Manumit – Digital & Hostile

Manumit Online Promo Shot

Creating a sound which is fresh and striking whilst employing a wealth of familiar essences from a healthy array of genres, Welsh solo artist Manumit follows up the success of and acclaim for his previous singles and EPs with debut album Digital & Hostile. It is an enthralling proposition which entangles rich elements of heavy rock and electronic invention with equally potent strains of amongst many dubstep, drum n bass, and post hardcore. Released via Lost Generation Records, Digital & Hostile is a thoroughly compelling proposition which ebbs and flows in its success but never submits to predictability whilst exciting ears.

Brought to life in 2012, the Bridgend, South Wales hailing project took little time in grabbing attention and keen recognition. Manumit’s first EP F**k Genres, Love Music soon woke a hunger in fans and potent interest from the underground media upwards for his sound whilst the music video for the track Walk Away soon become a centre of attention on the likes of Scuzz TV. Subsequent singles and videos emulated that early success and bred a stronger anticipation for the band’s first full-length. Bringing those earlier singles together with a host of new songs, Digital & Hostile is a ten track adventure which from start to finish intrigues and flirts with the imagination.

The release makes a gentle opening with the intro of Sacrifice, a guitar making a lone evocative coaxing within a colder atmospheric drift of sonic whispers. It is a thoroughly engaging start to the track soon making an even stronger seduction with the excellent vocals of Manumit. The song simmers in the warmth of melodic rock at this point with a folk lilt to the vocals and melodies yet all the time in the background you sense something is brewing and moving towards the foreground of the song. It arrives in a fiery blaze of electro rock, Pendulum immediately coming to mind as the track bristles and rages within the pulsating embrace of its electronic invention. It stops itself from being a replica of existing propositions though with the continuing of the excellent melodic rock enterprise unveiled earlier in the song and the great vocals which also employ post hardcore antagonism in their delivery.

The track is a strong and appetite sparking start which the following Walk Away easily continues. It also opens with a gentle emotive stroking, a piano this time casting its melodic beauty over ears and imagination swiftly joined by the Manumit Cover Artworkagain deeply impressive vocals. There is a touch of Coheed and Cambria to the start and it too is brought into an electro maelstrom of temptation though with a stronger lilt to the heavier rock side of the track this time. Vocal squalls add to the wide texture of the song whilst the aligning electronic endeavour brings a mesh of Nine Inch Nails meets Skrillex to its striding triumph. As with its predecessor, it does feel like the track is one spark too short in its fire, never exploding into the rigorous tempest you expect and hope but it does not stop either from making a thoroughly enjoyable and impressive start to the album.

Do The Right Thing also glides in gracefully, its exotic tempting on an electronic breeze almost Peter Gabriel like. In no time it erupts with raw emotionally charged vocals within a thick and inventive weave of electronic incitement, all veined with heavier rock riffs and rhythmic provocation. Vocally the song is as superb as those before and after, the strength and expression of Manumit a striking given success across the album, whilst the expectations evading twists of the song and the classical elegance of keys within the bustling sonic storm is at times bewitching. It is another very potent proposition for the main matched by both Everything Changes and When I’m Gone. The first of the two is a flowing persuasion of electro rock with plenty of tenacious essences from both sides of that mix in its evocative stroll whilst the second is a gentler but no less busy croon of emotive keys and electro radiance splintered by an array of punchy beats and incendiary guitar designs. Maybe the least impressive track so far it nevertheless is an infectiously captivating song showing the strength of the album.

Another diverse twist comes with the album through the magnetic balladry of Your Body Giving Up. Fronted by the glorious and seductive tones of Tanyth Roberts, the song is a sultry flame of atmospheric tension, melodic drama, and electronic intrigue which makes more of a lingering impression and success than an upfront persuasion but emerges as one of the most riveting songs on the album. Its enslaving provocative charm is followed by the energetic stomp of Can You Hear Us? From a nintendo-esque opening, the song bursts into a rampant charge of electronic and heavy rock tenacity, merging the electro punk roar of a Jensen with the more mischievous virulence of a Hadouken or Axis Mundi. It is an irresistible contagion which is as antagonistic as it is anthemic, and the best track on the release.

The raging urgency continues in Abuse Of Power, its raw challenge lyrically and musically tempered by the melodic vocals and electronic designs which seduce the imagination as much as the quarrelsome textures and hardcore tones within the proposition. Elegant keys also add to the drama and though the track does not grip as many others, it is still a masterful persuasion before making way for The Passing Of Nothing. It is a track which starts much like the opening pair on the album, from its delicious harmonic and melodic initial touch evolving into an electronic and vocal blaze around a stirring sinew sculpted slice of rock. You are never too far from thoughts of Pendulum with many songs but with the numerous other flavours flowing through them, here a Spineshank like industrial metal spicing at play, Manumit takes every song into a distinctive corner.

Closed by the transfixing Afterflow which from a underwhelming start emerges as another engrossing incitement, thanks predominantly to Manumit’s fine vocals and a steely anger to the song’s body, Digital & Hostile is a formidable and richly pleasing release. Whether it is as intrusive and raucous enough to match its undoubted potential is one for the individual but Manumit has shown himself with the album, to be one of Britain’s more creatively dynamic and exciting prospects.

Digital & Hostile is available via Lost Generation Records on 1st September @ https://itunes.apple.com/gb/album/digital-hostile/id883699098 and other online stores.

https://www.facebook.com/manumitofficial

Live Band line-up: ( Manumit – Vocals/guitar/keys/samples;Skullfunk – Vocals/MC;Larusso – Guitars, Bandit – Drums.

8.5/10

RingMaster 01/09/2014

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Alone With Wolves – The End of Nothing EP

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Fusing an impressive and striking fusion of heavy rock with a voracious metal intensity, UK band Alone With Wolves has a sound which sits easily within the varied shades of metalcore and post-hardcore as well as quite simply rock and metal. The proof is in the band’s new The End of Nothing EP, a five track collision of flavours which combine for a passion drenched and thoroughly captivating tempest of sound and emotion. The band on the evidence of their impressive second release, fuse the strongest essences of those previously mentioned styles into something which has a familiarity to its angst and presentation but an individual freshness which sets the Hertfordshire sextet apart from most of the crowd.

Formed in 2011, Alone With Wolves were swiftly into a charge of shows across the South of the UK, including sharing stages with the likes of Hildamay and Mallory Knox. The band was soon recruiting a passionate fan base and following, which their self-titled EP of 2012 only reinforced and pushed on. Their sound is simultaneously melodic and ferocious, as mentioned combining a varied weave of flavours inspiring comparisons to bands such as Alterbridge, Architects, 30 Seconds to Mars, and Deaf Havana. Alone With Wolves has certainly been brewing up potent attention to date which the new EP has the potential and power to take to a nationwide spotlight.

It launches itself with a sonic enticement as Cutting Ties sizes up ears before expanding into an imposing but inviting mix of raw riffs and melodic enterprise driven by sinew swinging rhythms and a great throaty bass sound. It is not a 13606_925710967443706_5848660365238708299_ndramatic but certainly appetite awakening start which the combined persuasion of vocal roars from guitarist Lewis Watson and the clean magnetic melodic tones of Danilo Fiocco are soon colouring with emotion. The track is as antagonistic as it is enticing, two sides merging for a fiercely potent and adventurous blaze of sound which ebbs and flows in its rage and intensity. It never settles into a less than voracious stance though, the rhythms of drummer James Noble and bassist Mark Stanford fuelling a creative hostility whilst guitarists Watson and Kieron Baker craft an enthralling narrative of riffs and melodic endeavour.

The strong start is followed by the raw opening brawl of the title track which is soon sharing the suasion of a great contagious and melodic weave aligned to Fiocco’s impressive delivery backed by Stanford and rivalled by the squalling tones of Watson. The song is an appetising encounter which feeds expectations at first but a sudden shift into rugged metal territory and subsequently a seductive flight of expressive melodies soon has intrigue and unpredictability as vocal as the passion and enterprise drenching the track.

My Life In Your Hands has a more metalcore cored explosiveness to its presence but again the at times almost duelling vocals and emotive ideation of guitars takes the song to a powerfully satisfying adventure. The least dramatic of all the tracks, it still potently feeds an open hunger inspired by its predecessors, the invention of Baker impressing especially, before the outstanding enticement of The Change takes over. A more tempered and melodic hug from the start but with a sturdy intent to the muscular rhythms framing the impassioned drive of the expressive hues and vocals, the song croons with an intimacy which is arguably less open in other tracks. It is no lightweight though, jagged riffs and thumping beats a demanding proposition caging the raw beauty within. With only the fade out of a quite climactic finale annoying, it is the biggest highlight of the encounter.

The closing With You In Mind is an intensively imposing onslaught of rhythmic provocation and senses bruising aggressiveness which still embraces a mouth-watering flame of sonic and melodic invention. It is as mesmeric as it is challenging and an enthralling tempest of invention and passion to bring The End of Nothing to a climactic conclusion.

It is fair to say that The End of Nothing EP did not ignite a raging fire in the belly for it but it is one of the most invigorating metalcore/post hardcore releases this year and the spark to a real hunger to hear more from a band with a very healthy future ahead.

The End of Nothing EP is available from September 1st and available through all good digital outlets.

https://www.facebook.com/alonewithwolves

http://awwofficial.bandcamp.com/

8.5/10

RingMaster 31/08/2014

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Anti Clone – Hands Sewn Together

anti clone

If you thought nu-metal was a redundant flavour then hold on to your floral panties boys and girls because it is not only alive and viciously kicking but it has been twisted into a whole new glorious personality by UK geniuses Anti Clone. Genius is just what the Lincolnshire quintet is for not only has the band reaped the most flavoursome and essential essences of the genre and fused them with a healthy dose of varied other spices, they have bred those inspirations and accompanying familiarities into a fresh and new dawning. It is not the forging of a brand new ground-breaking exploit but without doubt the beginnings of a template destined to spark a fire in others.

Formed in 2011, the Boston band like so many went through a tempestuous time line-up wise before the two sets of brothers in Peter (lead vocals) and Drew Moore (drums/ programming) alongside Conor (guitar) and Liam Richardson (guitar) alongside Fraser Burch (bass) came together. The band from there were soon earning a powerful reputation for their live performances and sound locally which was emulated as Anti Clone spread their musical fury across the UK starting with a tour alongside Eridium last year. Since then the band has graced stages with the likes of American Head Charge, Sworn Amongst, ESO, Maplerun, Evil Scarecrow, and Bloodshot Dawn. Following the success of debut single 1984, the band’s Matt Hyde (Machine Head, Trivium, Fightstar, As I Lay Dying and Slipknot) produced Hands Sewn Together gets its national release and it is hard to see the British metal scene being the same ever again.

It only takes the first few moments of opener Take This Pill to turn attention and imagination on their heads and lay down bait which sets the seeds to a lingering ardour soaked reaction. Coarsely surfaced riffs size up ears first; their CDHSTSACtouch a rough rub before scythes of sonic enticement sears the senses through the guitars. With controlled yet punchy rhythms punctuating the initial lure to equally appealing success, Peter unveils his outstanding vocal expression, his deliver subsequently shown to be as inventive and varied as the sounds around him. The track continues to twist and flirt with the imagination and passions, elements of Korn making strong hints though maybe more so the song plays like a mix of Mudvayne and Fuckshovel with a rich dose of Drowning Pool incitement. That too is only a spice as Anti Clone proceeds to sculpt an antagonistic seduction which oozes originality and mouth-watering invention.

The simply outstanding start alone would be enough to wax lyrical about the promise of the band, but that potential is shown to be far more than just a future possibility by the following Here Comes The Flood. As different in character as it is similar in its creative alchemy, the second song completes the persuasion that release and band is something special. Charging from the blocks like Usain Bolt caught short, muscles and attitude bulging with every beat and note, the track is a carnivorous tempest of sinew driven temptation coursing with a (Hed) PE like anger and contagion. It is a riveting swipe at the senses which only intensifies its might and coaxing with an insatiable torrent of rhythms from Drew which in turn inspires guitars, bass, and vocals to collide in a breath-taking brawl of ingenuity. To be quite honest if there has been a better track unleashed this year it will have been something really sensational.

The furious drama of the track is equalled by that of 1984 though it comes as a more reserved proposition. The slow courting of vocals and drums stabs skirted by the excellent dark throat of the bass is another irresistible lure from the band. Behind it a seeping breath of portentous atmosphere is released but it is also a slow brew which hints and taunts before the guitars begin to stretch their presence and narrative with melodic enticing amidst a similar rising of passionate energy vocally. Eventually taking big strides rhythmically with potent hues of guitar enterprise on board, the song swells with an American Head Charge seeded adventure before repeating its magnetic sequence but with a fuller weight and evocative dexterity. Glorious in its harmonious reflection and raw in its impassioned protest, the track is a masterful.

The following System, which also features John Knight of Synaptik, makes a more controlled entrance like its predecessor but this time within an openly voracious frame of sound and intent. There is an intimidation to the track from its first breath though which ignites a sudden twist as the song escapes its compelling rein to surge with inventive nostril flaring into a riveting stomp of crusading rhythms and sonic tenacity. As all tracks it is also as unpredictable as they come, playing like an aural jigsaw which is unafraid to let its moves make rude and clunky interruptions to enhance further an already thrilling beast.

The EP ends with its most hostile offering, vocals and grooves from the first syllable and note a raw abrasion which develops its own infection soaked enticing. The Usurper is a brute of an encounter, a hostile and uncompromising protagonist which deceptively loads up with hooks and squealing grooves to seduce as it gnaws on the senses. Again it is another facet to the sound and presence of Anti Clone, no two songs on the EP sharing a whisper of ideation and undeniably none as ferocious and unrelentingly invasive as the closer.

Hands Sewn Together is pure joy, an encounter which leaves the majority of releases this year standing in its shadow whilst as declared earlier making for a standard setting proposition. Even though Anti Clone has only just started redesigning and warping British metal, it is impossible not to get truly excited about the band.

The Hands Sewn Together EP is available now @ http://www.anticlonehq.com/

www.AntiCloneHQ.com

10/10

RingMaster 25/08/2014

Copyright RingMaster: MyFreeCopyright

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No Sin Evades His Gaze – Age Of Sedation

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Introductions from emerging bands obviously come in many shapes, sizes, and with varying success, but few leave as rich a hunger and lustful an ardour as inspired by UK metallers No Sin Evades His Gaze and their debut album Age Of Sedation. A riveting maelstrom of styles and flavours honed into a dramatically imposing and scintillating tempest, their release is an extraordinary entrance from a band young in years but mature in creativity and craft. There has been a loud buzz brewing around the quintet for a few months now and it is obvious as to why now.

No Sin Evades His Gaze was founded in the middle of 2013 by vocalist James Denton (ex-Ravenface). Completed by guitarists Kevin Pearson and Dan Thornton, bassist Matthew “Moat” Lowe (ex- Bleeding Oath), and drummer Theo Harvey (ex-Ravenface), the band gripped attention with the release of the single Age Of Sedation in May of this year, the track soon earning critical acclaim and media attention to match the appetite of the band’s growing fans. It was a potent hint of things to come, a rich suggestion of their new album but still merely a teaser to its blistering presence and might. Forging a ravenous and fluid web of everything from metalcore to technical and groove metal, progressive to death metal, the album is a raw and brutal hostility brought with the most elegant of touches and intensity of adventure. Not all songs startle as rigorously as others but each dramatically impresses with insatiable aggressive invention and rapier like imagination. Age Of Sedation may not top best album lists come December but it will be high in the majority of candidates.

A Crack In The Looking Glass is the opening intro to the album; it’s coaxing a thought challenging vocal sample surrounded by a melodic fanfare fuelled by a portentous breath. It is not a dramatic entrance but certainly awakens 10514663_279269198932257_7855588474433333182_nattention and intrigue which the following title track swiftly exploits with its masterful provocation. Continuing the brewing almost epic ambience of the first piece, riffs are immediately rubbing on the senses as a climate of change and volatile intent boils up around them. Percussive incitement and heavy bass tempting soon add to the fascination embracing ears with the guttural growl of Denton a savage provocation in their midst. The track in full stride is a beast, tight melodic veining and caustic riffery aligning to violently antagonistic rhythms from Harvey and the ravenous intensity of the basslines. There is also an intimidating swagger to it with teasing grooves simply igniting the senses. It is obvious to see why the song set greedy anticipation in motion for the band’s album and it is only the start of something special.

     Motionless In Obedience instantly sets out its own contagious bait as drums and guitars unite for an initial canvas of temptation which brews up into a magnetically layered and impressively textured weave of ideation and sound. Orchestral whispers and sultry melodic colours permeate the intensive pressure and intent of the track whilst grooves and hooks offer a barbed lure which slips comfortably into the agitated depths of the encounter. As with all songs, each moment is a passing twist in a growing picture, the aggressive growls of Denton evolving into an outstanding clean delivery with the frontman impressive in each extreme, and the overcast menace of the song finding a clearer melodic air to seduce through. Like a mix of Meshuggah and TesseracT merged into another of Between the Buried and Me and Sepultura, but still only part of the sound, the track continues the immense start of the album.

The sonic enticement of Filth makes a transfixing lure to a bordering on carnivorous onslaught, essences of Korn and Mudvayne flirting with the industrial hints and barbarous maze of the song’s invention. It is an addictively compelling provocation, much like the album, which uses every note, chord, and pestilential syllable to assault and inspire. Its apocalyptic presence evolves into a sense of awakening as it fades away with crystalline charm before air and ears are baited by another unpredictable threat of tenacious riffing and rhythmic athleticism which sizzles with spite and ingenuity. Vocally as its predecessor, the blend of roaring rancor and melodic enticing is as masterful and rewarding as the seamless merging of vicious intensity and creative rabidity.

Both the predatory Roll Up The Royalty and Debris strikingly feed a hungry appetite. The first is a bruising fury of raptorial grooves and scarring riffs caged by inventively pounding rhythms off set by the again excellent vocal mix courted by the cantankerous charm of the bass and a mystique wrapped sonic exploration. Its successor sees the bass of Lowe offering another predacious character of sound and rugged contempt whilst over him vocals scowl and croon entwining venom and harmonious enticement. At its heart the track is a toxic treat with scything beats and scorched grooves sculpting a scintillating net of creative resources and bewitching imagination.

Age Of Sedation continues to abuse and ignite the senses with its enthralling tapestry of sound and inventiveness, The Cycle Resets an incendiary blaze of sonic poise courted by a twisted fight of rhythmic brilliance whilst the next up Biometric Alchemy laces its vigorous terrain with industrial strains of tempting and potently evocative flames of sinister melodic radiance. It is another glorious pinnacle in the album; the song’s first half a towering oppression of carnal malevolence which evolves into a stunning progressively seeded fire of melodic expression and vocal brilliance. Think Soilwork meets Fates Warning to give some kind of idea to its excellence.

The release is completed by firstly the infection dripping enmity of The Guillotine Blade, a creative war for the senses and template for the imagination to immerse in. Its every turn oozes ingenious challenges and stirring provocation cored by an infestation of enslaving grooves and sonic tempting. Its triumph is matched by closing track Affinity, the most aggressively mellow proposition on the album but still littered with rhythmic animosity and stabbing riffs. It is the swarming flames of melodies and warm vocals which steal the passions though, their beauty an absorbing caress in the final creative and ravenous blitz of the release.

The song is a richly flavoursome end to a stunning debut from No Sin Evades His Gaze. The fact that Age Of Sedation just gets more powerful and enthralling with each listen, not forgetting exciting, suggest that the UK has a band to set the metal world ablaze if not now within near horizons.

Age Of Sedation is available digitally and on Ltd Ed CD now @ http://nosinevadeshisgaze.bandcamp.com/album/age-of-sedation-2014

http://nosinevadeshisgaze.com/

9/10

RingMaster 21/08/2014

Copyright RingMaster: MyFreeCopyright

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MANUMIT goes ‘Digital & Hostile’, from 1st September‏

Manumit Online Promo Shot

Welsh solo artist Manumit is poised to unveil his explosive debut album, Digital & Hostile on 1st September, through Lost Generation Records, a release which be an anthem for anyone looking for originality.

In an increasingly over saturated market, every fan, record label, radio station, music channel and magazine are screaming for something new. Manumit is certainly that. Spawned in 2012 and coming at you from Bridgend, South Wales (home to the likes of Bullet For My Valentine and Funeral For A Friend), Manumit has strived to bond genres whilst sculpting  genuinely distinctive songs that pull you in from their first breath.  Taking from a plethora of influences, ranging from Alexisonfire and Paramore, to Nine Inch Nails, Pendulum and Nero, whilst drawing from the fundamentals of dubstep, drum n bass, and electro and fusing them with cutting edge rock, metal, and post-hardcore, Manumit has amassed a sound that packs pulsating rock riffs with thoughtful melodic vocal and synth vocal work, all broken up by brutal digital breakdowns. The end result is an original onslaught of contagious, anthemic tracks that are loaded throughout with intricate dynamics.

Mamumit hit the ground running with the release of both his debut EP ‘F**k Genres, Love Music’ and his first music video for the track ‘Walk Away’; people across the world couldn’t help but take note. Turning industry heads, ‘Walk Away’ made it to the Top 10 Fresh New Videos on Scuzz TV, coming in at No. 2 ahead of Bullet For My Valentine, Biffy Clyro and Limp Bizkit, among others. Following this, Manumit went on to release two other singles and videos for ‘Can You Hear Us?’ and ‘Afterglow’, all of which were extremely well-received and also featured on Scuzz TV.

On September 1st 2014, Manumit will nationally unveil his hugely anticipated debut album ‘Digital & Hostile’ through independent imprint ‘Lost Generation Records’. A DVD featuring all music videos, interviews and live performances is also available alongside the album, which consists of ten killer slabs stemming from past singles ‘Walk Away’, ‘Can You Hear Us?’ and Afterglow’, as well as seven new tracks. The album takes you on a breathtaking and formidable journey, and it’s destined to break Manumit into the national sphere.

- MANUMIT RELEASES ‘DIGITAL & HOSTILE’ OUT ON MONDAY 1st SEPTEMBER THROUGH ALL GOOD STORES -

Manumit Cover Artwork

https://www.facebook.com/manumitofficial    https://www.youtube.com/manumitofficial

Mutagenocide – Devolve EP

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If UK metallers Mutagenocide have not reached your neck of the woods or gaze yet never fear they are coming with their ferocious and feverishly flavoured sound, certainly if new EP Devolve gets the breaks and attention it deserves. Made up of seven voracious onslaughts which rage and stampede with pure metal aggression, the release unleashes an unpredictability which is as compelling as the invention and array of styles which fuels its adventure. The band has been making a stir across the metal underground in the UK and now Devolve suggests the time is ripe for the quintet to find a wider intensive attention.

Oxford based, Mutagenocide showed their intent and brewing depth of sound with a self-titled debut in 2012, the four track EP a potent reinforcement of their already keenly followed and recognised live performances. Now the line-up of vocalist Jay Taylor, guitarists Pat Scott and Paul Clayton, bassist Tom Greenway, and drummer Ben Wilsker pounce with a provocation which suggests they are ready to stir up a countrywide hunger with the potential to fuel attention much further afield.

From the first swipe of sonic belligerence over a persistently winding flume of guitar, opener Hysteria has ears and appetite wide awake. It is a dramatic entrance which is soon twisted into a tempestuous charge of thrash bred antagonistic DEVOLVE COVERriffing and vicious rhythmic hostility, this ridden by the caustic vocal squalls of Taylor. But as is a constant across the whole release, it is merely a moment in an evolving landscape, grooves and addictive hooks as well as subsequent progressively seeded ideation, veining and working its way into the heart of the fierce and impressive incitement.

The immense start is swiftly emulated and surpassed by the title track, it also an immediate fury and explosive assault through ears. A melodic and progressive teasing plays within the demanding surge before merging into an addictive web of tenacious grooving and venomous melodic metal coaxing. It is a blistering mix which again seems to find a new avenue to investigate and contagious bait to expel within the unrelenting voracity of the song. It is a brilliant encounter which is full of drama and intrigue, incendiary craft and seductive predation, but most of all sheer compelling invention.

     Entombed and Swallowed makes a reserved entrance next, a guitar painting an emotive hue into an evocative atmosphere which carries no threat yet has an air of foreboding to it. It is the same as a melodic wind of progressive rock spicing opens up its narrative, guitars impressing with every expressive note but the darker shadows of the bass ensures a portentous tempering is lurking. That darkness seeps into the growing weight and punch of the rhythms before fuelling a corrosive maelstrom of acidic sonic endeavour, acutely jagged riffery, and an increasing spite to the commanding swings of Wilsker. Like a brawl instigated by Lamb of God and Sybreed with thoughts of Cambion also making their hints, but an aggressor with the poise and exploratory expression of melodic metal and the emprise of post metal, the track is a riveting blaze of adversarial emprise. It is soon outshone though by the similarly cultured but rigorously individual Half-Born, it’s closing seduction before a corrosive finale alone passion firing but as a whole proposition the song is a startling and ruggedly imposing and shifting triumph.

     Remeron Nightmares with its stomping thrash sculpted entrance and Wretched bring the release to a mighty conclusion. The first proceeds to spin a malevolent web of precision crafted inhospitable toxicity encased in a simultaneously intimidating and alluring storm, its presence as primal as it is intensively honed. Equipped with a familiar swagger, a sonic invention which leaves lips licked, and a primal virulence the track is a monstrous treat. The same which can almost be said about its successor, a final enthralling furnace of raw and hellacious enterprise which whilst lacking the stature and uniqueness of its predecessors, is still a mighty end to an outstanding triumph.

There is very little to put up against the Stu Mckay (Malevolence, Desolated, Ingested, Annotations Of An Autopsy, Eternal Lord) recorded and Tim Turan (Nuclear Blast, Candlelight Records) mastered release though a bit more variety to the admittedly excellent vocal delivery of Taylor would be welcome and interesting. It is a minor thing in a big thrilling step from Mutagenocide, a band you can expect to hear and see a lot more of ahead.

The Devolve EP is available now @ http://www.mutagenocide.bandcamp.com

https://www.facebook.com/mutagenocide

9/10

RingMaster 15/08/2014

Copyright RingMaster: MyFreeCopyright

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

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