore fuelled fury in sound and lyrical confrontation, the band has been stirring up rigorous attention and appetites in recent times and it is easy to hear why with their Full Lungs | Empty Words EP. It is angry and hostile but loaded with an anthemic contagion which makes every track a lingering and thrilling proposition. It is a knack shared by the two bands we mentioned at the start but in the hands of Black Arts seemingly is even more inescapable for imagination and emotions.

The new EP follows a well-received 7” split with Surrender The Coast which was released a couple of months ago. It swiftly reinforces the reputation garnered over the years by the band for their sound and live presence where they have shared stages with bands such as Feed The Rhino, Baby Godzilla, Palm Reader, The Catharsis and many more along the way. It is a release which sees the Forest Of Dean quintet go for the jugular straight away but equally seduce with the first of numerous spicy hooks and infectious melodic enterprise.

That instant bait is provided by opener Life Stalker, coaxing riffs laying the first lure to be immediately joined by heavy swipes of thumping beats from drummer Nathan Davies and a carnivorously gripping bassline cast by Jake Morgan. It is an intimidating and riveting predation which becomes more caustic and challenging with the fierce vocal squalls of Joe Kibble which also initially strike in great singular assaults. The track is soon a maelstrom of voracious incitement and energy, the guitars of Nick Lewis and Oli Bendall blazing away with fiery riffs and tasty grooves to brawl with craft and flavoursome endeavour.

The potent beginning to the EP sets the template for things to come in quality and success, and a little in sound but as the following Duress shows there is a busy heart to all songs which gives them distinct characters. The second song lays 1910160_712588515486444_587585896235052623_ndown a ridiculously addictive and intimidating torrent of riffs bound in sultrily alluring grooves from the start, its brief but powerful presence a corrosive stomp which grips and scars with contagious efficiency. Its excellent tempest is matched by the more inventively sculpted Hold Fast. It is still an uncompromising fury but the guitars twist with a wider heavy rock recipe whilst rhythms carry the punk spirit in every debilitating swipe and throaty bass groan. Though it does not quite match the tracks before it, it is richly satisfying, aggression driven rock ‘n’ roll with little want to get fussy and clutter its raw muscle bound bones with over blown flourishes.

The Endurance has the passions lustful again, the opening flame of sonic grazing enticing the blistering and colourfully hued turbulence to follow. Hooks flare up throughout the rhythmic and sonic animosity, sharing the limelight with heavy rock grooves and an inflamed passion especially expelled through the lungs of Kibble. It is a brute of a rocker but soon in the shadow of the primal rock ‘n’ roll fired Pseudo Sound. Morgan uncages another irresistible grump of a bass temptation whilst the guitars come with venomous designs and toxic expression, all aligning with the merciless swings of Davies for a riotous and compelling storm.

   Full Lungs | Empty Words is completed by the quarrelsome charm of Fool’s Gold, a final bracing bluster of skilled creative assertiveness and impassioned belligerence. Soaked in a fierce scowl amidst a skilful savaging, the song is a fine intrusive close to an EP ripe with promise and accomplished invention. The release provides a very impressive and memorable base from which Black Art with their already plentiful armoury, can spring to truly fire up punk rock far and wide. ‘

The Full Lungs | Empty Words is available now digitally and on CD via White Russian Records @ http://whiterussianrecords.nl/store/index.php/cd/black-art-full-lungs-empty-words.html, CD and Cassette via Let Them Die Records @ http://letthemdierecords.bigcartel.com/product/black-art-full-lungs-empty-words-cassette-cd , and I For Us Records @ http://music.iforusrecords.be/album/full-lungs-empty-words

https://www.facebook.com/Blackartuk

RingMaster 07/11/2014

Copyright RingMaster: MyFreeCopyright

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

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Circle of Reason and 48 Hours unite for New Breed Of British Rock UK Tour 2014

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    Two of the UK’s finest emerging rock bands join forces this July. Hitting venues across the south of England, pop fused hard rockers 48 Hours unite with alt/rock act Circle Of Reason for a number of live dates. Bringing together two exciting bands, The New Breed Of British Rock Tour shall reach a climax on the 26th July, with two separate shows in one day.Forming in 2012, Kent based trio 48 Hours feature Adam Jerome and Matt Savini (ex Colt 44) and Gary Broughton (ex After The Ordeal). Previously building their reputations through appearances at festivals such as Sonisphere & Hevy and supporting successful artists including The Blackout, Madina Lake, Cancer Bats and We Are The Ocean, 48 Hours bring vast experience to the live stage & studio. Following extensive touring since their inception, 48 Hours have gone from strength to strength in 2014 following the release of their debut album ‘Recovery’ which has garnered early taste-maker support from XFM Rock Show and Kerrang! Radio.Taking in this venture as Part 3 of their own Trilogy Tour, Southampton’s prog tinged alternative rock outfit Circle Of Reason have gained attention and support from the likes of Kerrang!TV & Big Cheese Magazine on the strength of two self-released EP’s. As an endlessly touring band, Circle Of Reason have reached many corners of the UK, appeared at major festivals and opened stages for the likes of InMe, Neck Deep, Marmozets and Feed The Rhino. Taken from their ‘These Hands And This Mind’ EP, their most recent video single ‘Themes Amongst Thieves’ is currently airing on rock channel Scuzz TV.

    48 Hours & Circle Of Reason are represented by Tim Crane Artist Management.

    UK Tour Dates

    18th July – Hellfire Club-Redhill

    22nd July – Poco Loco – Chatham

    23rd July – Bar 42 – Worthing

    24th July – Sanctuary Bar – Basingstoke

    26th July – Leos – Gravesend

    https://www.facebook.com/48hoursrock?fref=ts

    https://twitter.com/48hoursrock

    https://www.youtube.com/watch?v=40XFwkLTmV8

    https://www.facebook.com/circleofreason?fref=ts

    https://twitter.com/Circleofreason

    https://www.youtube.com/watch?v=KX82tM24wDE (Currently on Scuzz TV)

Echoes – The Pursuit

 

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Whether the music or band name came first is something to ask in the future but certainly the sonic tempest of sound which progressive hardcore/post metal band Echoes casts over air, senses, and emotions is a resonating and lingering incitement which leaves little room for respite in its oppressively smothering presence. The Pursuit, the debut album from the UK quintet, thrusts the band into the imagination and mistrust though the latter is not a concern for the undoubted technical and imaginative craft of the band or of their emotively intrusive exploration, just a wariness of the damage the erosive might and intrusive rabidity of the release is treating senses and psyche to The ten track immersion is not an easy listen at times, not a merciful encounter which allows senses to breath and regain a foothold in its caustically acidic soundscape, but one which captivates with just a few reservations.

Taking inspirations from the likes of Devil Sold His Soul through to Hans Zimmer, Echoes emerged in 2010 with the intent ‘to create a sound that is entirely true to them’. Undertaking a gigging regime as intensive as their sound, the band has played around the UK and Europe numerous times, taking in over 150 shows and sharing stages with bands such as Devil Sold His Soul, Feed The Rhino, Heights, and Our People Vs Yours along the way. Intensively created across time and effort, The Pursuit lays down a potent marker and imprint as the band forges another potent step in their ascent. It is a sonically carnivorous encounter, one with a hunger which consumes with little consideration for emotional relief in its recipients but one which even in its suffocating dark depths infuses a melodic hope and positivity, just no respite.

Opener Empty Lungs has no care for a gentle coaxing into its maelstrom of enslaving textures and atmospheric voracity, the guitars of FRONT Packcover (hi-res)Angus Cadden and Karl Koch an immediate grazing courted by the intimidating throat of the bass of Steve Tolloczko and the predatory rhythmic challenge of Oliver Todd. The sonic submergence is like a free fall for the senses until they reach the passionate raw squalls of vocalist Joshua Thurbin where intensity engulfs before spreading out into more restrained but just as intrusively testing scenery. The slow immersive crawl of the track which takes over is as magnetic as the previous vitriolic incitement was violently bracing, their subsequent merging a stimulating canvas for imagination and emotions to place their own narrative before being dosed in that provided by Thurbin. It is an exacting experience but one, which as the album, over time unveils the richest persuasion and understanding upon the emotions.

As the first track drifts away the following Leaving None Behind flows in, a commanding but respectful acridity wrapping ears before the raising of an intensive temperature which itself flows into another melodic caress with sinister shadows. Again the track takes time to share all of its rewards but does so eventually as the guitars and rhythms sculpt a powerfully evocative landscape to ponder and explore. The following title track is similarly a long term investigation and journey but one which mentally ignites thoughts and feelings as rigorously as it does physically. Like the album, it is impossible not to fall into the immersive ambient depths of the song even as the sonic endeavour sears and scars.

Both Honour Lost and Rivers takes things up another level, or is that down, to darker intimidating corners; the first a bordering on anthemic engagement of group calls vocally aligned to an imaginative and harsh traverse of raw climates whilst its successor provides an initially muscular confrontation which evolves  impressively into an expanse of crystalline intrigue and shimmer mystique within a rhythmic sky which is always mere seconds from inviting a fury of vocal angst and voracious sonic design. The pair are the most potent and thrilling provocations stretching the already accomplished thought and passion of the band musically and emotionally.

As stated The Pursuit is not the most painless proposition, though there is never a second where adventure and unpredictability do not reign, but there are elements which prevent it scaling the heights of personal acclaim which it could have deserved. The lacking of truly memorable moments other than the just mentioned songs does leave it standing out against other contenders, as does the fact that it is easy to lose yourself within its familiarity s at times songs are hard to distinguish from others without purposeful attention.  Also the vocals of Thurbin make the release a struggle at times as in For What It’s Worth and the beginning of the following and thrilling Wooden Hearts as examples. Certainly his delivery and craft is impressive and potent to match the fire of the music and invention, but without a lack of diversity, only occasional additional group additives giving that, it does leave that part of songs a little one dimensional though certainly also passion drenched. It does not prevent the album from stirring up appetite and eager emotions for itself though.

Safe it Seems bursts in next to rage and snarl at the senses, anger and reflection soaking every syllable and note within another pleasing tempestuous range of piercing sonic peaks and lush melodic hues. Its drama clad presence is instantly tempered by the opening ambient caress and floating melancholia of Navigate, the piece a vision inspiring instrumental with scathing edges to its elegant beauty. It is the one time the album allows breathing to be engaged in without a savage incursion; that left to the closing See & Believe to explore within its emotively intense and creatively vibrant body. It is a powerful finale to a striking full debut. There are elements where the release could have truly stolen the passions and misses out but The Pursuit still leaves you eager to invest in its consumptive depths, even if nervously, and push Echoes into a band to fully recommend.

http://www.weareechoes.com/

7.5/10

RingMaster 24/03/2014

 

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UK rockers Circle Of Reason announce new UK tour

circle of reason

CIRCLE OF REASON – Announce ‘Whatever’s Clever’ March UK Tour

Having stormed into 2014 with the release of their video single Themes Amongst Thieves, Southampton’s alternative rock sculpters Circle Of Reason announce live dates for their forthcoming Whatever’s Clever Tour.

With further UK tours and festival appearances still to be announced for this summer, Circle Of Reason will be bringing their rock show to northern England and Scotland this March. Frequently compared to musical giants such as QOTSA, Biffy Clyro, The Smashing Pumpkins, Coheed and Cambria and Deftones, Circle Of Reason’s prog-tinged hard rock riffs, intricate song dynamics and melodic vocals are gaining the band loyal followers world-wide. Building upon their reputation as one of Britain’s most exciting emerging new rock acts, Circle Of Reason have garnered early support from the likes of Kerrang! TV, Scuzz TV, Power Play & Big Cheese Magazine. With numerous UK Festivals and tours already under their belt, the South West UK quartet have previously earned their place on stage supporting the likes of InMe, Feed The Rhino, Landscapes, Neck Deep and many more

Catch them live at … Mon March 17th – Mink Rocks, Middlesbrough Tues March 18th – South Sea Live, Sheffield Thurs 20th March – Grand Central, Manchester Fri 21st March – The Black Bull, Castleford Sat 22nd March – Vintage Rock Bar, Doncaster Sun 23rd March – The Towler, Bury Wed 26th March – Bannerman’s, Edinburgh Fri 28th March – Monty’s Bar, Dunfermline Sat 29th March – The Box, Glasgow

Taken from the 2013 EP release ‘These Hands & This Mind’- check out their video single for ‘Themes Amongst Thieves’ http://www.youtube.com/watch?v=KX82tM24wDE

Connect with Circle Of Reason at www.facebook.com/circleofreason and www.twitter.com/circleofreason

These Hands & This Mind EP available to buy at https://itunes.apple.com/gb/album/these-hands-and-this-mind-ep/id669577645

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Black Dogs – Grief

blackdogs-promo

Reeking of causticity and aggressive passion, Grief the debut album from UK metallers Black Dogs, is a barbaric full introduction to a band with the armoury to be a powerful future force within British metal. Rife with grooves which seduce the wounds caused by the violent riffing and rhythmic antagonism, the ten track brawl shows exactly why there is a powerful buzz about the Northern pack. Corrupting the senses with a brew of metalcore, hardcore, and groove metal, Black Dogs is a potent storm of creative spite poised to explode, Grief the possible trigger.

Since forming in 2011, Black Dogs has built a strong reputation through their raw and merciless live shows, performances which has seen the quartet share stages with the likes of Hatebreed, Stray from the Path, Bring Me The Horizon, Feed the Rhino, Heart of a Coward and most recently supporting  Heights on their debut UK tour. Their stature and the acclaim around them has been on a swift ascent with appearances at Hit the Deck Festivals and Download Festival only adding to their stock, something Grief will only powerfully accelerate you suspect. Released via Destroy Everything, the release is a stirring and magnetic confrontation, one which though not perfect declares a promise and already rich quality in the band which needs to be closely followed.

The release offloads battering rhythms and snarling riffs upon the senses from its opening seconds, first song Hellhole stomping Grief-Cover1DRAFTrigorously through the ear with combative intent and malicious intensity. With a just as immediate groove temptingly veining the track and squalling hardcore vocals grazing its surface, the song tells you all you need to know about album and band, and whether their ravaging is the quest you wish to be chewed up by.

From the impressive start 13 Bastards next takes its predacious share of the senses, sinew empowered riffs and a deliciously malevolent bass sound smothering and confronting ears and emotions. Once again an irresistible groove entwines its primal seduction around the imagination as the vocals unleash a cauldron of passion and venom. Continuing the intense stance of the album with equal strength and quality, the bass an especially vociferous presence, the track makes way for the savage Krokodil. It is of the same stock as its predecessors, and those to come, which brings up the only quibble with the album, a similarity to the structure and attack of songs which needs an attentive focus to distinguish and discover the undoubted individual twists and temptations of the tracks. It is not a massive issue when the album from start to finish is thrilling, but something lazier listeners may flounder with.

Both Savages and Shame enflame the passions, the first as you can imagine from its title is an unbridled fury but one which lurches and twists with incisive riffs and rhythmic adventure around its core groove and intensive riffery to keep things intriguing, whilst the second is a dramatically addictive encounter with a tantalising groove and djent bred dynamics enslaving ears and beyond. Black Dogs has a dirty merciless sound but one which is unafraid to turn in on itself with inventive explorations, this track the strongest example. It is not an experiment which is always stretched enough by the band in songs for personal thoughts, a missed opportunity shown up by Shame but something you can only anticipate will flourish ahead.

The excellent Traitors is another with incendiary grooves and melodic flames scorching the flanks of its straightforward bruising core, invention again raising the temperature and pleasure of the passions. One of many pinnacles on the album it is followed by the title track, a brief evocative instrumental which provides a ready canvas for the imagination to play with. It is a colourful interlude soon succeeded by another discontented vocal and sonic abrasion in the carnivorous shape of She Bites and then Bitterness. The pair adds extra fuel to the passions with their craft and fevered animosity, the first of the two a dark bordering on sadistic threat and the other a less impressive but still easy to greedily devour accomplished ruin.

Ending on the scorching intensity and air perishing fire of Leeches, the album is a stunning entrance and base for Black Dogs to strike on from. Grief simply leaves a deep satisfaction in its wake for its insolent sonic riot and a sizeable hunger for the band’s exploits ahead.

https://www.facebook.com/weareblackdogs

8.5/10

RingMaster 06/11/2013

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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