Blankfile – Self Titled EP

Photo by Bojan Stevanovic

The new self-titled EP from Serbian band Blankfile is a release which can be persuasively encouraging, intent to ask very firmly, or eagerly willing to brawl with the listener just to get its way and get your submission it will whatever your defence with its quartet of stirring and incendiary track punk infused hardcore tracks.  An EP continuing the shift and evolution in sound and songwriting which has emerged over past releases from the band,  it is a forceful and contagious slab of unbridled ferocity and passionately crafted enterprise.

The seeds of the Belgrade quintet goes back to 2002, though it was with a big change of line-up and new intent with their sound in 2008 that the band began finding more recognition and awareness towards them.  From their Fast Foreword EP in that year of evolution to second album Turning the Season two years later, the Blankfile sound has found a darker and more mature presence which has stoked up firm responses and appetite. A band which typifies DIY attitude, Blankfile has alongside building their reputation and musical strength through releases, gigs, and festival appearances in their homeland and further afield, also helped others, the joining up with a concert promotion group Means to Amend Promotion giving them the opportunities to organize gigs for local and foreign underground bands in Serbia. The release in 2012 of new song Roadkill with its excellent accompanying video suggested an even stronger move within their creativity which this new EP confirms and builds upon.

The EP rips a chunk out of the ear immediately with I Alone, thumping rhythms and searing sonic bred riffs scoring a deep invitation into the awaiting senses. It is a riotous start brought with skilled control and compelling aggression, but an assault honed with a sculpted melodic and abrasive enterprise which brings creative flames forward with clarity and furious energy. The vocals of Stefan Ciric and guitarist Petar Novakovic swing between squalling and relatively clean declarations for an excellent mix, their anthemic unity a raucous beckoning to the heart of the provocation whilst the beats of drummer Filip Stojanovic and growling licks of bassist Dusan Jovanovic impressively frame the fire. It is an impressive start which is enhanced by the guitars of Novakovic and especially Nenad Filipovic carving the air with accomplished sonic invention, to complete the trigger for a full and heightened greed for EP.

The following Separate The Oceans From The Skies approaches with a melodic vocal persuasion holding full engagement with the ear whilst the guitars and percussion shape the presence of the track with sonic thought and atmospheric expression. As it opens up its arms for a full sunrise of pop punk like embraces the song suddenly leaps upon the ear with energised and elevated urgent heat, the breath of the song now caustic yet wholly welcoming. The songwriting really shines here as the band and song unveils an evocative unpredictability to its invention and creative tempest. It extends the excellent start to the release whilst also showing an elevated diversity within the imagination and craft of the band.

The persistently barracking anthem honed Far From Your Eyes and Close To Our Hearts complete the EP, the first another storm of attitude, heart, and explosive intensity twisted within a frame of predatory rhythms, acid dripping riffs, and rapier cutting sonic enterprise which again serves  up directions and intriguing endeavours which ignite full excitement and satisfaction. The closing track starts with a sound similar to its predecessor but soon develops its own distinct and contagious stance as ear carving thrust of magnetic riffs and melodic toxin run forcibly through the veins of the carnivorous passion driving the excellent song.

The EP is a thrilling encounter which inspires rich gratification for its coarse and irresistible charms whilst still suggesting Blankfile have more to discover and ignite within their maturing ability and invention. One of the best melodic hardcore releases this year so far.

http://blankfile.bandcamp.com/

https://www.facebook.com/blankfileband

8/10

RingMaster 16/05/2013

Copyright RingMaster: MyFreeCopyright

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Axecatcher – Sparks & Spears

If in a rare moment of lucid insanity you wondered what standing eye to eye with an electric paint stripper would be like once its switch was flicked Sparks & Spears from Irish sonic aggravators Axecatcher gives you the most vivid representation of the effect. Caustically malevolent and abrasively determined, the four track EP is an impressive and inciting fury with addiction causing sounds to back up its unbridled passion.

Hailing from Limavady, the hardcore driven trio of vocalist/guitarist Ryan Montgomery, bassist/backing vocals Colin Wilson, and drummer Danny Kane, has taken no time since forming in late 2011 in recruiting an ardent and passionate following for their heavy, intrusive, and merciless sound with acclaim not far behind especially with the release of their first single, the seven minute senses aggressor The Odalisque in the July of last year. The track drew strong attention their way which Sparks & Spears will only build upon and accelerate with its recent release via the excellent Belfast label Savour Your Scene Records digitally and as a limited cassette.

From the opening scrub of guitar bringing Circle Pit Roller Derby into focus, there is a sense of animosity and belligerence in the air but also a feeling of irresistible compulsion soon reinforced by the expulsion of squalling acidic vocals from Montgomery, punchy rhythms, and a groove which gnaws at the ear with immediate contagion. Bass and guitar make a vociferous call within the fiery assault, their temptation relatively familiar but extremely potent whilst the vocals continue to leave a raw and uncomfortable challenge to accept or fall before. The track has a rich breath of punk to its harsh muscular ferocity, like a mix of Cancer Bats and early Therapy?, and leaves the appetite burning for more which is soon rewarded with the following Seismic Toss.

Thrusting intense riffs and again crisp enslaving rhythms at the ear, the song unleashes an additional sonic scarring as deep and rich as the corrosive vocals accompanying it, all within a sturdy but less predatory rock confrontation compared to the punk attitude of its predecessor. As the song expands its persistent grazing it moves shuffles its gait without losing any of the passionate intensity and flesh peeling almost feral hunger, the track initially charging at the senses like a downhill aimed sinew clad missile before emerging as a doom lined rapacious prowl both with the equal result of full submission to its intent.

Methuselah is the best track on the release, a twisted conspiracy of deliciously infectious sonic fuelled grooves and a cleaner but still confrontational vocal attack this time from Wilson. The track is so brief, too short to be honest with an audible groan expelled here as it finishes its impressive presence in under a minute, but again shows the extent of imagination and even greater promise within Axecatcher and their songwriting. The track leaves the strongest lustful greed in tow for the EP and further tempests from the band, its evolving presence and ridiculously persuasive enterprise alone a reason for marking the band in the centre of one’s attentive radar.

The final song Youfinder also reveals further strength in the creativity of the band, its sirenesque sonic entrapment wrapped in an intense wash of melodic temptation and aggressive passion fired up further by the searing scourge of vocals from Montgomery, his touch arguably going to be a do or die encounter for many but certainly as essential to the heart of the sound as the excellently crafted music itself.

Sparks & Spears is a strongly impressive announcement of a band which has all the potential and suggested weaponry to bring a new blood and breath to hardcore. Axecatcher will also not be taking any prisoners in their destined ascent as shown by this excellent EP.

www.facebook.com/axecatcher

http://savouryourscenerecords.bandcamp.com/album/sparks-spears

8.5/10

RingMaster 10/03/2013

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A Sudden Vengeance Waits – The Rising Cost Of Free Speech EP

The Rising Cost Of Free Speech EP form Welsh punks A Sudden Vengeance Waits is a release ready to brawl with the ear, senses, and anything else or one it can get its riotous hands on. It is also beneath the live raw and abrasive surface a forceful confrontation which reeks of potent promise.

Hailing from South Wales, the quintet of vocalist Peran Bennetts (aka Piranha), guitarists Dan Magonk and Tom Connor, bassist Rob Tornya, and Jon Swain on drums, has earned their sonic knuckle dusters through experiences playing in the likes of Black Eye Riot, Da Capo, Four Letter Word, Energetically Challenged, The Bundy Men, In The, The One Chord Wonders, and Smash TV. A Sudden Vengeance Waits sees the bruising musicians forge an assault from the blend of punk and hardcore driven by some of the most potent and filthy rock n roll riffs available to the imagination. The EP is an unpolished and merciless fury upon the ear but beneath that surface abrasion it shines and begs to be given the richest of opportunities to really rip its heart out and recruit the passions.

Opener Blast Pattern Of The Blunderbuss emerges within a sonic niggle whilst throaty riffs stretch their sinews for the impending explosion of intensity and attack. Into its stride the vocals of Bennetts squall with Harperesque provocation whilst the drums bitch-slap the ear from within the caustic rub of guitar persistence. The bass of Tornya adds its own deep growl to the track and with the thumping beckoning and inventive course the song takes it all elevates the contagion of the song.

The Huntsman follows and immediately is gnawing on the senses with a deliciously predatory bass snarl and equally eager to consume riffs. Slipping into an intensive groove and air squeezing sonic acidity with vocals to venomously match, the song persuades with infectiousness which is irresistible and a barracking rock n roll attitude which sets up the emotions for recruitment to its uncomplicated yet passionate cause. Barely has it departed then Drag Me Down leaps at the ear with equally hungry intent in its rampage, the song a cacophony of bone splintering rhythms, heavily tuned bass insistence, and rasping grasping vocals, individually and as a combined storm. As its predecessors the track provides a hook impossible to refuse and sets up the rest of the EP with a new greed.

The Rising Cost Of Free Speech is completed by firstly Unite And Fight, a distortion fuelling addiction causing tempest of prime punk rock, vocals and riffs an easy temptation to devour and its discordant groove an insurance plan to seduce the passions in case the other elements still leave doubt, and Hiding To Nothing. The closing track sums up the release perfectly, toxically unrelenting, flesh scarring, attitude spitting, and completely insatiable in its hunger and the appetite it ignites in the listener.

Admittedly the EP is really only going to appeal to genre fans, its punk destructive tones certainly with the demo quality and pure rawness of the sound not going to persuade the undedicated, but The Rising Cost Of Free Speech has plenty to inspire the suggestion that in the right environment they have a triumph in them which many many more will fall before. For the now A Sudden Vengeance Waits certainly has us convinced.

http://dbs101.wix.com/asuddenvengeance

7/10

RingMaster 25/04/2013

 

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IEatHeartAttacks – You Don’t Need Oxygen To Walk On This Fake Moon

Stepping forward to brawl with the senses and ignite their hunger at the same time, Norwegian hardcore band IEatHeartAttacks is one of those thrilling introductions which proves that noise annoys is a term coined by the clinically uninspired. The pair of brothers making up the band challenge with a wonderful abrasion of sonic provocation and addictive imagination which toys with pain and seduction, though even that has a willing cost in sanity such the unpredictable fury and corrosive breath at work.

The bio for the band simply says ‘Two guys from the same womb got together and started playing hardcore.’ Those musicians are Jon Iver Myren and Arne Mathias Myren, siblings offering a guitar and drum attack with squalling vocals which wring every ounce of passion and spite from their words. Other than that and the fact that their new EP You Don’t Need Oxygen To Walk On This Fake Moon was recorded in January at RUB Studios, produced by Erik Fossmo, engineered and mixed by Terry Smith, and is wrapped in the artwork of Jan Magne Abel Opsahl, there is not much more we can tell you about the creators of this fine release. It does follow their previous also impressive two track release .​.​.​And The Pianos Become The Teeth and cements the band as one to keep a close eye and ear upon; whether they can make a major breakthrough is hard to predict as with any band, but the prospect of them producing more intriguing and contagious sounds is surely a given.

The release immediately sets the passions on alert with the opening to Black Hearts, the scaly rust coated grooves which flare up simply delicious whilst the storming drum rhythms equally incite an immediate awakening of the senses. The vocals scar with their caustic embrace, the squalling storm of expression demanding whilst the music and its shifting presence and ideas enthralling. It is a dramatic and contagious union which leaves exhausted satisfaction in its wake even at its brief length. It is an immense start which already has forged a strong connection between thoughts, passion, and the release.

The following Refuge Tropicana springs from a distance before pouncing with its intensity primed and hunger gnawing at the ear. It is a less forceful encounter compared to its predecessor yet has an intimidation and strength which is equally imposing and caging. Again the rhythms round up the appetite with their rolling and roaming rapaciousness whilst the vocals engrain their raucous voice deeper into the lure of the release. Though not close enough to be in touching distance of two minutes, the incendiary temptation of the guitar and its sonic beckoning as well as the bulging rampancy of those beats makes its swiping attack irresistible.

Both E.I.I.E and Two-step Paranoia explore the wounds made with masterful craft and thought, the first with a simple yet impossibly potent grilling of riffs and sonic groove littered expression whilst the closing song on the EP is a final tempest of provocation, the drums asking the questions and the guitar coaxing the answers forth, whilst the vocals dispute everything. It is a tremendous end to an outstanding release.

If you are looking for some adventure and something different from your hardcore then IEatHeartAttacks and the You Don’t Need Oxygen To Walk On This Fake Moon EP is a must and as it is available as a free download from http://ieatheartattacks.bandcamp.com/ why are you still here?

https://www.facebook.com/ieatheartattack

9/10

RingMaster 24/04/2013

Copyright RingMaster: MyFreeCopyright

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Lo! – Monstrorum Historia

In 2011, Australian violators Lo! seized and exposed raw nerves within the senses with their debut album Look And Behold, at the same time they lit a furnace of passion towards their sonic creativity for a great many such as us. Monstrorum Historia sees the return of the Sydney quartet but would it have the same power and enslavement as its predecessor. The simple answer is yes and then some. The band once again forge their own distinct form of invasive metal through a merger of the most insidious strains of hardcore, black metal, and crushing sludge metal, but this time the resulting corrosive tempest is even more impressive and ferocious, and wonderfully exhausting.

Released via Pelagic Records, the new album unleashes a brawl of violent imagination and creative intensity which makes its predecessor’s vicious beauty seem almost lightweight in comparison. Their breeding of sonic antagonism and contagious invention has found stronger potent depths and the imagination of the band a greater open malevolence which leaves only undiluted sore pleasure and invigorated intrusive satisfaction in its caustic wash.

The opening track As Above is a slowly dawning menace, the dramatic keys marking its arrival suggesting danger soon accompanied with the same intent by the sonic commentary of the guitar. As thumping rhythms from drummer Adrian Griffin bring their intimidation to bear upon the brewing event, the bass of Adrian Shapiro unleashes a predatory prowl which only increases the stature of the compelling intimidation. It is an instrumental which taunts and plays with the fears and punctuated by accumulated crescendo of all elements, it is a stirring and impossibly strong hook to start off the release.

Its departure is barely a whisper past before the following Bloody Vultures swoops with its hungry ravaging. Persistent virulent riffs abrase the surface of the ear whilst vocalist Jamie-Leigh Smith adds his caustic squalls with equal intensity and spite to proceedings, the delivery and attack of the frontman also having taken a leap on in intensity, his malicious searing squalls as well as the control he exerts honed to reap their strongest effect. Snarling like a beast in heat, the song shifts its poise continually without losing any power in its attack but ultimately it’s intent to chew up the listener with crushing rhythms and carnally inspired riffing wins out.

Tracks such as the equally carnivorous Ghost Promenade and the sonically intrusive Caruncula work on the senses further, softening up their defences with enthralling invidious invention whilst the villainous temptation Haven, Beneath Weeping Willows takes the listener on a walk through a landscape of doom coated atmospheres and tantalising yet sinister dark avenues. The instrumental is a canvas for thoughts and emotions yet an open aural painting in sound which conjures an inescapable distrustful landscape expertly sculpted from the uncomplicated but inspired strokes of the guitar of Carl Whitbread and the bass of Shapiro.

Across its length Monstrorum Historia continues to impress and spark emotive hysteria towards its contents. Certainly it is an album which will not find a home with all but if its rapacious noise and intent makes that union it is instant ardour. Further songs such as Fallen Leaves with its suspicious dark atmospheres toying with the psyche, the fiery and brutal Lichtenberg Figures, and the deliciously hypnotic Palisades of Fire lay out further greedy grasping temptation for nothing less than full eager digestion in return, their continuance of the addictive sonic deviancy at large helping to provide as the only option by the end of the album, an instant irresistible return to its ferocious grip.

Monstrorum Historia is a barbed and spiky triumph with a ferocity and invention which leaves not only wounds and scars within its recipients but unbridled acclaim and passion. Lo! is one of the noise giants and just gets better and better.

www.lookandbehold.net

9.5/10

Pete RingMaster

Copyright RingMaster: MyFreeCopyright

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Electricjezus – Грязь поколений

Hailing from Russia Electricjezus creates a monster of a sound, a heavy expanse of weight and sonic oppression which absorbs the essences of multiple flavours and turns them into one exhausting corrosive pleasure. Their debut album Грязь поколений (translated as Mud Of Generations) is a consumptive introduction of their intense presence, a raw and merciless release leaving one drenched in their textured onslaughts and full promise.

Electricjezus is the two man project of Ruslan Frolov (guitar/bass/vocal) and Oleg Skorohodov (drums), two musicians who have reaped the seeds of their influences such as Melvins, Electric Wizard, Earth, Jucifer, Today Is The Day, Sunn O))), Monarch, Flipper, Dystopia, Pantera and many more , and twisted them into their individual forging of post rock, sludge and doom metal, black metal, hardcore, stoner and a further plenty of loud whisperings of other flavourings. With successful shows under their belt across cities such as Moscow, the Moscow region, and St. Petersburg, the pair entered the Go!Monkey studio in Dmitrov and recorded their debut album live using only analog equipment spanning years in age and from across many countries, the caustic, organically raw, and carnivorous results rife upon the release. With songs sung entirely in Russian, and an intriguing potent veining of audio samples from horror movies throughout, the album eats at the senses and oppresses the safety of thoughts and emotions. It is not the easiest listen to come across but one which lingers and inspires rich eager reactions.

As its title suggests, the album is a thick dirty expanse of sonic intrusion which starts with Корм. The track opens with an excellent film sample soon skirted by a resonating impacting bass provocation and sonic carving of the air whilst rhythms wait patiently to unleash their venom. As it moves forward a groove is equally just itching to expel its heart but first a filthy rub of expressive malevolence grips the ear before interchanging with its counterpart to tease and mistreat the senses impressively. Into its stride the instrumental gallops with a stoner urgency to its sludgier breath and continues to incite the senses with fluid and incendiary shifts in energy and enterprise. The abrasive air of the track adds to the pleasing scrub upon the ear and littered with the melodic flames of imagination and great synth crafted extras from guest musician Sasha Selezneff, it is a storm which pulls the senses right into its live heart.

Connected by a bedlamic soundbite the opener passes on to Петли обмана another track which immediately engages intrigue and appetite for its hungry intensity. Harsh squalling vocals bring another raw uncomfortable additive to the album and within the prowling course of the song, scars with insidious malevolence. A black metal embrace through the vocals especially, lays intrusive shadows within the piece whilst its successor Улицы twists it all again within an infectious beat inviting rampage. With the vocals enclosed in a seemingly secluded environment, like they were recorded in the bathroom compared to the hallway for the music which for most releases this would just fall flat, upon Грязь поколений it all adds to the villainous and satisfying experience.

The following intensive title track with its epic soundscape in length and malicious pressure upon the senses, the blink and be consumed swift attack of Плеть культуры, and the predatory Бассейн, all immerse the listener in their violations of sonic invention and rapacious greed. The last of the trio is a stoner/sludge/hardcore punk confrontation speared by a tempting groove and acidic blues lilted guitar, the rasping punishing vocals feeding on the passions and sore senses with further thrilling results. It is hard to pick a favourite track on the release but certainly this steps forward boldly with each deliberation.

The album ends with Все позволено, the song a furnace of sonic fortitude and flesh peeling grooves. As throughout, the guitar is a scything blade across the ear, its abrasive edges searing and cauterising the senses at every turn whether in a slow laboured intent or an urgent annihilation, whilst the drums chain and slap with unguarded treachery. The song is a great end to a great album. Its coarse breath and dirty touch will not be for all but for those it does enflame, the album pushes Electricjezus forward as one exciting prospect.

Grab the album as Name your price release @ http://electricjezus.bandcamp.com/

https://www.facebook.com/pages/Electricjezus/575252375818127

8/10

RingMaster 21/04/2013

Copyright RingMaster: MyFreeCopyright

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Birth AD – I Blame You

   

    Rampaging and snarling with a potency and aggressive attack which recalls the richest essences of the likes of Suicidal Tendencies, Black Flag, Municipal Waste, and S.O.D., US antagonisers Birth AD and their debut album I Blame You, is one riot to be in on at the earliest opportunity. Fusing hardcore, thrash, and the angry heart of punk, band and release unleash ferocity of attitude and sound which simply riles and ignites the senses in a welcome storm of destructive might. Part nostalgic, recalling the eighties pinnacle of their seeded inspirations, but forged with fresh 21^st century spite, the trio from Austin, Texas is an exhausting and fully invigorating confrontation and their album an equally thrilling adversary.

Formed in 2008, the threesome of vocalist/bassist Jeff Tandy, guitarist/backing vocals Brian Morrison, and drummer/backing vocals Mark Perry, took no time in becoming a bludgeoning and potent force across their home state, firing up a loyal and ever growing fan base. The following year saw an eleven-date tour of Japan as the band’s inaugural live outing as well as debut EP Stillbirth of a Nation, the release making an indelible mark on not only the local scene but further afield, which the new Alex Perialas produced album will only brand into the skin of punk and metal even deeper. Released via Unspeakable Axe Records, an offshoot of Dark Descent Records, I Blame You is a honed and instinctive furnace of passion and anger carved into mutually malicious and senses searing sound.

The eighteen track explosion gives no respite from start to finish, the flesh charring intensity of opener Mission Statement with its uncomplicated and forceful declaration starting the furnace of virulent sonic and emotive antagonism which holds its potency and strength right through to the equally barbed and lethally aggressive closer Blow Up The Embassy. In between there is no let-up but within the tempest of corrosive and barbarous fire there is as much diversity and violating enterprise as you could wish from a crossover thrash cluster bomb of violent energy and intent.

In nothing but highlights, maybe something of a surprise in an album of such a large number of tracks, the biggest peaks will focus the review but those not mentioned are only just behind personal preferences and as worthy as any other on the outstanding release. The brawling Failed State seizes the ear with a hurricane of vocal dispute with a repetitive barracking of the senses but it is the niggling grinding groove which steals the event, its insidious presence driving the force and brutality of the rhythms like a sadistic snake charmer. The track is the start of an especially impressive part of the album with its immediate successors Bring Back The Draft and This Scene Sucks also raising the fiercest fires within. The first of the pair consumes with a ravenous appetite and sonic hunger with samples of battlefields adding their energy to the controlling rhythms and scarring riffs, whilst the second taunts with a throaty bestial bass sound before expanding into a predatory and urgent assault with the vocals, singular and en masse, carving their own venomous and anthemic hooks into the irresistible presence.

Tracks like No, Man with its Dead Kennedys like hooked contagion and the title track continue the exhaustive but impossibly addictive lure of the release, the latter of the two barracking the ear vocally whilst a tight thrash lashing smarts but excites, probably more than is legally allowed, around them whilst the excellent Kill Everybody is as savage and uncompromising as the title suggests, the chorus especially a vicious assault to spark the strongest ardour.

Tracks like Wrong Again, No Jobs (Don’t Work), and Cause Problems, though failing to quite ignite the passions as those above, still leave nothing but a full on greed for more and the deepest satisfaction, something which honestly applies to every track on the release. Ok I Blame You is not breaking down new barriers for thrash, punk, or metal, but that is not the point of its existence, the band and album using existing armoury but tuning it with their own precise tools into a striking force which stands aside from most of the other similarly gaited aggressors. A mention for the excellent Parasites Die must be made, the song the emerging favourite here with its prowling groove and teasing stance coring an aural dogfight between sound and ear, of course there is only one winner.

If the likes of the bands mentioned at the top of the review are for you then open your arms for one exceptional collision with Birth A.D.

http://www.facebook.com/causeproblems

RingMaster 8.5/10

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Beyond the Shore – Ghostwatcher

   

     Though Ghostwatcher, the new album from metalcore band Beyond the Shore is not rifling the senses with anything dramatically new or before unheard, there is no denying the release is one beast of an album which leaves a sure and invigorating satisfaction behind. The Lexington-Fayette, KY quintet has released something which is as skilfully accomplished as it is destructively hungry but also finds a middle ground between extremes to heartily feed the appetites of all fans from metalcore, hardcore, and metal.

Formed in 2008 whilst its members were still at school, Beyond The Shore has evolved in sound and craft into an attention grabbing senses exploring brute of a band as evidenced by the new album. Since forming the band has shared stages alongside the likes of Born Of Osiris, Shai Hulud, MyChildren MyBride, Of Machines, and After The Burial, as well as drawing strong attention through their The Arctic Front EP in 2009 and subsequent single Shotgun Sunrise. The five-piece entered a studio to record Ghostwatcher last year before talking with many labels about releasing it. Eventually they and Metal Blade Records reached a deal to unleash the impressive album and expectations of its virulently addictive presence point to the band breaking through to new heights of recognition.

Opener Dividers is a short seizure of the ear bursting from an ominous ambience into a clutch of staccato bled riffs and firm rhythmic persuasion.  The vocals of Andrew Loucks immediately show a range from guttural growls to squalling confrontation, he delivering a seamless blend which certainly ignites a healthy dose of interest alone. Musically the track does the business too without lighting fires but at its briefness also has no time to agitate any doubts before handing over to Half Lived. The second song rampages with djent clustered strikes and ravenous rhythms from drummer Chris “The Lieutenant” Stinnett, easily capturing the imagination even if again not being outwardly innovative. Where it does excel though is the hunger each area of the track has to devour the senses with enterprise and the again impressive vocals, where a clean delivery shares the stage with the scowling passion. What also stands out is that nothing is taken to extreme but still holds a distinct character, the clean vocals snarling to avoid any sappiness and the bestial assault holding a restraint to offer clarity to the lyrical intent. The vocalist also has no fear in switching within the space of a few words his style and continually doe sit with a fluidity which only impresses. By its conclusion with an excellent guitar solo blaze grabbing headlines too, the track makes the strongest persuasion with matching rewards.

The best two moments on the album follow immediately in the dramatic shapes of Transitions and Homewrecker. The first is a furious furnace of uncompromising drum violation and equally predatory bass spite from Eli Masharbash, but it is the outstanding guitar invention and imagination of Zach Hunter and Jared Loucks which seal the deal. Opening with a Korn like beckoning and plunging bass resonance, the track wraps the ear with a gentle sonic caress before forging this restraint to an urgent and carnal rhythmic attack. As mentioned the guitars shape and sculpt the heart of the song with a siren like craft which the vocals once more exploit with inventive greed. Though the band has a metalcore centre the soak of other flavours like technical and nu-metal bloom potently ignite stronger fires. The second of the two is a harder violent proposition, an irresistible violation of malicious intent and invention. In the eye of its storm though there is a mellower progressive breath at large which is unexpected and works well, the band escaping its caress before it unbalances the thrilling savagery.

Across the synapse twisting Glass Houses, as well as Milestone, and #Dreamkiller, the band continue to bring variety and compelling malevolent encounters though all tracks lyrically look to the light in their challenging themes. The middle song of the three is an instrumental which is nicely crafted and intriguing with the electro element of the band given a full atmospheric rein. It does not quite fit in the album for personal tastes, accomplished and engaging though it is it feels just like an interlude before the action restarts, which it does with vengeance on the latter of the three songs. The track snarls and gnaws on the ear with a sonic progressive insidiousness leading the second line behind again intrusive intensity of energy and aural aggression.

A further pinnacle comes from Breathe on Ice, a hypnotic twist of metalcore and hardcore invention veined with the seduction of the devil as well as a venomous imagination which also only he could have bred. It is another exceptional track which cements the energised passion triggered by the release within. Ghostwatcher may not be the most original or unique album to thrill your ears, hard to argue that issue, but it is certainly one of the most powerfully rewarding.

https://www.facebook.com/beyondtheshore

8.5/10

RingMaster 05/04/2013

Copyright RingMaster: MyFreeCopyright

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Nails – Abandon All Life

   

    There is nothing at all comfortable about the new sonic scourge from Californians Nails, in either listening to its primal rage or in its furnace borne construction, but the rewards and intrusive pleasure reaped from its caustic presence far easily outweighs any pain suffered. Brawling with ten tracks at just over seventeen minutes combined, Abandon All Life is a ravenously vicious express train of grind and hardcore soaked in a death metal malevolence, a record with a sonic dexterity which sculpts varied textures and sounds into a multi-levelled tsunami of violent passion and destructive attitude.

Recorded with Kurt Ballou of Converge, the Southern Lord released album follows up the acclaimed debut full length Unsilent Death with a similar intent but a further honed venom and craft from the quartet of vocalist/guitarist Todd Jones, guitarist Saba, drummer Taylor Young (Crematourim), and bassist John Gianelli (Fell To Low). It gives no respite or mercy just drives its howling anger and pissed off breath with a revengeful malicious intensity and sonic blistering which sears the senses long before notes place their lethal hands on the ear. Strike a match whilst listening to the album and it would be no surprise to see the world go up in flames such the vitriolic fumes given offer by this exceptional raw release.

Opener In Exodus takes a mere scorch of sonics before chewing on the ear with rabid riffs and spiteful rhythmic provocation, all coming together to explode into a pungent ferocity of impassioned toxicity. There is no respite from its brief but corrosive maelstrom which transfers seamlessly into the following Tyrant. The second song snarls and brawls like the first but incites its storm bred climax with a rhythmic build up which is as infectious as it is the devious portal into the closing savagery. The drums cage and abuse the senses with villainous expertise whilst the bass offers a carnal presence which equally seduces and ravages. Their union is bestial adding the darkest shadows to the burning sonic rage of the guitars and the equally mordant vocal squalls of Jones.

There is an open diversity within the air expelling surface of the songs with God’s Cold Hands one of the keenest and most compelling examples. The outstanding track is as abrasive and sonically torrential as any song on the album but underlines it with a barbed groove which erodes the senses with an understated yet siren like potency. The track savages the senses in its jaw, thrashing them from side to side but then coats them in a sludge/doom prowl of sound to further excite and captivate before leading to a final toxic crescendo. The invention continues with Wide Open Wound, a predatory crawl of blackened sludge veined with exhausting punk spite and acerbic chugging metallic borne riffs. The song chews and growls with a hateful passion yet invigorates the fight and inspiration to stand defiant, as does the album as a whole across its biting tracks.

The following merciless title track with its barbaric rhythms and volcanic emotive fire, the sadistic and irresistible Pariah, and Cry Wolf all exhaust and vaporize the air around them, the latter of the three mutilating synapses with a ferociousness which can only be classed as sonic assassination. Their contagious violence hands over to the closing might of Suum Cuique, a track which incorporates all the qualities which came before into one lasting ruinous confrontation with a slight bedlamic nature to its satanic mastery.

Abandon All Life is an album which defies the expectations and anticipation set in place from the previous album to offer a violation beyond not only what Nails brought before but most of the efforts of their fellow sonic conspirators.

http://abandonalllife.com/

8.5/10

RingMaster 04/04/2013

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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Turbogeist: Ancient Secrets EP

    Having fallen in love with an Alien Girl…the first single and song from UK punk rockers Turbogeist which mischievously teased these ears two years ago, anticipation going into the Ancient Secrets EP was on full alert with arguably already preconceived  reactions ready to pounce. The five track release certainly did not let down or disappoint expectations and though it did not quite light those same fervour lit fires as did the single, the EP is a thrilling and richly satisfying piece of devilment.

The London based quartet take their influences from seventies punk and eighties hardcore with particular inspiration from the likes of The Replacements, The Damned and The Misfits. Their sound though is more open than that suggests, with loud whispers of garage punk and feisty rock n roll adding their devious temptation to the energetic and raucous flavours the band taunts and pleases with. Lyrically the songs of the band and on the EP are just as cunning, the mix of sci-fi tongue in cheek pestering wrapped around  thoughts on the ‘stuttering evolution’ of man as aggressive and devilish as the infectious musical  brawling around them. Co-produced by the band and Chris Sheldon (Pixies, Radiohead, Foo Fighters), the digital and numbered coloured vinyl 10” releases of Ancient Secrets should be the first key to a deserved wide recognition for the band, which the released of a debut album later in the year will undoubtedly feed upon.

Mermaid’s Revenge winds itself in to view with sonic flames of guitar coaxing the ear whilst rhythms and bass shuffle into position. With all things in place the track swaggers with confidence and mischief as the vocals begin the tale of man’s ill-fated attempts to conquer nature and the siren lure of the deep blue. Aided by strong group backing shouts and a muscular prowl to the gait of the song, things become more contagious and riveting by the sinewy second with the elevated energy and scorching breath of the song now a stirring punk and rock anthem for the ear. As across the release, the song fails to find that irresistible lure of the previously mentioned single but undoubtedly holds sway over the passions with accomplished intent and antagonising presence.

The following Zero Friends stands eye to ear with the listener and makes its statement on social networking and its effect, something which always feels ironic considering the unavoidable need bands today have for the medium, but Turbogeist is a band not fearing nipping on the hand that feeds. It is a brief punch of a punk song which again lifts emotions and satisfaction to pleasing heights soon equalled by Black Hole. Immediately forging through the ear with thumping rhythms and apocalyptic declarations, the track is the band at its heaviest and vigorously potent, a classic metal wind guiding its hardcore soaked concentrated aggression. Already across the EP there is diversity to the sound within the distinct umbrella sound of Turbogeist which excites and fires up expectations for the impending album.

The opening to Up Front instantly feeds the inner fervour with uncompromising bone splitting drum beats and a gravelly primal bass grind which seduces with predatory persuasion, soon joined by taunting vocals adding a tease through repetitive announcements. It is an inciting entrance which explodes into a prime punk abrasion to spark further greed in the passions for its uncomplicated yet insightful sonic and rhythmic hooks and barbed company. Ending as the favourite track on Ancient Secrets, it seals any doubts, which were barely audible, into a lost cause.

Closing song Rats is a final riot for an ardour seeping fever to devour, the stormy union of classic rock and garage punk a last infectious entrapment on the EP. Released via Spinefarm Records, Ancient Secrets confirms that our earlier set in infatuation was well placed and probably set to find deeper lust ahead with the debut album. Cross Every Time I Die, Red Tape, The Cramps, and Hagfish and you do not get Turbogeist but you come closer to their individual sound.

http://turbogeist.com/

8/10

RingMaster 21/03/2013

Copyright RingMaster: MyFreeCopyright

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

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