Blind Race – Come And Get It EP

Photo Credit: Joanna Glezakos of Vegenza Forografiad

Photo Credit: Joanna Glezakos of Vegenza Forografiad

Listening to the Come And Get It EP from Canadian intensive rockers Blind Race, is like being run down by a fully loaded juggernaut with its throttle fully open and subsequently being caught on its axle and dragged for the ultimate ride. Five tracks which predominantly stomp like a bear in heat, the release is a muscular confrontation using the listener as its plaything and rewarding with some of the most voracious and ferocious rock ‘n’ roll heard in a long time. The band’s third release, Come And Get It sums up their intent and the EP’s unbridled invitation into their compelling sonic devilry, and though it may not be bulging with startling originality it is hard to remember a fusion of rock and metal more enjoyable and anthemic this year.

Blind Race roared from the starting gate in 2007, emerging from the union of two brothers and their best friend two years earlier getting together for some freestyle jams and demo recordings. Taking inspirations from “their love of fast cars and the intrigue of driving them blind, as well as modern-day racial issues and the idea that we are all the same”, the band unleashed their debut album Seeing Red in 2008. It and their live presences earned strong responses with the band in 2010 being nominated at Toronto Independent Music Awards for Best Metal Act and two years later for Best Live Metal Act. 2012 also saw the release of the Lost EP, the band continuing to evolve their diverse sound and again drawing acclaim and attention, something easy to see the Mike Langford (Evans Blue, Parabelle, Charlie Hope, Jeff Martin (Tea Party), Crash Karma, Art Of Dying) produced Come And Get It surpassing.

There is no easy lead into the release, it immediately hitting top gear with opener Hypocrite. Punchy drums lure a blaze of predatory riffs which in turn re-sparks the swipes of Stelio Kentros into casting an even more pungent provocation. It is a gripping entrance swiftly becoming a rampage with nostrils flared and a heavily imposing swagger. The guitar of Costas Kentros continues spraying its predatory designs, matched by the throaty prowling of Mike Ferraro’s bass, whilst the excellent vocal lure of Tommy Geraldes completes the full anthemic narrative and expression of the song. There are also vibrant melodic keys from Joannie Cotton colouring the encounter but such the weight and pulsating intensity elsewhere, they are brief glimpses within the tempest. Swinging with the temptation of Volbeat and the bestial force of a Bloodsimple, the track is primal rock ‘n’ roll at its best and quite irresistible.Come And Get It Album Cover 2014

The EP’s title track comes next and is soon taking all the attention, again ferocious riffery and flaming grooves raging around the rhythmic armoury of Stelio as Geraldes fiercely roars and confronts with accomplished and addictive potency. There is a great abrasing edge and snarl to all aspects of the song, like a Pantera meets Five Finger Death Punch antagonism which only adds to the inescapable bait of the encounter. As its predecessor Come And Get It is an unrelenting insatiable growl which leaves appetite hungry and ears greedy for more, which the next up Hopeless is only happy to provide. The third song is a different kind of beast though, one basking and bred in the grunge and melodic rock fuelled side of the band’s songwriting and sound with a loud whisper of Godsmack throughout. Minimal caresses of guitar and jabbing beats are lorded over by the again excellent vocals, resulting in a less demanding but just as compelling incitement to the previous track. The keys of Cotton are given the room and air to bring their rich hues to the smouldering canvas of the song too whilst the guitars erupt with explosive skill and tenacity across the reserved yet melodically and passionately inflamed proposition.

The following Truth Or Dare emerges from a radiant lure of keys to which the guitar of Costas adds its own dazzling resourcefulness. It is a magnetic entrance which is soon bulging with sinew driven beats and riffs which in turn lead into a melodic haze of vocal expression and sonic beauty. The song is in no time a contagious lure which erupts with tenacious craft and urgency, subsequently entwining both textures for a riveting and enslaving enticement. Once more the band inventively merges varied rock and metal spices for a fiery slab of heavyweight rock ‘n’ roll, and another incendiary stomp.

Come And Get It is concluded by the brief acoustic rock offering Gone. With a southern rock lacing to its fully pleasing vocal and guitar led croon, the song thrills and disappoints, the latter because it is far too short and over just as you get the hang of its body and start to join on. Actually thinking about it with voices like those punishing the office that is a good thing but the adage of ‘leaving them wanting more’ is far too cruel in this case.

Like for many, this was our introduction to Blind Race who easily inspire the expectation that we will be hearing much more them when their virulent bait posing as sound begins infesting the world. As mentioned the Come And Get It EP is not breaking new grounds but for sheer rock ‘n’ roll pleasure there are few better around right now.

The self –released Come And Get It EP is available from November 18th @ http://blindrace.bandcamp.com/album/come-and-get-it

http://www.blindrace.net/online/

RingMaster 18/11/2014

Copyright RingMaster: MyFreeCopyright

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Deaf Eyes – Self Titled

Deaf Eyes - Band

Started as a side project in 2013 of the experimental psych progressive metallers Incoming Cerebral Overdrive, Dead Eyes proves itself to be a distinct and formidable entity in its own right with its self-titled debut album. Colliding eight tracks of intense and thunderous post metal with senses and imagination, the instrumental band lives up to its intent of exploring “obscure experimental sounds and atmospheres,” and “a monolithic approach to hard and heavy riffs with a “delayed research” of alternative vibes mixed in a psychedelic mood.” That is quite a wordy description of what consumes and seduces within their album but one realised within the leviathans of sound and textures which transfix and immerse the listener from start to finish. The album is a beast of a proposition but equally a rigorously sultry temptress journeying through exhausting landscapes as imposingly cinematic as they are carnally ravenous.

The Italian quartet begins their voracious seduction with Black Canvas, and in no time thoughts and emotions are engulfed in the drama and almost savage soundscape of the track. Carnivorous riffs and even more bestial bass predation swiftly overwhelm the senses, backed by the intense weight and hunger of the swiping rhythms. Just as the track is immensely intimidating it also impressively takes the imagination into an evolving and challenging climate of sonic and inventive suggestion, across a terrain of danger and intrigue which erupts and snarls with skilled rabidity and riveting ingenuity. It is a demanding and irresistible experience with a contagion which is toxic and inescapable.

Its dark realms are shadowed by those of the following Mirrors, its specific turbulence and antagonism expelled in a barely milder tempest but one with flickers of light and melodic charm to its hostility. The bass has a growl to reverse a tsunami of ravenous beasts whilst guitars wield a sonic enterprise which binds with venomous potency whilst its infestation of infectiousness is Deaf Eyes - Coverimpossible to fend off or resist. It dark corners and shadows are no less merciless than its outright tempestuous climate as the song unleashes a sound which holds essences of the likes of Neurosis and Russian Circles to its breast as well as those of Morkobot.

A more celestial jeopardy is investigated in Orbits, though with all tracks the adventure unfurling is as unique to the listener’s thoughts as the sounds casting the canvas and sonic emprise inspiring them. The track is one of the less intrusive on the album but still a provocative maelstrom of seriously confrontational invention and enterprise, a description suiting both the tantalising exotic and evocative scenery of The Eyes Of Regret and the agitated majesty of Draining Sun. The first of the two descends into a cavernous and melodically infused sonic haze which is as emotionally expansive as it is ferociously unpredictable and inventively coloured. Its exceptional sonic and innovatively perilous emprise is equalled by its successor, the track a hypnotic dance of repetitive riffery and preying rhythms within a psychedelically hued blaze of disturbed sonic revelry. The track is scintillating, a corrosive waltz physically and emotionally which bewitches with cultish persuasion. The accompanying press release listed Goblin as references and of all the songs this with its haunted shadows and demonic colouring is the prime reason.

Red Desert Lullaby keeps body and emotions just as eagerly busy, its thick smouldering climate a wrap to perilous escapades to envision and a sonic rapacity to bask in whilst next up The Withered drifts into a sinister province of crawling shadows and haunted emotions. Their dark secrets converge around a rugged spine of bass and rhythmic bullying of ears and emotions, an ensnaring and violation of the senses setting thoughts and passions aflame. It is a glorious predator and portrait of lost and turbulent emotions, another binding and ingenious traverse of places most fear to contemplate let alone traverse.

The album closes with the just as dark and Luciferian Commiserate, a primal senses ravishing beauty which scars as it seduces. The bracing incursion into psyche and emotions is an enthralling end to an exceptional release, an album which is a playground for the imagination and trial by sonic fire for the senses. It is quite exceptional and provides a new excursion into the unknown for thoughts and emotions with every violating listen.

Deaf Eyes is available now via Argonauta Records @ http://www.argonautarecords.com/shop/music-/41-deaf-eyes-deaf-eyes-cd.html

https://www.facebook.com/deafeyesband

RingMaster 12/11/2014

https://soundcloud.com/deaf-eyes

Metal Moth – Rise EP

Rise Artwork

Though the band name might not have convinced yet, there was no such problem with the aggressive incitement unleashed by UK metallers Metal Moth on their Rise EP. The band’s debut is four slabs of classic metal bullied and twisted into a rampage of modern melody enriched rock ‘n’ roll. It has more familiarity than originality to its potency and presence but this only fuels the potential and thorough enjoyment given by the heavily flavoursome entrance of the band.

Formed in 2012, Metal Moth was soon stomping across country and venues with their adrenaline fuelled barbarous sounds. An enthusiastically growing fan base came hand in hand with their emergence, one sure to be reinforced and accelerated with the release of the Rise, the first of three consecutive EPs. Band and release ignite appetite and imagination within seconds as opener Moth To The Flame stands toe to toe with ears, flinging weighty rhythms and sinew crafted riffs with antagonistic intent. It is a ferocious start which only intensifies as the riffing and heavily swinging beats stampede with flared nostrils across the senses. Around this assault invention mischievously offers acidic grooves and a deliciously carnal bassline whilst vocally Kurt Hudson excels with his melodic yet snarled delivery. From the merciless swipes of drummer Natalie Gaines to the threatening bass predation provided by David Collinson (who announced his departure from the band in recent days), and the fiery adventure and skilled devilry provided by guitarists Mark Gibbons and Chris Fisher, the track is gripping drama and ruggedly impressive.

The same can be said of the following One More Time, again a proposition which has speakers bulging under its savage rhythmic onslaught and ravenous riffery. Equally there is no escaping the rigorous contagion uncaged within the track or the unpredictable twists and jagged barbarism which gnaw on the senses as wiry flames of melodic endeavour flirt with similarly rapacious intent. It is a full blooded stomp which again has recognisable traits but just as plentiful new designs and invention in its lyrical and sonic provocation.

Melt Down steps up next and immediately is a haze of sonic menace swiftly speared by those pungent beats of Gaines and the crunchy scythes of riffs from the guitars. Either side of that core Metal Moth Pic 2there is the vocal quality and fluid expression of Hudson and the dark predatory tones of Collinson’s bass, each complementing and sparking against the other. It is a blend which magnetically colours the threatening prowl and confrontation of the track, especially when aligned to the intermittent eruptions of melodic and unpredictable intrigue offered by Gibbons and Fisher. Though the song does not brawl with and corrupt the passions at the same strength and immediacy as its predecessors, it reveals more depth to the invention and skills of the band whilst laying down a tasty appetiser for the EP’s finale.

The closing Metal Maniac also takes a more restrained approach to its seducing of ears, the bass rumbling with dark devilry whilst guitars create a web of melodic coaxing. It is not long though before the song settles into a fevered stroll as addictive grooves and hooks provide riveting barbs to the feisty lure of the track. Providing a thrilling end to a just as exciting debut, the track sums up the band and release perfectly, that being rock ‘n’ roll at its instinctive and insatiable best.

If the next pair of EPs matches and confirms the promise and already accomplished quality in skills and sound of the band, it will be impossible not to suggest that as they evolve Metal Moth will be a band playing a big part in the evolution of British metal ahead. To be honest though, if this is as good as it gets there will be few complaints either.

The Rise EP is available digitally now @ http://metalmoth1.bandcamp.com/album/rise

https://www.facebook.com/MetalMoth/

RingMaster 12/11/2014

Copyright RingMaster: MyFreeCopyright

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No Way – Sing Praises

Pic  Tony Stanley

Pic Tony Stanley

From sound and presence to voracity and appeal, there is nothing lightweight about the debut release From US band No Way. The four-track Sing Praises EP is a brute of an introduction to the Brooklyn quartet, a compelling and enslaving tempest of noise and invention fusing thick essences of noise and punk rock with those of sludge and heavy melodic rock. Some bands seem to instinctively tune in to the listener’s wants and primal needs, and it is fair to say that No Way certainly fed and intensively satisfied ours.

No Way was formed in 2012, swiftly making their mark on the New York punk scene. Drawing comparisons to the likes of Helmet and Unsane, the band were soon sculpting their own distinct presence and sound, unafraid to infuse varied styles and raw spices into the mix of sound mentioned earlier. Their live reputation has also grown from those early potent days with the foursome sharing stages with bands such as Whores., Fight Amp, Black Tusk, Inter Arma, American Sharks, Cancer Bats, Naam and White Hills. That attention will only be broadened and strengthened by the release of Sing Praises, the Andrew Schneider (Unsane, Pelican, Shrinebuilder) recorded and Carl Saff (Young Widows, Helms Alee, OFF!, Kowloon Walled City, Big Business) mastered proposition an imposing slab of prime sonic and rhythmic beef flavoured with an imagination and a creative intrigue to get the taste buds singing.

The release looms up on ears with opener The Cutting and within a breath is walling them in with bulging riffs and debilitating rhythms. It is an imposing start but only the teaser to greater things as warped sonic scythes from guitars coveradd to the brewing mayhem. Vocalist Chuck Berrett is as a formidable a presence as the song itself, his raw and growling tones an instant lure complimenting and inciting further the rugged turbulence around him. At its heart there is the inventiveness of a Melvins to the song and the caustic beauty of a Cancer Bats whilst the core swagger to grooves is Coal Chamber bred, their swing reminding of the song Sway. It is a merciless seduction gnawing and flirting with thoughts and emotions, an immediate pinnacle matched straight away by Shake the Meat.

The second track makes a less intensive but just as gripping entrance, the guitar of Jordan Melkin coaxing ears and imagination with potent hooks as ripe and pungent beats from drummer Chris Enriquez provide an intimidating cage. Further enhanced and coloured by the throaty bass bait of Dave Maffei alongside the varied and fierce vocals, the track is an unpredictable and insatiable predator threatening and teasing with impassioned aggression and shadow bred, bordering on deranged enterprise. The riveting blaze is followed by the exceptional prowl and creative stalking of War Dance. It is a hypnotic proposition, a lone riff accompanied by this time more restrained tones from Berrett the initial drama; bait subsequently joined by merciless slaps from Enriquez and eventually stoner-esque hues within explosive roars. The song hunts the senses and psyche from start to finish, even its intermittent immersive and invasive sonic squalls a menace which increases the theatre induced by the engrossing single minded slim stalking either side of them

The track is scintillating and leaves the appetite greedier than ever so thankfully closing track Pastures / Abuelas is more than able to feed the hunger. Over eight minutes of imaginative tension, it is a rigorously captivating pursuit of the senses loading with vicious bass growls, savage riffs, and a sprawling thick sonic smog, all punctuated with a rhythmic resourcefulness which leaves ears bruised and emotions raw. There is also a psychedelic smearing to the atmosphere and inventive colour of the track but it is the hellacious and brutal ingenuity of the track, as well as the stoner bred grooves further into its adventure, which lingers longest and the deepest in the psyche. Dark and ravenous with greater menace in its restraint than a full-out assault could achieve, the track is a delicious immersion and challenge as well as another open side to No Way’s sound.

Sing Praises is an exceptional debut from a band with all the potential to be a potent and inspiring force ahead on the evidence of this stunning entrance. No Way seem to know what ears and instincts want in heavy, brutal, and incendiary exploratory sounds, and of course this is only the beginning….

The Sing Praises EP is available now digitally and on cassette @ http://www.nowayny.com

https://www.facebook.com/nowayny

RingMaster 07/11/2014

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Malefice – Gravitas EP

Malefice 2014 Promo

There is always a twinge of excitement when news of a new Malefice release breaks, having been hooked on them via debut album Entities back in 2007, and so it was with the announcement of new EP Gravitas. It was an appetite and anticipation more than forcibly fed by the brutal fury of a release. The EP sees the UK metallers at their most fearsome and uncompromising best. It is a beast of an adventure and assault; hard to say the band’s best rage yet but definitely there on the frontline of their finest moments.

The successor to last year’s V EP and third album Awaken the Tides two years before it, Gravitas finds Malefice going back to the sounds which they feel ignites and is the core of the band. Vocalist Dale Butler talked about the album recently saying, “After taking some time out from the band to do our own things and focus on our own lives we came back together not feeling as we had given all we have to give to Malefice… We spent a long booze-fuelled evening talking about what we want to do and what came out of that discussion is that we want to write music we like…We are going to back to what makes us Malefice and we’re gonna write some fucking heavy music to headbang to.“ There is no doubting their success in that, the release a merciless and inventive brute force but unafraid to vein and spear it with the melodic fire and imaginative tenacity which the band has equally become renowned for in British metal.

There is no escaping the primal fury and angry weight of the EP as opener Forsaken descends on ears with predatory riffs and rhythms, both aspects converging in one intrigue soaked stalking. It is a seriously intimidating proposal with effects teasing the skirting vocals, Butler eventually escaping their restraints to snarl venomously as the song moves into a new aspect of its hunt of the psyche. From that initial harrowing prowl, the track slips into a torrential charge of spicy grooves across cantankerous riffs and murderous rhythms. It is a gripping and savage violation, the guitars of Ben Symons and Andrew Wilson pure spite and invention in their rabid riffery and designs whilst the heavy handed swings of drummer James Pearly Cook are judge, jury, and executioner in their attack on the senses. Completed with the almost carnal tones of Tom Hynes’ bass, the track is a furnace of malice and unfussy yet pungent imagination.Cover

The cauldron of vocal ire and variety from Butler and band is just as feverishly addictive as the sounds brawling around them, second track Heroes providing more of their exploits in its own unique violation. A more merciful start fuelled by fiery melodic enterprise makes a ‘gentler’ welcome though the track is soon barging through ears with nagging riffs and unforgiving rhythms. It tempers and scythes across this tempest though with an outstanding haze of superb clean vocals and just as thick sonic expression, before exploring a mesmeric calm of evocative radiance and melodic charm. It is just the eye of the storm of course, the track soon back in vicious mood and ferocity. There is a feel of Fear Factory to it in some of its parts but ultimately this is a unique and thrilling exploration all of Malefice’s own making

Within a breath Escape is bawling over and brawling with ears, providing another distinct twist to the blaze of the release. Grooves seduce from the first second, scorching the raw and turbulent landscape of the song whilst another array of differing and complimenting vocal diversity grips the imagination giving more potency and depth to the track’s narrative. Swirling and savaging within its towering rhythmic walls, the track is a glorious trespass of senses and emotions.

Gravitas comes to a close with My Design, riffs hunting down the listener with pack like mentality as grooves sear air and flesh with their pestilential temptation and resourcefulness. As it expands and immerses the listener in its lyrical sufferance, the track is a riveting and skilled provocation but lacks the creative spark which ignites the other three tracks on the EP so magnificently. Nevertheless it is an assault drenched in what Malefice is all about, creatively threatening, destructively intense, and driven by pure passion, not forgetting irresistibly thrilling.

Gravitas is a scintillating slab of barbarous majesty reinforcing Malefice as one of the UK’s and Europe’s leading inventive metallers. Earlier we suggested a debate on whether this is the band’s best moment yet; another listen as we write though suggests it just might be and if not, anticipation that the forthcoming new album from Malefice will be is hard to shake off.

The Gravitas EP is available now via Transcend Music @  https://itunes.apple.com/gb/album/gravitas-ep/id922130758

https://www.facebook.com/maleficeofficial

RingMaster 04/11/2014

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Eyes Of Mara – Self Titled

untitled-13 300

At times bedlamic, and very often a cacophonous onslaught, the debut self-titled album from US metallers Eyes Of Mara is one of the most compelling and savage releases this year. It is a provocation that gives you no choice but to dive headlong into its vicious depths, the release dragging ears and senses into its fury from the very first second but once enslaved it reveals an exhausting and invigorating brawl of invention and ferocious enterprise.

Metalcore, deathcore, hardcore, however you wish to tag the band’s sound, Eyes Of Mara cast a destructive web which draws on hordes of different flavours to create their simultaneously familiar yet unique ravaging of the senses and imagination. Formed in 2010 and taking their name from a Buddhist demon who is the embodiment of impulse and death, the band was swiftly igniting audiences with their furnace of sound and hostility. A year ago their well-received first EP Akkadia was unleashed, drawing attention and acclaim towards the Californian quartet. Having recently signed with Imminence Records, Eyes Of Mara now have broader horizons in their sight and their album the next uncaged persuasion.

Opening track is called Vicious and that sums it and the album up perfectly. From fiercely jabbing beats, caustic riffs, and a vocal squall of pure rage, the track explodes in one hellacious torrent of spiteful rhythms and insatiable riffery lorded over by even more malicious vocals. It is a maelstrom of energy and noise, a sonic whipping flailing the core and hunger of the track as varied essences and vocal diversity add to the cacophony resulting in one glorious and brutal tsunami. There is a surface turmoil to the song but with a wickedly creative underbelly, though the sheer force and urgency of the assault overrides the senses predominantly. At times reminding of Slipknot as their inhospitable best, the track is a seriously destructive and thrilling start.

A more reserved entrance to the following Control gives a sense of security for ears though it is a deceit which is soon twisted into a volatile and ravenous tempest of intent and sound. Grooves bred by guitarist John Rubay groan throughout the ravishment consuming ears whilst the uncompromising rhythms of drummer Nick Rubay hold no restraint in swing and impact. It is merciless proposition but whereas the opener was an unbridled storm the second song is more of a predator feistily stalking its victim. Its more defined entrapment is matched by Don’t Get Close, a track where nu-metal tendencies share their colour with the emerging and sonically scorched tapestry being woven by the band. Essences of Korn search out for the imagination but equally a Whitechapel/As I Lay Dying like violence is on rampant display as the track makes a two pronged and inescapable persuasion. Vocalist Tyler Trainer is almost schizophrenic in his variety of attacks whilst the heavy intimidating lines of bass from Cody McDonald impressively add to the dark depths and hostility of the encounter.IR021

Both Pain and Fear and Our Paths keep the blistering rage and corrosive attacks coming, the first an antagonistic bruising with an underlying swagger and a host of seductively compelling grooves. It is a rhythmic mugging and sonic cruelty which just keeps giving, resulting in yet another virulently contagious and imaginatively punishing treat, whilst its successor riding its range on an enthralling steed of unpredictable rhythms, unveils further riveting and exciting surprises. The clean vocal venturing leaves any expectations which are maybe thinking of rising floundering, whilst similarly the melodic hardcore and almost progressive twists of the song, plus electro hues, catch deeply satisfied thoughts and emotions off guard.

The hardcore fuelled Derailed sears ears next, a short but vehemently intrusive song featuring Ian Forsythe from fellow Danville based band Cyborg Octopus, is pure vitriol in voice and energy. Yet as in all songs anything suggested is only part of the story, this track flirting with and scything through the senses and imagination with a torrential barrage of creative adventure and inventive voracity. It’s far too brief corruption is followed by a new turn in of events started by Rebirth. From this point the album shows another side to its character and the band’s exploration in sound and songwriting. Coaxing with a progressively nurtured and haunting calm, the song relentlessly builds up a dramatic and captivating wall of restrained yet oppressive sound. It is an evocative lure which consumes the length of the instrumental, and though as its peaceful climax leaves a slight dissatisfaction at the absence of the hinted eruption to come, it sparks emotions ready for the chilling exploration of Colder. Like a mix of Palms, Converge, and maybe Killswitch Engage, the track is an enthralling venture into new corners for the album, and though it lacks the addictive toxicity which wonderfully contaminates early songs, it is a heavily riveting and intimidating slab of emotive beauty and impassioned rancor.

Behind These Walls provides an outlet for the muscular adversarial might of the band to over-run ears and senses again, riffs and rhythms as incorrigible as they are brutal, matched by an exhaustingly mercurial vocal display and sonic ire. To this there are more twists than in a rat run in wait, a delicious sidestep into a thumping stride of rock ‘n’ roll rampancy and swaggering particularly stunning. It is another major peak across the lofty mountainous range of great tracks making the album bulge, only the infernal fade-out a minor niggle for tastes.

Closing on the inhospitable and tempestuous Force Of Change, metal and hardcore in barbaric union, the album is a sensational and ravenous triumph. Eyes Of Mara ensure it needs close attention and extra work at times in order to swim through the sonic winds surfacing the fearsome adventure, but rewards with a whirlwind of invention and flavour to make another important release of 2014.

Eyes Of Mara is available digitally and physically now via Imminence Records @ https://imminencerecords.bandcamp.com/album/eyes-of-mara

https://www.facebook.com/eyesofmara

RingMaster 31/10/2014

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Tigerpunch – Fight Of Your Life

Tigerpunch Online Promo shot

Colliding metal voracity with the ferocity of heavy rock and then binding it with salacious grooves, UK rockers Tigerpunch show themselves to be an attention seeking and immensely satisfying proposition through their debut release. Made up of five slabs of rock ‘n’ roll afraid to stomp and fling their attributes around with mischievous abandon, the Fight Of Your Life EP is an instant enjoyment, though at first it is more a “nice, but…” encounter than a “wow” moment. Over time though as open craft and invention shines through the surface alongside lyrical devilment, the release emerges as a potent and addictive romp which may not be a classic but certainly is an encounter drawing attention back time and time again.

Wolverhampton’s Tigerpunch was brought to life by brothers Rich Reynolds (guitar/ vocals) and Jay Wolfwood (bass), its name grabbed from the movie Kung Fu Panda and inspirations from the likes of The Foo Fighters, Audioslave, Rage Against the Machine, and Nirvana. The line-up, after a search, was completed by drummer Russell Latham and swiftly the trio set about audiences to earn a rich reputation for their live performances, shows which has seen them play with I Am Giant amongst many. Fight Of Your Life is their first swipe at national attention and such the formidable revelry and fiery energy within it, the EP is a sure fire focus stealing introduction to the raucous treats of the band.

The release erupts into thunderous life with My Pet, Hate, and a wall of heavy handed beats and caustic riffs entwined with an immediately spicy groove. The vocals of Reynolds are just as swift with their entrance and devilish character, tigerpuncha mischief fuelled tone soaking every syllable as guitars flirt with ears behind them. The song proceeds to thrust its rhythmic hips and bruising tenacity through ears whilst grooves and a flavoursome solo add to the riveting colour of the song. Is it, much as the EP, offering anything dramatically original, no not really, but does it emerge as a contagious and rather irresistible rampage, you bet.

The following Blonde, as its predecessor, is bred from heavy metal and groove rock seeds, and is soon brushing ears with raw and vivacious flames of sonic enterprise and rhythmic confrontation. Riffs abrase and guitar endeavour sizzles throughout the song, whilst the drums beat a submission from the senses as everything becomes entwined in addictive and richly hued grooves. The track has little difficulty in capturing imagination and neck muscles before making way for the more intensive but no less infectious examination of I Am Alive. Whereas the first pair of songs shows their melodic and heavy metal breeding, the third track moves into a grungier area. Employing essences found in Alice In Chains and Gruntruck, the song prowls around ears with acidic colouring to its melodies and grooved temptation. It is another side to the sound and intent of the band, seemingly a more serious and predacious edge coming into play, though inescapable hooks and those ever gripping grooves are just as prevalent in the tempestuous presence of the excellent song.

A sultry air immediately soaks the senses as a broody funk laced bassline hits ears with the entrance of next up Takedown The Bull. It is an instantly riveting start which soon evolves into a Rage Against The Machine stroll with a Pantera like southern grooving to its scenery. The track smoulders and shimmers rigorously within its unrelenting slow heavy crawl, brewing up a tasty boiling of sonic intrigue and melodic causticity. Once more it is hard to claim there is much new on display but for pleasure and accomplished enterprise the song lights the passions.

The EP is closed by Serve The Freakshow, a track opening on a vicious rally of rhythms before casting its own heavy grooving and rhythmic antagonism. It is brewed from the same vat of endeavour as the previous song but equally employs the more classic ingredients found in the opening pair of tracks. It is the weakest song on Fight For Your Life but still another thoroughly enjoyable and easy to engage with brawl to bring the release to a flavoursome close.

Fight For Your Life holds little in the way of surprises but everything about it and the adventure that is Tigerpunch, eventually leaves you wanting more. For the first jab from the band, this is one potent and highly likeable dust-up.

The self-released Fight Of Your Life EP is available from 20th October through all digital stores.

http://tigerpunchofficial.com/

RingMaster 20/10/2014

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

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