Liquid Meat – In Meat We Trust

LM

Want a slab of rock ‘n’ roll just to lose yourself in and let inhibitions slip away with, then try out In Meat We Trust the new album from German rockers Liquid Meat. The thirteen track riot is from start to finish an honest and mischievous fusion of heavy rock, metal, and punk rock with extras, which simply leads passions astray and body into an unbridled stomp of instinctive devilry.

The creation of German born Rocker Freddie Mack, Liquid Meat was formed in Los Angeles in 2004 and was soon playing a horde of gigs around Hollywood. Two albums followed before in 2011, Mack returned to his hometown of Munich which meant a new line-up was needed. This led to the recruiting of drummer Manu Holmer and bassist Max Horch, and unsurprisingly soon after the trio was back into the swing of playing shows, drawing attention, acclaim, and notoriety musically all over again. Earlier this year the band began recording the Indiegogo crowd funded In Meat We Trust with legendary producer Reinhold Mack (Queen, ELO, Led Zeppelin, Rolling Stones, Black Sabbath, Deep Purple, etc.), the result one mouth-watering rock ‘n’ roll party which enjoyably wears its warts and influences like a badge.

The album opens with Liquid Meat Anthem, an uncomplicated bruising of choice riffs and crisp rhythms aligned to a great bass sound which probably grabs attention most of all on the track. The growling vocals of Mack instantly reveal the grin in his delivery and the song, whilst the backing calls of the rest of the band lays swift anthemic bait. It is hard to ignore the Motorhead like causticity and charm of the track as it provides one strong and inviting entrance into the album.

The following song right away shows the unpredictable and diverse flavouring to come across the release. They Lied sways in front of the ears with a sultry blues haze to its sonic enticement before prowling around the imagination with a IMWT Cover_1funk bred swagger which has the markings of Infectious Grooves. Equally there is a punk air to the blend which only increases the persuasion, especially when provides urgency through the chorus which brings another tasty spice, this time a Rage Against The Machine colour. It is an infectiously flavoursome track with twists of drama and an increasingly addictive groove. Its triumph is immediately matched by the outstanding Punch The Clock. Its opening intimidation of bass and predatory rhythms makes for an intense affair though that is soon lost to a big smile as the track starts flirting with what can be best described as Macho Man does Pantera. Mack does his best wrestler vocal impression as a groove certainly related to the one in Walk binds attention and appetite. It is insatiable in its luring and delicious in its devilment with Holmer providing her most magnetic rhythms yet alongside the throaty bounce of Horch’s bass.

The best song on the album is followed by the smouldering blues revelry of Double Standard Blues and then the punk joy of Black Out. The first also has a swagger which grips imagination as well as ears, whilst as with most songs lyrically it brings a devilish tone to climb on board with. Though not at the same heights of the first songs, it still provides a pleasing proposition which its successor soon over runs. Teasing and exciting ears with a riff stolen from The Ramones songbook, so much so that you just are waiting for the “Hey Ho! Let’s Go!” chant, the song is punk ‘n’ roll at its most contagious; hooks and beats as potent and greedily devoured as the driving riffs and bursts of caustic intensity. The track is another which makes claims on that best track title.

Both There Is No God and Guilty As Charged keep things strolling along nicely, the first with a dark blues whisper to its almost psychobilly kissed blues breath, which reminds of Joecephus and the George Jonestown Massacre, whilst the second puts a lighter shade of the first to a raw and incendiary classic metal canvas. Each song leaves a dose of keen pleasure behind whilst the next up Rock N Roll Will Never Die from a reserved but alluring opening melodic flame, breaks into a virulently catchy stomp of old school rock toxicity with a fevered rhythmic energy. There are no surprises with the song but a flood of hooks and inescapable trappings which leaves ears and emotions on a high as lofty as that forged by the groupie salaciousness of Up Against The Wall, never has rock ‘n’ roll romance been so aurally addictive.

The decent enough fiery rock sounds of classic/blues rocker Road House comes next before another pinnacle of the album arrives in the shape of Fuck That. The track is a return to a more punk led rampage, its jabbing rhythms and scything riffs again offering a slight rockabilly flirtation whilst the bass roams around like an adulterous predator. Revealing a parade of impossible addictive hooks and grooves blessed with a Dead Kennedys temperament, it is another glorious encounter which leaves the remaining pair of songs a task to match and leave the album on a high. That they do with consummate ease though, Smoke ‘Em a grizzled protest and confrontation of bruising raw rock ‘n’ roll and final song, The Devils Music is a noir cloaked stroll with sinister intent and psychobilly/blues intrigue. As all songs the tongue in cheek honesty is as infectious as the great sounds and adventure it rides in upon.

It is fair to say that In Meat We Trust is not going to be the greatest album you are going to hear but it will be one of the most fun and irresistible.

In Meat We Trust is available now @ www.liquidmeatlocker.com

8.5/10

RingMaster 25/07/2014

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The essence of greatness: an interview with Franky De Smet Van Damme of Channel Zero

CZ Franky

The recent release of Kill All Kings, the new album from Channel Zero, comes after one of the most tragic and devastating times a band or anyone can experience. The death of drummer Phil Baheux left not only the Brussels band but metal itself distraught. After time to recover the band decided to continue and to record the album Phil was set to record with them. What emerged is an encounter which makes for a thoroughly enterprising engagement and makes a fitting tribute to their friend. We had the pleasure to talk with vocalist Franky De Smet Van Damme who kindly shared memories of Phil, as well as telling us about the impact of his sad passing, the new album, approaches to recording and much more…

Hello Franky and thanks so much for sharing your time with us.

You have just released your new album, the irresistibly enjoyable Kill All Kings; it must be an exciting yet also a sad moment for the bad with the album the first release since the loss of colleague and friend Phil Baheux. What are the feelings as the album makes its first steps into the world?

Well it’s a hard step … when you see how much pos vibes we have for that new album … Phil should have been here with us … sometimes it’s hard to get what life brings you … happiness and sadness can be so close together …

 

Phil

Phil

Can we briefly talk about Phil before concentrating on the album. He was a well-loved and rigorously respected musician and man by fans and the metal world, and of course a brother to you guys. Could you give us some insight into the man and his craft?

Well first of all he was a tall man …6 foot …a giant with a heart of gold … when he had it for you… he would have died for you … he had that comic thing in him … he was an 24/7 entertainer … when he was around us we were always hearing him goof around with everybody … it’s so quiet now in studio and on shows … we really miss him so much as a friend, there was no way you missed him when he was there … it’s still hard to get …

It must have been touch and go whether the band continued after his passing. What gave you the strength to continue and push the band on again, which we all know is what he would have wanted?

Well at first it was a hard time, we were so much in shock because he was really in such good shape … and then the next moment you can hardly believe what’s going on … his son of 5 years was always there with us … so much drama. I was out of options … we were about to record the new album 2 days later and as most of you know … that always starts with drums … so we were devastated. One month later we still didn’t know what now … we were still in that hanging phase where we didn’t really knew what, when or where … meanwhile we had had a message through a Belgian fan that met Lars Ulrich who made his condolences to us … and he also said … what happened was so tragic but please move on … Phil would have never want you to stop here … and pretty soon after that we also got that reaching hand from Roy Mayorga (Mikey’s good friend from in Soulfly ) who said if you want to make the album in memory of Phil I want to help you guys out, I’d be happy to do this for you …so we decided to make the album and see from there on, since there was no intention at all that Roy would play drums in Channel Zero. That’s how we got back on the rails.

As mentioned you have just released Kill All Kings, a fiery contagion of thrash and groove infested melodic metal. For us the album sits somewhere between modern thrash and its origins whilst adding its own individual twists. How would you describe its potency?

I think it’s got that look back and respect for the metal machine build-up of riffs and power and at the same time I’m always the guy that looks forward … that combination of Mikey and my pulling forward in ideas works well. It’s the second album now and we start to make things really work together … the music match is also very strong between Mikey and me, so it’s all about vibe and hard work.

I’m always concerned about … what is now … what should be the vibe now … 2014/2015 … I’m not the kind of person who looks back to much …

It is a fair old time since the band’s formation in 1990 of course, a time which included a decade or so long break, so how would you say your sound has most powerfully evolved since those early times and Kill All Kings? Channel Zero - Kill All Kings

That new impact comes from Mikey … he was highly needed in pos vibe and power to make this happen … so I found a music soul mate and a brother at the same time, destiny I think … sometimes things happen without a reason … this had to happen … I call it Channel Zero 2.0 ;-)

Did you have reservations going into the album’s writing let alone recording because there was no Phil to drive the rhythmic provocation?

Well this album was already there before Phil passed away so the songs were created with Phil’s impact … in demo writing we use drum computers to write since we don’t have budgets to record whole demos in studio. What happens is that when songs come together, Phil always kinda followed the drum tracks so we were sure it was something he could go for … it would have been crazy to try to program things that we could not play later on live. So here we were totally there, all songs were chosen to record with Phil …

There was a deeper personal element to songs, lyrically and musically, than ever before on a release this time for you?

Well the impact of Heart Stopped, the song that was kinda of rewritten in „ Angel „ acoustic, was a hard one … Brothers Keeper too … these songs now refer so hard to what happened so that’s really emotional … on the other side I have always written lyrics that have a deep impact or feeling to me …

I have that thing where I want to wake up people’s conscious … always been my intention in writing lyrics.

The recording must have been very hard especially but it sounds on songs that emotion rife in the studio went into a stirring and anthemic passion which soaks the release. Do you feel that too?

Well we want to make songs that kind of stick to the brain … we wrote about 40 of them and when you write more songs you always have more good ones in the end … that’s a thing that probably made all the ones on the album have a certain strength … which they should have.

Impact and dedication … lyric wise and song wise …

Tell us about the songs on the album, Phil’s involvement if at all, and the inspiration for the majority of their themes.

All songs are written by Mikey musically and then I come into the game with feelings … vocal lines … and that is where it moves on … sometimes it falls really fast together, sometimes it goes slow in writing. When things start to pop up at the surface it means it sticks to the brain … so we learned to take time …

We must admit we expected to feel or hear something missing in the rhythmic part of the album, no disrespect to Roy Mayorga who joined you in the studio, but the man nailed it in a different way to Phil but as potently…

I think that’s normal … Roy really listened hard to the demos and he wanted to put his heart and soul into it but off course Phil and Roy have both different playing styles We tried to find that sweet spot with Roy in the studio … to make it work in such a way that Phil would have loved it … we really worked hard in that vibe or direction and it was not easy for Roy to step into someone else’s shoes but he really did such amazing job and impact … all in the memory of Phil … we can’t thank him enough for that …

Having been one of the most notable driving forces of European thrash in the nineties have you felt the need to twist your sound to bring it ‘up to date’ with modern sounds within the genre or has it organically simply evolved for the new album and its predecessor Feed ‘Em with a Brick?

The change was obvious … we had a new guitarist and automatically we moved on to something different but the impact we wanted to give was still a metal impact and sound so Mikey was a dream scenario, even if we didn’t have many things in mind when he joined. The new album has evolved to better songs and also we thought about it way more that F W A Brick … I think that’s an evolution you owe to your fans and yourself also…

There seems to be two camps in regard to modern thrash and its varied flavoursome design, old school fans who hate it and those who devour it eagerly. How have you found responses with a sound which embraces both aspects?

Well as I said before, Mikey embraces that old school metal vibe which he understands really well as a metal guitarist … and on the other side I’m always open for new things …and the mix was important too, I made some decisions that had to be done and I think we made a move that kinda made it work … I mean by work it gets accepted really well so I hope we can surprise people with our 2014 album ….

Channel Zero - Band Photo 2014 #3 - Photo Credit Tim TronckoeWith plenty of albums under your belt, have expectations over the way you approach recording new records changed over time?

Yes it has … bands have less and less budget and ways to record without making any comments on the downloading thing …

With no income anymore for most bands out of the fact their music gets copied … it gets more and more complicated to bring it on.

I always say … if you have 3 months time or 3 weeks time to build a house … which house will be the most finished? Working on music still brings in the fact it will probably be stronger as a song …

I still believe that producers make a big difference also, their knowledge is inevitable but who can still pay a decent producer and pre-producer so all these things matter. The band has to have a certain strength but on the other side the people that work on your music also have their talents and qualities so I still believe in the strength of working together … not in making an album in your living room and selling it on your own. A couple of exceptions out of the world-wide market maybe make it work like that but 98% of the majority of the bands they only work like that …

Do you still get the same buzz?

Well if you write good songs you hopefully get good reviews etc. … if the music talks the rest walks, I still believe in that…

You released Electronic Cocaine as the first single from the album, strong bait to the album for sure; tell us about its background and creation.

Its lyrical content is about the addiction we all have on the social media and internet … it’s a American term for people being hooked on internet and the fact that our brain needs the dopamine of getting tickled, when we receive less messages our brain is disappointed … it’s a typical human reaction but we can’t live anymore without the net and that’s where that lyric goes all about, about the fact we all are hooked without realizing it anymore. For me the song has that strong verse pre-chorus chorus impact … I really love that song personally, it is a favorite for me …

Roy Mayorga was only involved in the recording of the album, so what is ahead in the rhythm department for the band?

We are not going to replace Phil … we will play with drummers that will take his seat; we are not ready to have a fixed drummer on Phil’s seat. It’s too emotional ….same for band pictures with someone new … it’s a bit more complicated than you should think

And for the band as a whole, live shows?

Well in the meantime … Seven Antonopoulos plays drums live and he is making a great job helping us out. He is a great drummer and awesome person, we are so grateful he is there for the moment. We hope we can get on tour any time soon with Kill All Kings; we get really great reviews everywhere so when we are getting the possibility to tour … we will get on that bus…

Thanks again so much for chatting with us, any last thought you would like to add?

Thank you for checking us out and thank you for taking a spin on our new album … and if we convince you, come to a show to see Channel Zero live … and thank you for all your messages of respect for Phil .

Looking back at the writing and making of Kill All Kings, is there one overriding aspect or emotion which marks its moment in time for you?

Phil’s passing should not have been there … life is precious … keep that in mind, live your life to the fullest because it can be over before your realize. Happily Phil lived his life at 200 M/Hour … I’m happy he did, he was a great person and awesome brother.

Read the review of Kill All Kings @ http://ringmasterreviewintroduces.wordpress.com/2014/06/25/channel-zero-kill-all-kings/

www.channel-zero.be

Pete RingMaster

The RingMaster Review 23/07/2014

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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EMPEROR CHUNG announce ‘I Vow This Day’‏ with new video single.

Emperor Chung Online Promo Shot

UK ROCKSTERS EMPEROR CHUNG SET LOOSE NEW VIDEO SINGLE THIS SUMMER!

 

Rising skewed rock crew ‘Emperor Chung’ continue their climb with the national release of their new video single ‘I Vow This Day’, out now and taken from their hugely acclaimed self-titled debut album.

 

Possessing a sound that pitches infectious grooves, pounding riffage and alluring vocals, Emperor Chung are continually growing in stature. Pulling influence from Alter Bridge, Coheed & Cambria and Queen, the Midlanders are set to raise the bar yet again this Summer with an explosive new single.

 

Born at the end of 2011 and coming at you from Ilkeston, Derbyshire, the members of Emperor Chung individually served their time in the local scene by playing in an assortment of bands, but to limited success. When the quintet collectively hit the rehearsal room, however, everything clicked into place and Emperor Chung was spawned. After a string of successful shows and festival appearances that included Download Festival, as well as playing alongside the Darkness and Tesseract, the band amassed a killer set along with enough material for their debut album. The record hit stores at the end of last year and racked up many accolades and high acclaim with Classic Rock, Rocksound, Scuzz TV, Total Rock and Team Rock Radio, all firmly supporting the release with glowing coverage.

 

The rock crew now release their stunning new single ‘I Vow This Day’, which includes a mesmerising animated video that is sure to light up the senses. The track is a stout piece of engaging modern heavy rock that first rattles and then buries itself deep inside your cranium. Look out for festival appearances and shows throughout the Summer.

 

 

– ‘EMPEROR CHUNG HAVE RELEASED ‘I VOW THIS DAY’, VIEW THE VIDEO HERE https://www.youtube.com/watch?v=lsoC9o5n3ZY

https://twitter.com/emperor_chung      https://www.facebook.com/TheEmperorChung

 

Godflesh – Decline & Fall

GF_D&F_FRONT

There are some bands you always find a soft spot for in the vast ranks of likes and thrilling encounters which accost the senses and imagination over a lifetime, and Godflesh is one of the most impacting and self-sustaining examples. The prime provocateurs of not only industrial but metal full-stop, the band even in the few years they were ‘AWOL’, continued to incite and inspire personally and emerging propositions, their influence constantly openly audible in new bands and sounds. Now the UK band has unleashed its first new material in 13 years through the carnivorous ear seduction of the Decline & Fall EP. Birmingham duo Justin Broadrick (Jesu, Palesketcher, Final) and GC Green has twisted the richness of their early sounds with the experiment intrusiveness of latter inventions to give birth to an exhaustingly primal and vindictively fresh predator. The four tracks making up the release are ravenous tempests of industrial toxicity, metallic hostility, and punk rabidity, a brew which simply steals the passions just as the band has done so many times before.

Also acting as a potent teaser for the band’s new album A World Lit Only By Fire, due out this Autumn, Decline And Fall as well as rigorously casting out a new net of virulently antagonistic enticement also holds a nostalgic strain of bait most notably in opening track Ringer. As well as unearthing past memories of the band’s earlier forages into the psyche there is a raw but definite early Killing Joke repetitious tone and bait to its carnal charm. A sonic wash disturbs ears first, brewing up a portentous air which heavily cascading rhythms and bestial riffs pounce upon with greedy ferocity. The beats stamp with a military like enmity and precision whilst the bass of Green brings arguably it’s most primal and tenacious malignancy of sound yet. It is a delicious and glorious savaging which prowls imperiously alongside the feverishly caustic scrubs of guitar and the loathing fuelled monotones of Broadrick, the years having seemingly only increased his scornfully raw and imposing tones. The track is pure primal evil, a contagious tension soaked malice to devour greedily.

The following Dogbite immediately infest ears and psyche with sonic squalls which seductively sway with wanton designs whilst the bass brings its own salacious swagger to the emerging animus. The track has its own unrelenting gait to its predecessor but equally suffocates and consumes with a base fury which resourcefully blazes with cold flames. Repetition is one of the most instinctive addictive tools in music, along with discord, and there are few who can swing that bait so potently and seductively as Godflesh. The track crawls over thoughts and emotions with the gnawing patience of a dog, every chewing snarl and intensive lick of sonic persistence an irresistible incitement.

As impressive as the EP is to this point, it touches perfection with Playing With Fire. The track is simply an inescapable epidemic, its harsher industrial climate and alienating sonic web pure destructive and addiction spawning manna. We mentioned new bands being influenced by the duo but here alone you equally know and recognise the well which the likes of bands such as Fear Factory and Prong drank inspirationally. That mentioned discord is a passion igniting flavouring around the vocals whilst again bass and rhythms frame the maelstrom of sonic vendetta and enterprise with sheer grudge clad might.

The title track brings the release to a close, its viscous feud of sound a corrosive abrasing sculpted into another magnetically inspiring and senses grinding, almost cathartic challenge. The least dramatic in its attack and incessant in its confrontation, the track is the most inventively tangled weave of fascination on the EP but also the least gripping, though to be fair it still chains imagination and ardour drenched passions without mercy.

If the Decline & Fall EP is a hint of the album to come we are in for something special once again from Godflesh. We admit we might have a slightly blinkered appetite for the band and their sounds over the years but it cannot disguise the impressive and blistering might of the new release, or the impatient anticipation of the impending full-length.

The Decline & Fall EP is available on Avalanche Recordings now and @ http://godflesh1.bandcamp.com/releases

https://www.facebook.com/pages/Justin-K-Broadrick/118373041529126

9.5/10

RingMaster 11/07/2014

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Insane Prototype – These Seven Words Do Not Mean Anything

IP

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

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

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

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

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

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

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

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

http://insaneprototype.com/

8/10

RingMaster 10/07/2014

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Overpower – Greatness Within

a0475773180_10

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

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

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

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

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

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

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

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

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

8.5/10

RingMaster 09/07/2014

Copyright RingMaster: MyFreeCopyright

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Monolith – Dystopia

MONOLITH2 Photo by Fabian Sauer

It is very easy to have mixed feelings about Dystopia, the debut album from German doom rockers Monolith. On one hand it is so close to Black Sabbath in its sounding, with even vocalist/bassist Ralf Brummerloh offering a clone like Ozzy delivery as he unveils the individual narratives, that you struggle to pick out too much which makes a distinct and unique impact. Against that though, the release and songs are so magnetic and superbly presented that it is hard not to be compelled to indulge in its seventies seeded and sounding flight time and time again. It is an encounter which is sure to divide opinions but you suspect will persuade more than it disappoints.

Based in Bremen and formed in 2010, Monolith creates an atmospheric and sultry old school doom rock atmosphere which wears its heart and origins on every note and syllable expelled by the trio of guitarist Ron Osenbrück and drummer/backing vocalist Andre Dittmann alongside Brummerloh. Inspirations it is easy to assume include the likes of Electric Wizard and Pentagram but it is that Sabbath well where the heart and breath of the band’s first offering seems to be spawned from overall. With lumbering intensity and imposing predatory rhythms aligned to tightly binding grooves and searing psychedelic temptation, the predominantly live recorded Dystopia is a thick oppressive charm to easily enjoy, if probably not to be inspired by.

The album immediately engulfs ears with deep pulsating riffs, gripping rhythms, and a growling almost carnivorous bass sound, the latter persistently pleasing bait across the whole of the release. Won’t Come Down is an immediate Cover Artwork by Rocket & Winkand sizeable tempting to start things off, not a particularly dramatic offering against subsequent tracks but a clear hint of what is in store. The song strolls with a heavy yet eager gait, grooves and caustic sonic flames holding a creative grin as they smart against the senses and imagination. The vocals of Brummerloh as mentioned also show their influence boldly, whether by choice or coincidence, but still make an enjoyable colour in the sultry scenery of the song and its swagger fuelled, contagious chorus.

The strong start is matched and pushed a tad further by the following Cosmic Fairy. From a delicious throaty bass coaxing and a swiftly joining blaze of seventies washed acidic guitar, the track holds a steady and even stride framed by similarly gaited rhythms. Though the song does not have the infectious lure of its predecessor, it burns and sizzles with striking designs of sonic venture from Osenbrück to certainly grip attention and awaken a keen appetite for the unfurling proposition.

The next up Hole roughly caresses ears with an initial hot scrub of fuzz filtered guitar and a dark bass tone with an almost demonic tremolo resonance to its malevolence. Smouldering in breath and citric in flavour, the track winds around thoughts and emotions with potent melodic and hazy hues, easily recruiting intrigue and enjoyment. Again though there is no escaping the comparison to the Birmingham legends which dilutes any chance of passions raging before its undeniable skilled and appetising incitement, something applying across the whole of Dystopia to be honest.

The dark uncompromising title track slowly wraps its heated climate around senses next, it’s slowly imposing doom sourced evocation a thick engaging swamp of ebbing and flowing enticement which pleases without sparking real fire in the belly. Its successor Acid Rain employs similar intrusive textures amidst entwining spirals of sonic tempting and a great incendiary flame of funk infused adventure, to explore a successful but barely lingering path.

The album concludes with two highly satisfying encounters, firstly the infectious hip swinging Sleepless Eye. With its transfixing addictive lures and expressively charismatic melodic web of invention, it is the best track on the album; a richly enterprising treat of a song which is unafraid to glide through energetic festivity to suffocating doom crafted shadows, every twist lit by scorching guitar play. The closing Rainbow provides an epic journey of seismic intensity and rhythms within virulent psychedelic smog of imposing weight and heavy metal structures. It is a predator of a track, stalking and preying on the psyche whilst unleashing a contagion packed net of rapacious endeavour. Monolith saved the best encounters to the rear of the album, a closing packed with potential and more originality than shown before but still within well-trodden avenues.

There is no getting away from the core recognisable sound of Dystopia and its inspiration but even with that Monolith provides a strongly enjoyable and easy to return to release which has to be classed as a success.

Dystopia is available now via Finalgate Records @ http://finalgaterecords.bandcamp.com/

https://www.facebook.com/Monolith.doomrock

7.5/10

RingMaster 09/07/2014

Copyright RingMaster: MyFreeCopyright

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Army of Walking Corpses – K.M.D.

Army-Group-cover-lowres

The claustrophobic worm sodden ground has parted once more to see UK horror punks Army of Walking Corpses emerge with their new ravenous EP. Consisting of six tracks which align themselves to the dead with predatory rabidity, K.M.D. is a captivating and thoroughly enjoyable romp of blood drenched, flesh decaying confrontation. It is a striking proposition which is sure to awaken an appetite in newcomers and greater greed in fans for their potent sound. Arguably band and their songs are still engaged in feeding expectations than creating startling surprises but in providing thrilling and compelling arguments with each song, the Nottingham quartet easily encourages patience to happily wait for their evolution to find that unique presence.

Coming to life in 2009, Army of Walking Corpses has become a strong and greedily consumed proposition around their home county and surrounding areas. Created by guitarist Machine who brought in vocalist Le Mang and drummer Nikolai Von Plaskenheimer before after a search finding the deathly skills of bassist Frankenfiend, the band has made its mark sharing stages with the likes of The Meteors, Massive Head Trauma, Skeleton D, Trioxin Cherry, and Crimson Ghosts, the band taking their name from one of the German band’s songs. Their first three track demo caught some attention whilst their first official release, the Deadmen Walking EP pushed the band into a stronger spotlight. 2012 saw the band share a four track split 7” EP called Bloodgods with Crimson Ghosts, a well-received encounter which now is set to be lost in the acclaim for K.M.D. and its furious venom.

Mixed by Andreas Frank of Casket Garden Studios and clad in the artwork of Darkwave Art founder and artist Matthew Vickerstaff, K.M.D. instantly flirts with the imagination as marching feet draw in Invasion of Mutant Slugs. The track explodes from a sonic mist with nostrils flaring and rhythms rampaging feverishly as riffs scrape away the surface of the senses with their sonic rapacity. Vocalist Le Mang adds his grizzled tones, strong intimidation ripe in his pleasing growl yet aligned to a melodic vein, much like the music, which entices from within the tempestuous delivery. There is a feel of Necromantix meets Resurex to the opener which only adds to its carnivorous persuasion and formidable sound, every essence merging for a powerful and gripping start to the release.

The song flows easily into the following Xenocorpse Brainstew which from a haunting melodic coaxing unleashes metallic sinews and a predacious stalking as it consume and intimidate ears. It is a dramatic and intensive start which loses its edge once the song settles into another adrenaline fuelled but predictable charge, its early atmosphere lost in a fury of accomplished but less gripping animosity. Nevertheless the song holds an anthemic lure and contagious strength which easily holds attention and appetite before the excellent Never Alone regains rigorous control with its Misfits like croon of vocals and expansive sonic colour. Le Mang shows he is potent whether crawling venomously over ears or in seducing them with a clean call whilst musically the song rages with coarse and virulent suasion if maybe without exploding into the fury hoped and expected. The heavy metal veining surging throughout the track adds another rich hue to the savagery, providing more evidence of the diverse promise within the band and sound.

One Eye Blind seeps from its predecessor next, enveloping and writing across the senses with a rhythmic barbarity and scourge like riffery. It is another raw and healthily abrasing storm with the continuing to impress vocals backed powerfully by the group calls, stealing the show. Once again Misfits is an easy comparison but there is plenty more to devour and be intrigued by, especially its gothic drama and ambience as it seamlessly evolves into Lost (in the Shadows). The track is a glorious rain of crippling rhythms and scarring riffs which for the first time seems akin to the intro compared to previous songs and their leads. As with its predecessors, the onslaught is unrelenting in its energy and charging gait, drawing on inspirations mentioned already but flourishing within those seeds to sculpt its own infection clad enticement of rabid intent and barbarous tenacity to light the passions even further.

The best track on the release makes way for the closing Man or Beast, an enthralling and just as impressing journey through the cavernous depths of primal darkness. Leaning even deeper into the band’s metal spawned enterprise aligned to their corrosive horror punk endeavour, the track continually twists and shifts across its excellent hostile landscape. At times it lurches into the most vehement scythes of extreme metal and serpentine vocal malevolence whilst in others simply gnaws incessantly on ears with psychobilly bred voracity.

It is an impressive end to a great encounter, one you can only imagine pushing Army of Walking Corpses across the radar of a great many more horror punk and rock ‘n’ roll fans. True it is lacking real originality but as said earlier if the band continues to satisfy and excite with songs like this we can happily wait a little longer for something more distinct.

K.M.D. is available now @ http://www.aowcstore.com/product/k-m-d-e-p

https://www.facebook.com/armyofwalkingcorpses

8/10

RingMaster 07/07/2014

Copyright RingMaster: MyFreeCopyright

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Sassy Kraimspri – Cock Fight 2

SassyKraimspri3

For dirty and sexy rock ‘n’ roll with little care for anything more flamboyant than virulent flirtation, Cock Fight 2 the new EP from Sassy Kraimspri, is a rigorous mischievous pleasure. Consisting of three tracks brewing up brawling storms of voracious rock with the antagonism of punk and salaciousness of grunge kissed garage rock, the release is a dirty contagious stomp reaffirming the impressive emergence of the Norwegian based band.

With the merged nationalities and skills of members from Norway, Australia, and the US, Sassy Kraimspri has been on a constant and attention grabbing rise since forming in 2006. They have played across the globe, impressing audiences from America, Canada, and Australia to China, Norway, and the UK to name some of the places hit, and earlier this year released the first in a trilogy of Cock Fight EPs. Cock Fight 1 roused ears and appetite for the band but now the second in the series thrusts the hunger bred for their presence into a new greed. It provides a blaze of hard hitting devilry which simply ignites the imagination and passions, making little more demand than you enjoy its adrenaline and invention brand of bruising revelry.

Recorded as its predecessor with Russ Russell (Napalm Death, The Wildhearts, Dimmu Borgir), Cock Fight 2 immediately lays down irrepressible and irresistible bait with the opening bestial bassline of Like a Drug provided by Cock Fight 2Lovely Linda Lustsalot. It is a primal lure soon joined by similarly addictive riffs and hooks from the guitars of Dick Deviant and Sassy Kraimspri, whose vocals blaze upon the ear the moment they touch. Driven by the resourceful and inciting rhythms of Etienne the Frenchman, the track swaggers with a defiant and saucy gait which itself enslaves attention. There is an instant indefinable familiarity to the song too, creating an old friend in new explosive clothes stance to make a recognisable yet fresh impact accentuated by the ridiculously anthemic chorus with its swinging hips and seductive lures. As the accompanying press release suggests there is a definite PJ Harvey edge to the vocals of Sassy whilst musically elements of L7 and Valentiine revel in the dusty hard rock and infectious punk exploits combined. The song is a riveting and extraordinarily thrilling encounter which puts the pressure of the other two tracks alongside it.

To be honest neither can match up to the first but each offers their own exciting and sweltering slabs of rock vivacity. Riot comes next taking a more deliberately even paced entrance punctuated by stabs of riffs and thumping rhythms stalked by again a deliciously sinister bass sound. The song prowls around ears as its settles into its intensive charm, melodies pouting and heavily stomping rhythms uniting for an incendiary persuasion led by the impressive fire of vocals. Bursting with rapacious expulsions of energy and coarse guitar adrenaline, the encounter ebbs and flows with a volcanic climate and ferocious enterprise, never leaving senses and appetite devoid of a tasty endeavour.

The closing Say What comes closest to matching the opening triumph with its outstanding adventure. Its first second brings a winding spiral of grooves and temptress bred vocals, each seducing with magnetic wantonness. The song continues to swerve with stirring melodic enticement and mesmeric vocal tempting, predatory riffs and rhythms urging full submission to which harmonies and those inescapable melodies bring mouth-watering rewards. It is a sultry and memory haunting end to a completely thrilling encounter.

As shown powerfully by Cock Fight 2, Sassy Kraimspri knows how to create and uncage rock ‘n’ roll to steal the heart and invigorate the soul, roll on EP 3 we say.

Cock Fight 2 is available via Lady Luck Records now.

http://www.sassykraimspri.com

9/10

RingMaster 0707/2014

Copyright RingMaster: MyFreeCopyright

 

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The Dead XIII – Creatures Of The Night

The Dead XIII Online Promo Shot

It might not be the most startling introduction this year but there is something compelling and thoroughly enjoyable about Creatures Of The Night, the debut EP from The Dead XIII. Fusing horror punk with captivating traits of carnivorous metal and gothic predation, the band makes a strong and promising entrance. They certainly wear their influences on their sleeves but offer plenty to spark and invite the imagination and appetite to embrace future dark bred propositions.

Hailing from Manchester, The Dead XIII rose in 2013 and swiftly bred and earned a potent reputation for their live performances and raw dark hearted sound. Their influences are plain to see and hear, the likes of Misfits and Murderdolls as well as Defiled adding strong colour to their riveting sound so that as mentioned it is not the most original mix, certainly yet, but it also shows a rich potential and invention which should grow and evolve into something rigorously unique with time. The quintet’s stature has strengthened through sharing stages with the likes of The Fearless Vampire Killers, Ashes To Angels, and Bad Pollyanna since forming and now with the unleashing of Creatures Of The Night it is easy to see the band finding a stronger foothold in the UK metal scene.

From a sinister atmospheric mist opening track Stake My Date makes the first insurgence into ears and thoughts, guitars the initial graze of coaxing. Pushed by the firm beats of drummer Spike Owen and the dark bass tones of Paul The Dead XIII Cover ArtworkRyan, the song is soon striding purposefully with eager and caustic intent as vocalist Kurt Blackshard adds his excellent cold vampiric yet alluring delivery to the mix. His voice has a monotone quality which entices perfectly, especially when surrounded by the fiery guitar scrubs and riffs of Symon Lee and Ste Mahoney, the latter offering a sizzling solo as the track prowls and crawls all over the imagination. It is excellent thrilling bait to set things off, a success not quite matched by its successor it has to be said.

Stage Fright wraps ears in a gothic shadow of melancholic menace and drama initially before from its depths a gallop of hungry riffs and demanding rhythms emerge. Sonic hues spew from the determined stride of the track whilst keys offer a melodic haze of danger to breed an intriguing evocation within the raw canter of the song. To be fair the track is a heavily enticing beast but against its predecessor lacks the same spark, its invention and guitar designs less gripping and potent. Nevertheless the track with its mix of Wednesday 13 and Type O Negative holds attention and hungry appetite firmly in its grasp.

The following Monster Rehab marches in on a blaze of caustic riffs with addictive hooks and commanding rhythms. It again makes for an enthralling temptation but losses some of its potency once settling into a more predacious crawling around the senses. With its once more impressively delivered narrative presented by the almost mesmeric tones of Blackshard, the track is a sizeable offering but as the previous track its depth and its sonic invention comes without the strength and bite which fuelled the first song, though the chorus admittedly is an addictive roar providing an easily pleasing incitement.

The closing Army Of The Dead brings the release back to its opening heights, crawling all over the senses from its first touch and seducing venomously with an enthralling groove and rhythmic hypnotism. Hooks and melodies persist in their infectiousness across the song whilst the vocals again chain attention within the malevolent f bass and drum sculpted caging and its sonic colouring. The best track on the EP, the song brings Creatures Of The Night to an impressive and exciting conclusion, leaving plenty of satisfaction and rich promise stalking thoughts and emotions in its wake.

The Dead XIII has a way to go to find their own distinct presence and sound but with a first step as magnetic and captivating as this their horizons look potent and potentially dynamic. Find their distinct identity and we could be looking at a real pestilential scourge to ignite the British metal/horror punk scene.

The Creatures Of The Night EP is available now @ http://the-dead-xiii.bandcamp.com/album/creatures-of-the-night

http://www.thedeadxiii.com/

8/10

RingMaster 07/07/2014

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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