ANOTHER DEAD HERO to release Dystopia on 13th October.‏

BRIT METAL CROSSOVER CREW  ANOTHER DEAD HERO RE-RELEASE THEIR BLISTERING ALBUM ‘DYSTOPIA’ THIS AUTUMN AND PREPARE FOR UK TOURING!
 
Igniting warm comparisons that have likened the quintet to such colossal heavyweights as Korn, Rage Against the Machine and the Deftones, Another Dead Hero also take on board the key fundamentals from NiN, binding it all together to deliver an intoxicating and engrossing sound. The band re-release ‘Dystopia’ on Monday 13th October through all online outlets.
 
Bursting out of Burnley and originally formed in 2003, Another Dead Hero spent many of their formative years honing their sound and crafting a set that would truly grip people. The fivesome have a grave dislike for the manufactured pop side of the music industry, and have always been fiercely independent, rigorously striving to deviate from the norm. Since their incarnation, the band have had some personnel changes, but during the last few years, ADH have solidified and settled into the current line up of Josh Baldwin (Vocals), Daniel Crawshaw (Guitar), Josh Beckwith (Guitar), Gaz Connor  (Drums) and Craig Robertson (Bass). Dedicated touring and shows throughout the North have been a staple for the metal crew, and ever since their formation, the fivesome have played as far South as Cornwall and as far North as Inverness. As well as having a steady diet for hitting small clubs and venues and racking up miles of road, Another Dead Hero also have a hearty appetite for recording, and the riff beats are already onto their fourth album with plans in the making for a brand new EP later this year!
 
The fivesome are now set to re-release their latest offering ‘Dystopia’, supported by UK touring penned for the Autumn. ‘Dystopia’ drops this October and is the band’s fourth full length album. Gathering together 12 slabs of riff-driven crossover metal that calls to mind the guile of Deftones, Limp Bizkit and Rage Against The Machine, Another Dead Hero should not be overlooked.
 
–ANOTHER DEAD HERO RE-RELEASE ‘DYSTOPIA’ ON MONDAY 13th OCTOBER—
 
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Insane Prototype – These Seven Words Do Not Mean Anything

IP

Hailing out of Pokrov in Russia, Insane Prototype is a band still cloaked by shadows from world attention but if they continue producing releases as enjoyable and potential strapped as their latest album These Seven Words Do Not Mean Anything, it is easy to suspect that a wider recognition is on the horizon. Brimming with creative intrigue and eclectic sounds sculpted into a dark voracious fusion of rock and metal, the release is a potent wake-up call to a band which is still evolving its presence you feel but well on the way to making a loud statement for the wider scene to hear.

Insane Prototype was formed in 2012 by Dmitry Kalinin, the founder of Russian electronic band The Phase, and guitarist Andrei Knyazev. Working on songs written and recorded by Kalinin previously, the pair was soon recording These Seven Words Do Not Mean Anything. Since its release the seven track encounter has drawn strong responses and not only in their homeland, its touch impressing and persuading media and new fans further afield. With a full line-up now in place, the band has been earning similarly strong reactions with their live performances, whilst their album continues to make a potent base camp for the next propositions the band is currently working on.

An ambient haze is soon in the arms of a melancholic caress of dark strings as opener Interlude N3 sets up the release. It is an immediately evocative incitement, violins and cello casting a richly emotive embrace to which short Coverabrasing scrubs of guitar and restrained yet intimidating rhythms add their voice. An emerging epic breath blends with the portentous air of the orchestral incitement, the instrumental making an appealing but deceptive start with bred expectations of a blackened or symphonic proposition swiftly set straight with the appearance of Void Reflection. Keen rhythms rap on ears first, quickly joined by the expressive tones of Kalinin which spear themselves with savage roars simultaneously matched by sound. Soon settling into a controlled stroll with jangling riffs and firm beats, the track lays a canvas of nu-metal and melodic rock to which expulsions of aggression and intensity unleash their welcome bait. The song is a solid and captivating encounter, not one to light a fire but with plenty to hold attention tight whilst coaxing out a keen appetite for the forthcoming tracks.

That eagerness is soon fed a healthy dose of invention with Broken Blues, a track which glides in on a sultry flume of sonic enticement and low mellow vocals. With the black velvet tones of bass and again sinew built rhythms making their own slow seduction, the song provides a humid weave of intrigue with a Palms like emotional resonance within a Helldorado coloured ambience. The track smoulders in presence and persuasion, growing in weight and riveting expression across its length and over each taking of its compelling flight. Adding discord kissed keys, blasts of tainted brass, and cloudy washes of guitar, it is an enthralling investigation.

   Demons Of The Past is a different kind of beast, carnivorous riffs caustically gripping ears from the start as punchy rhythms descend on the senses. The track is soon crowding in with greater ferocity through varied vocal intent aligned to a similarly flavoursome and resourceful sonic web of design and intimidation. The track is a demanding and predacious tempest but also offering a seductive croon which simply ignites the imagination, essences of Korn and Nine Inch Nails spicing up the creative blaze. It is a richly textured weave which is taken to greater success and heights by the next up Prey To Passion. Every flirtatious sonic grimace and rapacious toxin of its predecessor is intensified within the instantly predatory encounter. Grooves entwine venomously around ears from the first second of the song, their irresistible grouchy lure emulated and enhanced by the slow Deftones like crawl of vocals and bass tempting. It is a primal enticement which devours the passions, tightening its grip as flames of melodic hues and mellow breath cross the senses. The best track on the album, it simply bewitches and tantalises with a carnally bred beauty.

Another dip into a Korn like tenacity and invention boils contagiously within Things That Overcome, its combination of bruising voracity and melodically driven sonic fire a magnetic persistence which is unrelenting in its solicitous charm and instinctive consumption of the senses. It is a masterful blend which in some ways never goes far enough in either extreme, the song lacking the bravery to go for the jugular or to truly romance the passions. Nevertheless it is an outstanding trigger for the imagination which is not quite matched by the more regular rock spawned closing song, Great Illusion. As the previous track it twists and flares up with hostile intent and ferocious enterprise around concentrated passages of melodic and merciful sonic temptation, making a thrilling proposition but it lacks the bite and sharpness of other songs to quite grace the same heights.

Overall These Seven Words Do Not Mean Anything is a hugely impressing introduction from a band easy to see at some point becoming a boldly noticeable presence outside of their local landscape. Insane Prototype is a name to watch out for starting with this fine release.

These Seven Words Do Not Mean Anything is available now @ http://insaneprototype.bandcamp.com/album/these-seven-words-do-not-mean-anything

http://insaneprototype.com/

8/10

RingMaster 10/07/2014

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Overpower – Greatness Within

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Casting a groove infested thrash bred temptation of modern metal Greatness Within makes a potent and intriguing introduction to Croatian metallers Overpower. The band’s debut album does not offer ground-breaking rages or startlingly unique tempests but grips attention with accomplished and enterprising twists on a fusion of sound which instinctively sparks a keen appetite for its recipe. It is a roaring and bruising onslaught of rapacious riffs with matching antagonistic rhythms all bound in a web of grooves and melodic acidity which easily ignites the imagination. Primarily it is an entrance which casts Overpower as a formidable protagonist of flavoursome hostile metal.

The band began in 2006, formed by guitarist Daniel Badanjak, bassist David Vukusic, and drummer Frane Velcic. Playing mainly covers from the likes of Iron Maiden, Metallica, and Judas Priest, the band searched for their own direction with original songs over the next couple of years. A few frontmen were tried whilst Velcic left the band, his departure seeing the joining of drummer Hrvoje Dizdar. After the leaving of another vocalist, the band contacted Velcic to come in as frontman for a gig they were playing. Such its success he decided to remain in the band as vocalist before the Zagreb quartet set about recording Greatness Within. With an open vein of inspiration from the likes of Metallica, Iron Maiden, Pantera, Slayer, and Down to the band and sound, the album boils up a skilled and magnetic storm of voracious metal which may not startle but definitely excites

As soon as the opening steely dark throated tones of bass opens up Paid Trip to Nightmare, attention and swiftly after appetite are caught and ready to embrace the opening song. A heavy swipe of guitar brings drama to the sinister air before casting a captivating web of slightly portentous but enthralling colour to the breath of the song. The kick into a thrash fuelled charge is quick and seamless, the track suddenly a savage rage of destructive rhythms and hungry riffs ridden by the raw and rasping growls of Velcic. Exhaustive and thunderously impacting, the track is an explosive start; a searing solo and anthemic tenacity all adding to the compelling bait.

The following Final Laughter makes a purposeful if reined start, riffs and rhythms again hitting hard with an even paced intent whilst the excellent bass suasion of Vukusic is grizzled in bestial voice and presence. More expectations feeding than its predecessor, the imposing brute of an encounter still draws an eager hunger with its muscular rhythmic punches, stalking riffs, and the excellent coarse tones of the frontman. It keeps the album on a richly satisfying course before being put in the shadows by the outstanding Conqueror. Instantly wrapping ears in a melodic enticement, the track has thoughts engrossed, especially when stretching its sinews with predacious riffs and again controlled yet intimidating rhythms. It is a commanding persuasion which steals greater glories with its step into a groove spiced melody inflamed passage of resourceful design led by the excellent switch into clean vocals. It is a masterful and riveting turn which works perfectly with the entwining voracity of sound and intent around it; the song easily the best thing on the release.

Both Life in a Lie and the title track give it a run for its money though, the first emerging from a haunting atmosphere with a Pantera like swagger to its stroll and savage tone to the bass. Soon aided by bewitching grooves and the continuing to impress vocals, the song lurches like a predator of carnal persuasion across thoughts and imagination, setting a danger bred canvas lit by searing flames of guitar enterprise. As most songs there is a familiarity to its body and heart but nothing to defuse its impact and absorbing call. In a different guise its successor is much the same, brewing up a less than strikingly new proposition but gripping attention with resourceful and imposingly attentive sounds to which the return of clean vocals alongside the dirtier delivery only increases the pleasure.

The grievous bass sound of Roulette again ignites a swift licking of lips to which the furious torrent of crippling rhythms and riff sculpted severity thrust forward by the raucous spit of dual vocals brings a wider grin. The track is a thoroughly agreeable rampage across ears and emotions. Anthemic and hard hitting, as all the songs, the onslaught of predation leaves passions full but ready for much more which Monster soon provides in uncompromising style. With a gentle guitar and vocal croon the song transfixes senses and imagination, its opening tale the fuse to exploratory thoughts which are given another dose of incitement by the heavy crawling bestial weight and intensity straight after. It comes with a net of sonic intrigue and vindictive rabidity, courtesy of the bass, a weave ridiculously gripping and deliciously infecting.

The song is a mighty end to an impressive release though there is the Outro to actually bring the album to a close but it is a decent but nothing piece of music which just sits showing its creative muscles. Greatness Within is a powerful debut which without drenching itself in originality marks out Overpower as a potential clad strikingly enjoyable prospect, with already the skills and sound to make large and potent statements.

Greatness Within is available now via Geenger Records and @ http://overpowerzg.bandcamp.com/album/greatness-within

https://www.facebook.com/overpowerband/

8.5/10

RingMaster 09/07/2014

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Across The Swarm – Self Titled

ATS photo by Gianvito Greco

Hailing from Bologna, Italian extreme metallers Across The Swarm are an emerging force destined to great and major things if their self-titled debut EP is anything to go by. Consisting of five fascinatingly inventive and irresistibly brutal tracks entwining everything from groove and nu-metal, hard core and drum and bass into their persistently evolving and violating landscapes of sound, the release is a towering and gripping onslaught of intrigue drenched ferocity. It is a startling entrance by the band, one clad in an invigorating unpredictability and exhaustive experimental attitude which is seemingly rare to absent in a great many new bands.

Formed in 2013 out of Lacerater, which released a series of demos itself, Across The Swarm set about working on their first release last December. Recording it at Sliver Studios, the quartet of vocalist Francesco A. Flagiello, guitarists Luca Sammartino and Marco Lambertini, and drummer Riccardo Grechi brought in NK and Sygo from Hallucinator for the DnB samples as well as Simone Bertozzi (The Modern Age Slavery, Mnemic) to provide bass for the recordings. The result is the exhilarating torrent of ideation and voracious sound found on their self-titled introduction, a proposition inflaming ears and imagination right through to hungry passions.

     Hang Out is the first pestilential treat, a grievous rhythmic assault and similarly bred riffs flying at the senses within the first second. It is already more than a straight forward confrontation as varied vicious vocal squalls alongside across-the-swarm-300x300vitriolic grooves wreak havoc with toxic intent and craft, whilst the unpredictable drumming of Grechi disorientates as it impresses. The track is from start to finish incendiary to the imagination, torrentially blasting and irrepressibly seducing with mouth-watering enterprise and striking ingenuity as in its successor Just Bodies. Once again first touch is as barbarous as it is heavy, beats and riffs churning up the senses for bass and guitars to offload a venomous bait which itself twists with a breath-taking ideation. Swinging temptation of drum n bass bred invention soon adds its weight to the suasion, though its brief entrance is soon lost under an avalanche of rhythmic hostility and rigorously intensive grooving. Raw and uncompromising yet precise and deliberately structured in its creative fury, the track consumes an already keen appetite for the release with its staggering endeavour, the smile on the face at its departure the sure sign of something special.

That grin is never far away from the EP to be fair, reprising its joy with Cynical Eyes and beaming even more loudly with the outstanding Formless Wreck. The first of the two is sonic and rhythmic savagery driven by vocal and creative predation. The track starts in a rage and boils up into a carnivorous rabidity yet from its first caustic touch it unleashes waves and veins of acidic grooves and invention sculpted twists which enslave the imagination. It is a contagious tempest of malevolent beauty matched and exceeded by the second of the two, bass and guitars coaxing and licking ears with invention beneath a scourging wind of sound before that previously only glancing bait of drum n bass makes a more thrilling and provocative presence on the release. At any point on the EP it is hard to find true comparisons to suggest and here especially difficult, yet essences of The Browning, Bloodsimple, and Dark Tranquillity is some kind of clue.

The release closes with the virulently compelling Like Water, a hellacious inventively twisted slab of extreme maliciousness cast with technical rapaciousness and imagination bred toxicity. It is a colossal closing to an immense and enthralling incitement. Across The Swarm has uncaged one of the best metal debuts certainly this year and last whilst suggesting a potential which if it comes to bear, and you dare not doubt it, could see the Italians setting new levels and templates for extreme storms ahead.

Across The Swarm is available now @ http://acrosstheswarm.bandcamp.com/album/across-the-swarm

https://www.facebook.com/acrosstheswarm

9/10

RingMaster 04/07/2014

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Beneath Dead Waves – Inertia

Beneath Dead Waves Online Promo Picture

There is a storm brewing within UK metal and it comes in the thrilling shape of London based quintet Beneath Dead Waves. The quintet has just unleashed debut album Inertia, a thunderous and magnetically diverse slab of modern antagonism which is one of the most potential soaked exciting introductions to a band in a long time. It is a monster of a release, an encounter mauling and gnawing the senses but equally seducing with a technical craft and striking imagination which ensures swift allegiance to its call. There is also an undefined vein of familiarity to the proposition which brings a kinship to the unpredictable and ruggedly inventive exploits unveiled. Inertia is not the greatest album this year but right on the frontline of the most thrilling.

Beneath Dead Waves was formed in 2007 in Dorset by vocalist Joey Draper, guitarist Doug Cartwright, and drummer Leigh Costanza, the trio bringing the inspirations of band such as Between The Buried And Me and Tool into their creative whirlpool, as well as varied styles from thrash to groove and nu to progressive metal. The result as evidenced by Inertia is a rigorous persuasion which though holding familiar aspects, is still a unique incitement. The band relocated to London spending the next few years writing and recording before finding guitarist Matt Reeves and bassist Chad McCamlie, whose recruitment brought the band a new depth and potency in sound. Last year saw the band igniting stages and playing with the likes of Monuments, Intronaut, and Scale the Summit, and before its end the single Imperfect released to acclaim and eager appetites. Inertia is the next mighty step in the ascent of the band, one impossible to ignore or not find a forceful hunger for as well as what comes next from the five-piece.

The release opens with Nemacyst, the song taking mere moments to intrigue and fire up attention with its initial swirling graze of guitar Beneath Dead Waves Cover Artworkswiftly joined by dramatically textured riffs and demanding rhythms. Setting down its frame, the song erupts into a thrash fuelled rampancy driven by the raw vocal squalls of Draper, his tones an appealing irritant to match the nagging surge and intensity of the guitars. It is a stirring start which only strengthens its lure when Draper switches to clean a delivery, the frontman showing impressive prowess in both his attacks, and a weave of technical resourcefulness from the guitar. Admittedly on first listens the impressively skilled flourishes felt out of place, walking the wrong side of showing off within the rapacious turmoil, but though here it still does not quite convince, across the album the stunning skills and invention only warm a lustful want for more. The song continues to twist and flirt with ears and thoughts as it crosses it’s almost eight minutes of compelling adventure, painting a startling landscape of expressive ingenuity across an aggressive canvas. It is a stunning start straight away backed up by its successor.

Delirium similarly comes out with all guns blazing, riffs and rhythms crowding senses as a sonic toxin coaxes the imagination. Establishing its intent, a step into a slower predatory stalking ensues, guitars and vocals prowling ears whilst bass and drums draw an intimidating bait to further the seduction. As its predecessor the track swerves into unexpected detours and inventive asides, all seamlessly sculpted and each imposing new narratives and textures to contemplate. As all songs those earlier mentioned influences add spice to the maelstrom but equally here and more so through other songs, you can hear slithers of bands like Dillinger Escape Plan, Korn, Lamb of God, and Exodus at play, though ultimately it is something individual to Beneath Dead Waves.

Both the compelling Deliriant and the title track grip the tightest hold of attention and appetite, the first a hypnotic mesh of dark seduction and rabid hostility which bewitches and violates simultaneously. It is a glorious and exhaustive tempest of merciless attitude and creative intensity, riffs scything across senses whilst rhythms badger and pummel their walls further. It is a formidable provocation to which the again dual vocal incitement of Draper, alluring shadows, and a searing solo cast rich tempting hues. Its successor soothes the bruising with a gentle opening, guitar and keys a warm caress courted by the darker but no more intrusive tone of the bass. With clean vocals adding their tender touch, the song is an elegant breeze though soon prone to eruptions of expressive causticity and sonic abrasing. Again there is a web of technical resourcefulness holding the imagination, taking the listener deeper into a storm gathering weight and passion within the alluring terrain. Eventually that pressure breaks for an equally tempting flame of thrash bred suasion veined by sonic spires, though one bred with melodic and stoner-esque colouring. It is another forcibly convincing emprise of sound and thoughts, the album growing with every breath and song into a mighty marker for the band.

Next up You Were Nothing pushes into a heavier rock fired premise, the vocals of Draper clean but equipped with a great growl which easily slips into his caustic side whilst the guitars groove and court the passions with a smoothly evolving and changing intent. Not the strongest song on the release compared to its companions, the track still pleasingly shows the potent and richly pleasing diversity of the band in songwriting and sound as it makes way for the outstanding Imperfect. It is easy to see why the single lit fires in so many people and the media. From its first Korn like bait, the track just grows and towers over ears with a bitterness soaked antagonism and harsh smothering of riffs. As always it is just a moment in a constantly moving onslaught, clean vocals and melodic crooning worming in on the persuasion as technical enterprise fires up its invention. It is a scintillating encounter, the band merging styles and flavours with creative alchemy so that the song alone sparks determined interest in its creators whilst within the context of the album it shines like an anthemic beacon within a raging fire.

Inertia is completed by firstly the virulent and emotive hurricane of A Life Worth Taking and lastly the excellent fiercely yet seductively impacting Suppressional. The track brings hints of Josh Homme inventiveness into a melodic rock embrace which itself is encased in an agonizing swamp of metallic and vehement kissed voracity. It is a stunning end to a striking release, a last showing of the already impressive and sure to grow to greater heights, craft and invention of the band. They and their sound can only get better which is a thrilling thought, one you suspect a new army of fans will also have for Beneath Dead Waves from now on.

Inertia is available now via Nemacystem Records through all stores.

http://www.beneathdeadwaves.com/   

https://www.facebook.com/beneathdeadwaves

9/10

RingMaster 30/06/2014

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BENEATH DEAD WAVES crash in with ‘Inertia’ on 30th June.‏

Beneath Dead Waves Online Promo Picture

UK NEWCOMERS  BENEATH DEAD WAVES RELEASE DEBUT ALBUM THIS SUMMER!

 

London metal combo ‘Beneath Dead Waves’ drop their debut album ‘Inertia’ on Monday 30th June through all digital outlets.

Originally formed in Dorset back in 2007 by Joey Draper (vocals), Doug Cartwright (guitar) and Leigh Costanza (drums), the band take from a cluster of influences spanning from old guard luminaries such as Tool through to contemporary heavyweights such as Between The Buried And Me. The Southern riff masters blend key elements of thrash, groove and nu-metal with an aggressive attitude and progressive mindset to create a unique and striking signature sound.

 

After relocating to London and spending several years writing and recording, the band finally recruited the right members to fully enhance their sound when Matt Reeves (Guitar) and Chad McCamlie (Bass) stepped into the breach and added further weight and depth to the group. By 2013, the quintet began to hit the road and in passing opened for the likes of Monuments, Intronaut and Scale the Summit. By the end of the year, the metal crew released their new single ‘Imperfect’ which garnered strong praise and helped to boost the band’s growing following.

In 2014, Beneath Dead Waves turned their attention to recording their full length debut album, entitled ‘Inertia’. Spitting out eight tracks of venomous edgy heavy metal, the record is laden with mighty riffs and skewed phrasing all fuelled by real invention and earnest intent. From the guttural attack of ‘Nemacyst’ to the album’s namesake ‘Inertia’, which oozes true groove and innovation with its shifting sections and keen use of dynamics, and onto their recent single ‘Imperfect’ which is a blistering full frontal blast of Thrashcore aided by shrewd craft and another thoughtful arrangement, this record is sure to make its mark. Look out as Beneath Dead Waves hit the road this Summer.

 

-BENEATH DEAD WAVES RELEASE ‘INERTIA’ ON MONDAY 30th JUNE THROUGH ALL STORES-

Beneath Dead Waves Cover Artwork

www.facebook.com/beneathdeadwaves

Rage of South – I See, I Say, I Hear

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Unleashing their presence to a wider audience with the release of debut album I See, I Say, I Hear, Italian metallers Rage of South show themselves to be a highly enthralling proposition with the potential to make major inroads into the metal scene with their fiery creative sound. Merging the voracity of thrash metal with the inventive twists and nuances of nu-metal, with plenty more flavouring the brew, the Sciacca quartet captivate the imagination from the first minute of their full-length to its dramatic last. Arguably the band does not really create anything powerfully new for ears though their songs twist and challenge more often than not in a fresh and vigorously provocative way which sets band and certainly the album out from the crowd.

Formed in 2006, Rage of South consists of Tano (vocals/ guitar), Leo (guitar/chorus), Salas (drum), and Smoke (bass/ chorus) and emerged from the Read Only Memory project, a cover band in the early part of the last decade. Turning to work on their own original music alone, the members released their first EP South before changing their sound and intent into a new direction, the moment when Rage of South stepped forward. The release of I See, I Say, I Hear follows a successful year in 2013 which saw the band play the Rock Metal Fest in Taranto, chosen as one of five from 140 emerging bands across Europe. Signing with Red Cat Records for the release of their album, Rage of South looks like making this year just as potent and successful, the release’s strengths and exciting presence holding all the promise to break into a wider, stronger attention.

From the short provocative Intro, the band instantly takes a grip with Sheep as thumping rhythms, gruelling riffs, and antagonistic 632851d6a5e0ef80dc04b7c881d7730eenergy unleash their compelling suasion on the senses. Vocally too the song provokes and incites with craft and passion, their coaxing as impressive as the rigorous and aggressively inventive sounds around them. The song lurches and stomps from start to finish, sinews barracking and nostrils flaring as the intensively driven nu and groove metal fusion violates on a thrash bred urgency whilst sonic enterprise wraps its toxic tendrils excitingly around the whole things.

The immediately punchy Silence continues the impressive start, riffs and grooves again casting a contagious impacting mesh which rhythms and bass intimidate and darken respectively. As with the first song essences of bands like Korn whisper loudly within the tempestuous brawl of sound and animosity but with the rhythms rampaging at certain times with bestial intensity and guitars matching their predacious fury, the track is a constant exhilarating predator, an enthralling encounter matched by the following Prayer. Unveiling an acidic web of guitar to cage attention the song reveals itself a less forceful encounter, passing through captivating melodic scenery with similarly reflective and emotive vocals. It still involves rigid rhythms and rapacious colouring from the guitars and bass but with a pleasing sonic skill and imagination from Leo it is a different kind of an absorbing encounter.

Both Stay Down and That Fear About Me keep thoughts and appetite enslaved, the first though not as striking as the previous songs providing a constantly shifting and persuasive landscape of thought and creative incitement whilst the second almost preys on the listener, prowling and taunting ears and psyche with roving rhythms and entwining sonic endeavour within a caustic and pleasingly raw bluster. Again the song is in the shade of those first few songs but still adds more to the potency and promise of album and band, as does the harder lipped Reflection with its seemingly irritable rhythms and blazing riffery, complemented by just as assertive vocals. The song borders on belligerent as it holds ears and satisfaction in its rewarding hands, scolding and seducing with impressive design.

The wonderfully niggling groove and spite of The Falling Down brings the return of the very lofty heights of the album, the guitars sculpting a corrosive net of sonic animosity aligned to punishing rhythms to which the band’s imagination brings its own excitingly textured ideation. The song is a bewitching protagonist revealing more of the undeniable promise of the inventive band.

     Theme of Juliet provides a rigorous melodically bred slice of accomplished and vivacious multi-flavoured metal before the opening groaning riffery of Let Me Die takes over to forge another major pinnacle upon I See, I Say, I Hear. Instantly the guitars are grinding their toxicity into the senses, swiftly raising new hunger in the appetite as its narrative emerges whilst rhythms add their distinct weight to the persuasion alongside a heavy throated bass line. It is the nagging intrusive grooves though which steal the show, their toxins permeating every synapse and thought to ultimately seduce the passions for the best moment on the album.

Closing with the mutually outstanding Approved, another track scything through the senses with sharp infection soaked grooves and unpredictable invention, the album ends on a massive high equal to the way it started. Certainly there is more to come from and more for Rage of South to find to truly become a distinctly unique prospect but as proven by the immensely enjoyable I See, I Say, I Hear, they are well on the way.

I See, I Say, I Hear is available via Red Cat Records now!

http://www.rageofsouth.com/

8/10

RingMaster 17/05/2014

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