Soldierfield – Catharsis

 

SFpromo5Lo

It has been a long timing coming, well it feels that way since the release of their acclaimed and outstanding EP Bury The Ones We Love in 2012, but now UK melodic metallers Soldierfield return with their highly anticipated debut album, Catharsis. It is a release which like so many others we had high expectations of and fierce hunger for, and it is fair to say that the tempestuous rampage suffices all wants and much more. Simultaneously continuing where the previous release left off and forging new expansive landscapes for their songwriting and feverishly flavoured sound, the quintet has created an incendiary device of enterprise and raw force to set the British metal scene ablaze.

Soldierfield was formed in late 2011 when guitarist Andy Trott linked up with bassist Simon Priestland to work on and unleash songs the former had been working on. Deciding to put out some demos the pair pulled in vocalist Leigh Oates (Order Of Voices, Rise To Addiction) who expelled his lyrical and vocal prowess upon the tracks. The first song unveiled instantly sparked a buzz in the underground scene and within the industry which led to the band signing up with Metalbox Recordings. Subsequently the Bury The Ones We Love EP was uncaged with the line-up completed by guitarist Steve Wray (Rise To Addiction, BLAZE), who produced the EP and now the album, and drummer Jeff Singer (Paradise Lost, Kill II This, China Beach, BLAZE). Continuing to reap the richest essences of numerous styles and flavours to infuse into their own invention, Soldierfield, with Wayne Banks (Joe Lynn Turner, Sabbat, BLAZE, Messiah’s Kiss) now on bass, raise their and British metal’s bar again with the impatiently waited for Catharsis.

The album is an aural emprise which immediately ignites a fire in ears and emotions, but proceeds to unveil more depths and potency over time to perpetually seduce the imagination. From their first offering, The Light, band and album enthrals and trespasses through ears into the passions with virulent and creative ferocity. Theirs is a sound which sounds deceptively familiar but equally wholly fresh and distinctive, no more so epitomised than the opening track. Seemingly entering from where final track The Path on the EP left off, The Light is a bridge between and gateway into a new chapter and realm of adventure. Its dawning presence is a restrained and melodic tempest which draws near with every sonic agitation before exploding into a predacious and rhythmically intensive stride. Riffs flame and flirt with their enticing whilst bass and drums provide an enslaving bait, it all capped by the outstanding sandy toned vocals of Oates. As potent and expressive as ever, straight away there seems a thicker impassioned drive to his tones which is matched by the carnivorous riffery and colourful designs cast by the guitars. As rampant as it is resourceful, the track is a stunning start which with moments of Manic Street Preachers like persuasion has the appetite drooling.Soldierfield - Catharsis - Artwork

The following Beautiful Lie rigorously strides the same plateau, sonic intrigue seeping from every guitar spawned note as intimidation drives every swinging beat. There is an instant drama to the song which is ushered in through the throaty basslines of Banks and stretched by the vocal tenacity of Oates and the acidic invention sculpted superbly by Trott and Wray. As its predecessor, the song offers for no definable reason a familiar face but is soon twisting its character and presence with riveting craft to leave ears and thoughts engrossed before both The Only War and Burn Bright ignite their impressive persuasions. The first of the two opens with melodic elegance and beauty across a peaceful atmosphere, the guitars painting an enthralling picture before the more rugged landscape of the song is revealed and painted by the impassioned vocals of Oates. Flirting with thrash and groove metal, the song is soon aflame with gripping enterprise from the guitars and prowling rhythmic tempting from Banks and Singer, a mix emulated by its successor within a far more savage and inhospitable atmosphere. The track merges extremes of texture and attack with fluidity and thrilling resourcefulness, raging and seducing within a just as agitated and varied sonic climate.

The pair of Monochrome, an exceptional track which exploits a horde of fierce and inflammatory styles to create another major pinnacle on the album, and the bewitching Ghosts sublimely spark hungry waves of pleasure and satisfaction through ears and emotions. The first truly encapsulates the band’s invention, a tempestuous fusion of varied sounds and flavours which is as adept and majestic brawling with or seducing the listener, whilst the second is an unpredictably transfixing offering which needs more time than others to reveal all its qualities but emerges just as handsomely accepted and devoured. This can also be applied to the dramatic presence and evolving creative narrative of New Religion and the enchanting gentle croon of the album’s title track where Oates again reinforces his vocal prowess.

The next up Nothing Left springs with the same melody fuelled lure as the last song but is soon shrugging of restraints to emerge as a voracious and turbulently volatile storm which only feeds the greed surrounding the release, especially when it still shares its fury with moments of unbridled beauty. The ferocious treat is replaced by the album’s closing track, the mesmeric Cut the Ties, a song blending wiry and seductive melodies with sinister basslines and breath-taking vocals; the track a stunning finale to a superb album.

Catharsis confirms all the early thoughts and assumptions about the potential of Soldierfield and much more, with only the fact that some songs do not linger in memory and thoughts as potently as they should and deserve a slight puzzle. Nevertheless the album is still one of the year’s major highlights and company very hard to tear oneself away from.

Catharsis is available now digitally and on CD via Metalbox Recordings @ http://metalboxrecordings.com/shop/index.php?route=product/product&path=59&product_id=57

www.soldierfieldband.co.uk

RingMaster 18/11/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

Hellish Outcast – Stay of Execution

Photo by Fotograf Jarle Hovda Moe

Photo by Fotograf Jarle Hovda Moe

Simultaneously a tsunami of organic hostility and premeditated intimately defined brutality, Stay of Execution from Norwegian metallers Hellish Outcast is quite simply one of the finds of the year. Not that the Bergen quartet are real newcomers, the band has been tearing up the local underground scene since 2001 and making a potent announcement of intent with debut album Your God Will Bleed two years ago. Their new album though is a whole new murder-pit of creative antagonism and majesty from the band, a rhythmically crippling and sonically ravishing destruction and seduction of the senses. Described as thrash/death metal, their sound is so much more than that limiting tag, the album inescapable evidence of a vicious and scintillating tapestry of varied flavours and styles picked apart and used as weaponry in one of the year’s major triumphs.

Formed by guitarist Martin Legreid, bassist Mads Mowinckel (Breed), and drummer Mads Lilletvedt (Solstorm, ex-Byfrost), Hellish Outcast as mentioned was swiftly an attention grabbing and growing force in the Norwegian underground scene. 2006 saw the release of the demo Release You from Their Soil, and two years later came the unleashing of the Raping – Killing – Murder EP which drew keen and favourable attention on a wider scale. The addition of vocalist Thebon (ex-Keep Of Kalessin) in 2010 helped trigger a new twist and attitude in their already visceral sound, a spark ensuring Your God Will Bleed was well-received by a more potent spotlight . Stay of Execution takes it all to another level though, the expanse and maturity in sound and songwriting as marked as the greater insatiable brutality accompanying it. It is an album which tears senses and psyche asunder whilst serenading them with addiction binding grooves and melodic toxicity. Stay of Execution is exhilarating, rigorously compelling, and a release impossible to get your fill of.

It is fair to say that as soon as an avalanche of riffs and rhythms cascades down on the senses through opener Partition of Lust, the album takes a tight hold of ears and attention. It is an instinctively anthemic lure, the creative artillery of beats from Lilletvedt rigorously enticing bait within which riffs cast their own raw tempting. It is an onslaught which never waivers in its demands and punishing intensity, only increasing its savagery as the malevolent vocal squalls of Thebon explode in the maelstrom of spite. Though there is a repetitive core to the track, it just as grippingly unleashes strong variation in voice and grooving to provide the most hostile and irrepressibly addictive start to the release.

Things only accelerate in persuasion and ingenuity as the following punkish brawl of I Can No Longer See the Sun erupts. The song’s subsequent barbarous body is swiftly drawing on groove and nu-metal tendencies as it dips into the 10653627_10152640278209718_9183828471053285056_ndeath bred corners of muscular animosity. It is a bewitching pillaging of the emotions, at times crooning with melodic and harmonious beauty and in other moments stripping the senses bare with vicious and merciless invention. Its deceptive and thrilling mastery is soon emulated by the lethal breath and inhospitable landscape of Heresiarch, the track a stalking predator but again unafraid to sooth the wounds it’s rhythmic and sonic claws dig with a weave of warm melodies and spellbinding clean vocals. The song is ravenous in its fierce imagination and seductive through the grizzled radiance similarly expelled.

The corrosive rancor of the thrash fuelled Hunter Supreme comes next, its title perfect naming of the exhaustive sound within the predacious enmity masquerading as a song, before a new pinnacle is forged with Gods of Fear. This track is as primal as it is innovative, the opening crawl of riffs and bass intimidation bestial at best and tar thick malevolence at its deepest. It is soon engulfed in another thrash driven tirade of death and groove metal blood lust yet manages to hold a rein on its venom to more taunt the imagination and emotions. Scorched with a blistering solo, the track is a monstrous rancor and virulently infectious.

Leave offers its own outstanding violation next, its entrance a mellower coaxing than anything provided before on the album but also as portentous and menacing as those same companions. With a slow groan of a delivery from Thebon exposing the song’s narrative as at times vocal harmonies magnetically colour the background, there is a Faith No More essence to the brooding incitement, a similarly distinct inventiveness as the track seduces with clean vocals and grizzled snarls musically and lyrically. It is a transfixing treat setting up the listener for the impossibly contagious presence of Machines. With a robust swing to its stride and sonic tenacity to its enthralling enterprise, the track is loaded with a creative rabidity which is pure fascination. A round that is a ferocity which is honed into something controlled but forcibly hungry. The mid-point slip into a stark and dystopian like metallic soundscape does not quite work with personal tastes, mainly for the length it consumes before allowing the severity of the blistering storm to return, but it cannot derail another track from impressively igniting body and passions.

The album’s irresistible title track makes for a distinct and intriguing antagonist next, its winding grooves like sonic ivy entwining the imagination and lingering in grip, before both Morbid Attraction and Torment unveil their destructive and thrilling characters. The first is a nostrils flaring, fist pounding hellacious assault; riffs and rhythms scything and swiping respectively upon the senses with barbaric and deliciously infectious urgency whilst its successor almost glares at the listener with its initial imposing stance before casting a canvas which is as predatory in tone and effect as it is sizzling in unpredictability and melodic imagination. Both tracks, as the whole album throughout, share searing and unique displays of sonic invention from the guitars aligned to exciting vocal variation and an enslaving rhythmic animus. It is a starling blend, which in whatever individual form the combination comes, never loses the band’s almost inimitable touch.

The album comes to an end through the instrumental beauty of The Wait, an acoustic led piece of music which is expressive in melodies and spellbinding in elegance. It finally gives time for breath to be taken within Stay of Execution, though in some ways the senses feel it might have been more useful earlier. The track makes a provocative close to a devastating and mercilessly thrilling release whilst at the same time revealing yet more of the qualities and thoughtful adventure within the band.

Whether Stay of Execution is forging new scenery for extreme metal is a debate which can be argued either side way. It does provide without any doubt though one of the most exciting and refreshing releases this year, pushing Hellish Outcast to the frontline of brutal pleasure.

Stay of Execution is available via Listenable Records @ http://www.shop.listenable.net/en/81_hellish-outcast

https://www.facebook.com/HELLISHOUTCAST

RingMaster 22/10/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

Target: Renegades – [Press Start]

10436323_663689893723822_7712423453858559499_n

Heavy, imposing, and rigorously compelling, [Press Start] the debut album from UK rockers Target: Renegades, may not be a ground-breaking offering but it is a release demanding attention and inspiring perpetual returns to its muscular arms. Everything about it snarls and confronts, but with rugged charm and passionate intensity which turns familiarity into a raw asset, the album is a potent and riveting declaration of the accomplished craft and rich potential within its creators.

Hailing from the North-West of England, Target: Renegades has been earning strong attention and acclaim with their ferocious hard rock bred sound, 2012 seeing them voted by music fans as the Unsigned Revolutions Award winners. Alongside the release of their debut release, the Corruption For Beginners EP and the band’s stature as an impressive live proposition, which has seen them play with the likes of The Vibrators and I Am Giant, it has been a powerful emergence which [Press Start] only reinforces and pushes to another level. Produced by Daniel Lovett-Horn of another of the UK’s best formidable underground talents, Promethium, [Press Start] hits hard and with ferocious relish from the start , showing the quartet of vocalist Adam Hulse, guitarist Daniel Fide, and bassist Jack Hamnett, alongside drummer Steven Erskine who has since left to be replaced by Matt, as a thoroughly masterful and thrilling incitement.

The album opens with Once Was Strength and an initial web of sonic enticement from the guitars. It is an imagination awakening start which intrigues without setting a fire, though the addition of a dark throated bassline and crisp percussion certainly enlivens the lure. A great roughly touching groove soon ignites infectiousness in the song, egged on by the great abrasing and potent tones of Hulse, whilst a heavy swagger is soon in charge as the encounter increases its impressive persuasion. Rhythms badger ears with the same composed relish as elsewhere throughout and though it lacks a final spark to explode into an outright storm, the track is an exciting and captivating opening to the album.

The following I’m Not Emotional is more of the same but with an openly distinct character. Contagious and clad in intimidating sinews, the track strides with imposing antagonism and creative tenacity to push the release up another step 1011910_473542209405259_773939138_nright away. Vocally Hulse again impresses whilst rhythms dangle addictive bait before ears, it all glazed with a sonic mist and causticity woven skilfully by Fide. The bass of Hamnett almost stalks everything around it, again its heavy grizzle of a tone magnetic within the sonic smog. The track is riveting and makes a raw tempest to which the following melodic beauty of emotive Wounded offers a superb contrast and companion. Showing more of the vocal depth of Hulse and creative potency of the band, the song plays, as its predecessor in many ways, like a mix of nineties band Skyscraper and Pearl Jam. It is a tantalising and bewitching mix of power balladry and raging passion, which with the last song sets the pinnacle of the album.

Oro provides a swift and muscular kick spawned from scarring riffs and menace drenched rhythms whilst vocally Hulse whips up an anthemic dirt ball of confrontation and antagonism. It is a great addictive track continuing the lofty plateau of the album, and a riot you can only imagine whipping up live audiences in an eager frenzy. Its hostile stomp makes way for the similarly intensive but more restrained Vulture, another song employing recognisable essences but turning them into a flavoursome spice within the band’s own honest and accomplished recipe. Once more a grungy infusion makes its potency known to add further flavour, though ultimately the enjoyable encounter does not manage to rival certainly the trio of excellent triumphs before it, nor the insatiable rampage of These Eyes Judge which follows. Storming ears with fiery riffs and rapier like beats the track roars and charges with merciless intent across its length, merging this rabidity with more restrained moments which lack the spirit and fire of the rest of the nevertheless gripping encounter but certainly does its potency no harm at all.

Its imaginative and stirring finale leaves an enthralling enticement which is immediately taken up by Say Goodnight and its opening dark roaming bass shadows and spicy sonic weave of guitar. The final track of the album stalks ears and thoughts with its persistent heavy footed and evocatively intensive presence, providing an atmospheric landscape unafraid to visit elegant and melodic embraces which in turn explore rawer and more impassioned blazes of adventure and sonic bluster. It is a glorious end to the alum, its most adventurous and sublimely provocative offering leaving the listener basking in the potential it alone offers for the band.

[Press Start] is a striking and exciting debut from a band you can only see growing stronger and more boldly inventive as they evolve and explore. Target: Renegades is the name to watch out for, one as it is easy to assume we will be hearing plenty more of ahead.

[Press Start] is available now digitally and on CD @ https://itunes.apple.com/gb/album/press-start/id890500862 and http://www.targetrenegades.bigcartel.com/product/press-start-album-cd respectively

http://www.targetrenegades.co.uk

RingMaster 17/10/2104

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

Subservience – Upheaval

Subservience Promo 2014 LR

Equipped with a noticeably heavier presence and voracity in vocals and sound, metallers Subservience unleash their new EP Upheaval to not only reinforce the band’s reputation as being one of the most exciting extreme metal bands emerging in the UK, but push them towards the fore of British metal in general. Consisting of four savage and unrelenting onslaughts loaded with the insatiable grooving the band is renowned for, the release is a virulent tsunami of brutality and contagious predation. It hits and swings with greater ferocity and energy than a wrecking ball yet assaults ears and passions with an inescapable anthemic and easily accessible binding. It is a glorious rampage which you can maybe argue about its originality but cannot dismiss the skilled and vicious infestation it unleashes on the passions.

Hailing from Brighton and formed in 2010, Subservience has only constantly increased their presence and garnering of fans and support since releasing the Blueprint To Chaos demo in their first year. A well-received split with Sa-da-KO followed in 2011 before the EPs Dystopia and Ripped In Half of 2012 and 2013 respectively, caught a wider imagination and spotlight. Both were furious and intensive slabs of metal but in hindsight just a teaser for the might and fury uncaged by Upheaval. The first with new vocalist Dan Lofthouse, who alone has added a more potent almost bestial essence to the music through his uncompromising and accomplished tones, the EP bares a creatively forceful intensity in sound and craft which surpasses the band’s previous successes and puts up the band’s death metal bred, groove infested malicious emprise as a true attention grabber.

The release opens with its title track and coming from a distant sonic lure is swiftly colliding with the senses, the destructive and merciless riffery of Ryan Jardine and Martin Shouler carnivorous protagonists within the scything swipes of drummer Tom Newland. It is a callous assault but one unafraid to offer small respite with a melodic regrouping before unleashing its full venom again, though it continues to allow very quick breathes to be snatched within its pestilential savagery. It is an outstanding start, Lofthouse an irresistible and intimidating provocateur to sound and ears whilst the brooding but no less vicious bass riffs of Scott Bishop, bring further menacing colour to the corrosive portrait offered. As Subservience Upheaval Artworkthe release, the song is all about the grooves and hostility from its riffery and rhythms but there is no missing and refusing the twists of potent invention spawning all aspects and the infectious bait seducing imagination and passions.

Second track Inhuman Savagery has no shyness in consuming and brutalising ears from the off either, though grooves are quicker to ingrain their toxicity and the overall initial intensity of the song is slightly reined in compared to its predecessor. It is a tempestuous beast of a song, its sonic predation and merciless rhythmic inhospitality more enterprising and reserved in character but still colliding with body and senses like a mountain collapsing under the weight of its malevolence and antagonistic intent.

Slither comes next, stalking the listener’s senses and psyche from its first touch but winding a melodic enticement around its predacious coaxing. Of course it is not long before the song is gnawing and oppressing the senses with its caustic grooves and inflexible intensity but this is tempered by the slight but effective melodic lures which escape across the song. Though overall it lacks the spark of the tracks around it, the torrent of repressive riffs and rhythms which core the song predominantly ignite thoughts and passions, especially with the matching ear grinding guttural tones of Lofthouse on top, and the track another insatiable and irresistible incitement.

The EP is brought to a close by Divine Malevolence, vocals and thumping beats a colossal roar and bruising from its first second and the subsequent furnace of flaming acidic grooves and anthemic barbarity severe addiction. The track is a leviathan of searing grooves through a tar thick climate of cruel rhythms and scarring riffing, all driven and lorded over by the excellent almost tyrannical vocal presence of Lofthouse. It is a brute of a proposition which ensures a scintillating end to a thrilling release.

Subservience has pushed their potent sound in an impressive direction between releases and as suggested is now poised to step into the front line of British extreme metal. They have still a short way to go to forge a truly unique sound but with releases like this it is fun waiting.

The self-released Upheaval EP is available now.

http://www.subservience.co.uk/

RingMaster 15/10/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

 

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—
 
ano 

 

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

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

 

Overpower – Greatness Within

a0475773180_10

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

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com