Seneron – Parasites And Poets

 

PARASITES AND POETS

A year and a half ago, the potential ridden Order Restored EP roared and confronted whilst thrusting Northern Ireland rockers Seneron into the keen gaze of attention. It was not an explosion to ignite the world of heavy melodic rock but one richly satisfying and enticing invitation into the appetising emergence of the band. Now the Derry trio return with debut album Parasites And Poets and show not only that their early promise has been realised but they have opened up another vat of intriguing and exciting possibilities.

Fusing aggressive essences of alternative and punk rock with grunge, Seneron from its founding in 2011 swiftly sparked the local underground scene live and with their first release, the Well Driven EP a year later. Its raw and rugged presence made for a strong and alluring entrance which last year’s Order Restored reinforced and pushed on, just as the new album does again. Signing with GlobMetal Promotions the same year for a worldwide management, the band through the EP found themselves catching the attention of US radio as well as at home, its successful release supported by numerous shows, tours, and festival appearances. It was a potent year for Seneron and one easy to imagine being eclipsed over upcoming months as Parasites And Poets infests more and more ears and passions.

As soon as the opening song of the album hits there is a more rounded and flavoursome presence and texture to the band’s sound which has evolved between releases. The accustomed fire and snarl of tracks are still there but honed into a more contagious and adventurous charge. First track and new single Don’t Cave In sets things off and instantly grabs ears and appetite with a wall of hungry rhythms and tenacious riffs. Grooves are swiftly employed too, the mix voracious bait which grips the imagination as feet straight away offer their support. It is a powerful start which once into its muscular and forceful stride, expels an anthemic call which is part Foo Fighters, part Turbonegro, and all fun. It is fair to say song and album has an agreeable familiarity about it but also a pleasing freshness in character and enterprise which combines for a healthy stomp. The track continues to rage and flirt across its length, the strong stony vocals of guitarist John Shields backed by those of bassist Ivor Ferris, stirring up senses and pleasure as potently as their sounds and the heavy thumping beats of drummer John Hamilton.

The feisty start is continued with Talk the Walk, a song with an initial Queens Of the Stone Age air to its appearance before striding with a heavy rock swagger and punkish attitude. As its predecessor, the song is immediately infectious with thick riffs and imposing rhythms bound by fiery melodies and spicy grooves. That recognisable essence talked of before, ensures this and subsequent songs have the feel of an old friend but as shown by the following lively smoulder of Breath, there is plenty to fuel each with unpredictable and intrigue fuelled drama. The third song is a mellower but still feisty proposition with a bounce which perfectly conflicts with and compliments the great grizzled tones of bass as beats swing with less intensity but equal animosity to their intent on the first pair of tracks.

Riches and thrills within the album keep coming as the inescapably Foo Fighters influenced Dig Deep steps in next, though those open energetic and melody soaked flavours are also aligned to a more caustic growl which brings greater depth and expectations avoiding substance to the song and its invention. Equally there is a slight Metallica seeding to its even paced stroll and rigorous terrain of rhythms and rugged riffery, a bled which makes a great appetiser for the impressive What a Way to Go. The song is a growl from start to finish, bass and guitars an intimidating provocation of heavy rock ‘n’ roll courted by the punchy swipes of Hamilton and the again great vocals. A slight sniff of Therapy? adds to the intensive incitement of the track, melodic flames caressing the predacious intent and enterprise as it grips ears and thoughts with ease.

Both the more even tempered persuasion of It All Ends Here and the riveting and incendiary imagination of Freakshow keep ears and emotions tightly embraced, the first an unspectacular yet captivating creative croon whilst its successor with a similar core intent, latches onto more imposing and striking hook littered scenery within a melodic fire of catchy temptation. Their easy to digest lures are followed by the grittier blaze of final track Outbound, a song which has raw rabidity to its vocal and heavily boned roar but also a contrasting melodic seduction which simply mesmerises with Soundgarden/Gruntruck like vivacity. It is with little problem an outstanding close to a great release.

Parasites and Poets shows that Seneron has not only found a new plateau for their invigorating sound and creativity but untapped another source of potential. The album is not a major ground breaking provocation it is fair to say but has a spark and invention to its assault which ears and emotions can only embrace and find full pleasure in, an enjoyment which puts a vast amount of heavy rock releases this year in the shade.

The self-released Parasites And Poets is available now @ http://seneronband.bandcamp.com/album/parasites-and-poets

http://seneron.sitefly.co

RingMaster 10/11/2014

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Lost Gravity – Self Titled

Lost Gravity Online Promo Shot

Though it would be wrong to claim that the self-titled debut album from UK based Lost Gravity set a fire in ears straight away, it certainly left a smouldering lure and attraction which over time has inspired a very healthy appetite for the band’s brand of heavy melodic rock. Consisting of ten skilfully accomplished and contagious tracks which make up for what they lack in originality with passion, the release is a potential fuelled introduction to a highly enjoyable proposition in the London based band.

Lost Gravity was formed in 2007 by Brazilian born vocalist/guitarist Breno Val. Taking influences from the likes of AC/DC, Megadeth, Ramones, Chroma Key, Metallica, Alice in Chains and more into their songwriting and sound, the band started out as a quartet but with a flux of line-up changes eventually emerged as a trio in 2012 with drummer Giuliano Kolling joining the band around the same time. Completed live by bassist Chris K, but not involved with the album, Lost Gravity now makes a powerful play for attention with their first full- length. It follows a trio of earlier well-received EPs in Anywhere But Home (2008), Selfish (2009), and Lost Gravity III (2012), all released as the album on Val’s own label Priston Records. The new release is a bold encounter openly wearing its inspirations which arguably defuses its originality, but for heart bred rock ‘n’ roll, the pair of Val and Kolling has unleashed a thoroughly satisfying incitement.

The album opens on the bulging presence and might of What Goes Around Comes Around, a melodic lure leading ears into a wall of vivacious riffs and thumping rhythms. It is an instantly potent persuasion of grunge and hard rock PromoImagewith spicy grooves and strong vocals combining to swiftly wake the imagination and appetite up for the rest of the album. The gnarly tone of the bass adds to the impressive bait of the song, as does the sonic enterprise of Val’s guitar which is as flavoursome in straight rock ‘n’ roll riffery as it is in sonic endeavour. It all adds up for an anthemic and magnetic start to the release soon matched by the bluesy laced Changes. There is not quite the striking touch and unique flame to the second song in comparison to the first, but again the duo provide a skilled and easily accessible slice of heavy melodic rock to convince body and emotions. An excellent relaxation into mellower scenery adds a welcome twist to the song too as Lost Gravity reveals more fluidity and invention to their songwriting.

Both Back Where You Belong and Alone keeps the thick lures and persuasion coming, the first a grooved flame of sonic and melodic intensity which seems bred in the fire of an Audioslave or Stone Temple Pilots. It is a song which evolves across its length, entwining stoner-esque grooves and alternative metal seeded ingenuity within a sultry climate. It is a riveting encounter, one of the peaks of the album which its successor does not quite rival in impact but with its sinew crafted balladry afloat with evocative melodies and vocal expression it is an endearing offering which grows in stature with every listen.

Anywhere But Home comes next and opens on a delicious transfixing hook which is arguably never matched in success by the rest of the song, though it pleasingly bristles and roars with fresh creativity not previously explored by the album. That initial lure is never far from the surface of the song either but somewhere there is a missing spark to push a certainly great song into sensational realms. To be fair though, it is hard to tear away from the track as you almost urge it to greater success and it certainly enslaves a hungry appetite over time.

The infectious swagger and flirtation of Friendly Fire sets up feet and ears for a sizeable pleasure next, its Foo Fighters like tenacity flirting with rock pop vivacity before the more heavyweight and moody presence of Selfish takes over to ignite the senses with sonic spicery and melodic intrigue. The track is structured similarly to Anywhere But Home, and also breeds an enthralling presence with a potential not quite realised. This applies to the whole of the album really, so many great things exploring and playing across its appealing body but not quite finding the missing piece to truly catch alight. Song and release though does breed real anticipation for when the band make that transition at some point ahead.

All the Same looks at an alternative/punk pop infused landscape for the placing of its skilled and bracing temptation whilst the following Venom In Vial parades a raw antagonistic breath and attitude in its muscular confrontation. The pair are further sides to the sound and invention of the band, each a firmly pleasing offering before the might of the closing Walk On. With a blues tinge to the opening groove and a ferociously rumbling torrent of rhythms, the track makes a dramatic and thrilling entrance which it subsequently accentuates with a punk rock agitation to its blues kissed charge of dirty rock ‘n’ roll. It is an impressive end to an attention grabbing encounter, an album which makes a hefty persuasion to the promise and skills of Lost Gravity and a feisty suggestion of even bigger and better things ahead.

Lost Gravity is available now digitally and on CD via Priston Records @ https://itunes.apple.com/gb/album/lost-gravity/id901847667

http://www.lostgravity.co.uk/

RingMaster 13/10/2014

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Chainfist – Scarred

ChainfistBand2

It is fair to say that Danish metallers Chainfist with their new album Scarred, has not ventured too far from the roaring core which made their debut album Black Out Sunday an acclaimed and greedily devoured storm. To that easily agreeable seed though, the quintet has found a bolder, fuller, and melodically driven freshness which makes second full-length and even stronger and gripping proposition. The release still wears the inspirations of thrash metal’s founding fathers openly and proudly on its sinew bulging sleeve but twists them into a new creatively exciting and voracious adventure.

Formed in 2007 by members who have the likes of Infernal Death, Epicenter, Panzerchrist, and Frozen Sun to their pedigree, Chainfist made their first major impression in their homeland and around Europe with Black Out Sunday in 2010, it gaining further recognition when the band signed a management deal with Rock N Growl two years later. It was a release making strong first impressions before growing to be an increasingly persuasive potential soaked thrill. Scarred makes the biggest impression right away, the band fulfilling the promise offered on their debut whilst building a more distinctive presence of sound and invention. There is still not a massive uniqueness about the release but with a melodic emprise and imaginative resourcefulness which inescapably captivates ears and emotions, the album stands as a thoroughly riveting and anthemically powerful proposition.

The Michael Hansen produced and Jacob Hansen (Primal Fear, Volbeat, Anubis Gate, Pretty Maids) mixed and mastered release swiftly grips ears and imagination with the start of opener Scars of time. A lone guitar within a chilled ambience offers a haunted and portentous yet inviting coaxing which soon opens up the door to rugged riffs and thumping beats. It is prime thrash antagonism which gets the blood running urgently through ears and emotions but also carries an infectious swing leading to a rampant chorus. In no time vocalist Jackie Petersen is driving the song to greater ferocity, his clean but welcomingly raw tones backed perfectly by group harmonies whilst the guitars of Michael Kopietz and Thomas Hvisel provide an abrasing and melodically bracing temptation to fire up the senses even more. It is an impressive if not startling start, in comparison to things to come, which sets the tone for the album perfectly.

1000 ways to bleed strides intimidatingly in next, the rhythms of drummer Jesper Heidelbach flirting with hostility whilst bassist Braca Pedersen provides a heavy compelling lure around which vocals and guitars cast their addictive ChainfistScarredCoverdesigns. Less aggressive than its predecessor in some ways and more intimidating in others, the track explores a melody rich but imposing scenery of invention and enterprise before making way for the outstanding Black rebel noise. A spicy groove wraps ears early on before the track finds a swagger to its punchy incitement. There is a definite Volbeat feel to the energy of the song whilst musically and vocally it is hard to look past Metallica and John Bush era Anthrax as references but the track soon develops its own contagious suasion to enslave body and passions.

Both Another day in hell and Poison moon keep the thrills and quality coming, the first bursting from an evocative stormy ambience coloured by a melodic caress of guitar and the continually impressing vocals of Petersen. It subsequently evolves into an emotive reflection which is at ease whether smouldering with melodic calm or raging with virulent hostility. Melodic meets classic heavy metal within a thrash bred predation the track is an unpredictable and impassioned blaze of sound and craft. Its successor goes for the jugular from the start, almost moving in reverse as it brings warm washes of melodies into its unrelenting tempest of intensity and ravenous riffery. It is a striking and richly pleasing provocateur but soon shaded by the next up 10.000. Prowling ears from the start with menacing riffs and brutal beats, the song stalks with tenacious vocals and sonic enticement, guitars spinning a caustic and infection soaked web to bind ears and thoughts. It is a glorious muscular anthem unafraid to explore its more devilish side through toxic addictive hooks and a scorching solo.

Know you hate similarly sets the heart afire with its ridiculously catchy temptation within an aggressive weave of riffs and rhythms. Volbeat again comes to mind whilst also thoughts of Disturbed make their suggestive hints from within the exhilarating slab of addiction. It is not quite matched by Seven minutes of pain, but the following song powerfully lays down a bordering on savage assault of riffs and rhythms which is prone to scythes of sonic intrigue and melodic radiance vocally and musically. It is another song where its infectiousness is irresistible for feet and voice, an aggressive provocative fuel for the passions.

Through the similarly structured and creative Statement, band and album reinforce their potent persuasion whilst Mass frustration provides the most intensive and volatile track on Scarred without neglecting the radiant melodic side of the invention running through the release. It is a powerful encounter which leaves ears on an agitated high for the final acoustic version of Black rebel noise to restore calm and peace to. It is an enjoyable and skilled end to the album but the meat is in the richly flavoursome meal of the previous songs.

Chainfist have moved their sound on to a striking new plateau with their album and it is easy to feel there is still more to come even as impressive as Scarred is. The album confirms the Danes as a major proposition in the making and a thrilling encounter of insatiable metal in the now.

Scarred is available now through Mighty Music @ http://www.amazon.co.uk/Scarred-Chainfist/dp/B00M9JLS06/ref=sr_1_1?ie=UTF8&qid=1412602534&sr=8-1&keywords=chainfist

http://www.chainfist.net/

RingMaster 07/10/2014

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Empty Yard Experiment – Kallisti

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   Kallisti is an album to which you have to commit time and attention but rewards with an enthralling journey for thoughts and emotions to deeply immerse within. The new release from Empty Yard Experiment, the fourteen track encounter is a transfixing and compelling proposition which never lets you comfortably settle into its exhausting textures and climactic structures but equally never relinquishes its grip and temptation on the imagination. A riveting web of progressive and melodic rock with just as rich veins of post rock and alternative metal, the album is an expansive landscape of consuming atmospheres and provocative emotion wrapped in a craft and enterprise which pushes Empty Yard Experiment to the forefront of progressive exploration.

Formed in 2006, the Dubai based band consists of musicians from the United Arab Emirates, Serbia, Iran, and India. Taking influences from the likes of Tool, Porcupine Tree, Nine Inch Nails, and Mogwai into their own invention, Empty Yard Experiment (E.Y.E.) has certainly on the evidence of this second album, forged a unique yet almost recognisably engaging presence and sound. It comes in an ingenious tapestry though which sets it well apart from the band’s influences and others engaged in a similar weaving of multi flavoured styles into sonic experimentation. With the band already earning acclaim through shows with the likes of Evanescence, Metallica, and Anathema, their Joshua F Williams (Bruce Springsteen, Stevie Wonder) produced Kallisti has the quality and potential to thrust the band into the keenest spotlight. Named after the inscription on the ancient Greek Apple of Discord, Kallisti is a concept album themed by the threads of chaos and discord which permeate our lives and existence, its lyrical provocation as rich and intensely provocative as its sound.

The journey starts with Sunyata, an instrumental introduction which places melancholic keys from Gorgin Asadi and strings in a crystalline and slightly portentous ambience. It is an easily engaging opening cloaked in emotive shadows and swiftly has thoughts wrapped up in its restrained yet potent drama. The track builds up a sonic link between itself and the following robust and intimidating Greenflash. That threat is slightly defused with the great ragged rub of riffs which soon emerge and mellow vocals which instantly brings a whisper of Deftones or Palms to the otherwise predatory entrance of the track. As it opens up its rhythmic pressure and sonic ruggedness everything takes on a fresh, bordering on antagonistic, approach to the melodic temptation. The result is a song which flirts and melodically roars like a mix of Alice In Chains and Karnivool. As with most tracks there is so much going on that we can only give brief glimpses, each proposition within Kallisti an on-going exploration of an evolving soundscape.EYE_CoverArt_Kallisti

The outstanding track makes way for the dystopian ambience of Red, a brief instrumental clad in an emotively sinister ambience before it in turn slips into the reflective caress of The Blue Eyes of a Dog. The track is like a stark imposing breeze, its emotional intrusion at times a wispy elegance and in others a forceful wind all sculpted by respectful rolling rhythms, melodic experimentation, and emotional turbulence. The instrumental is a beacon for ears and especially imagination to find their own scenic visions within the track and album, matched to more sinister effect by the more disturbed There Will Never Be where keys and vocals unite for a severely troubled caress.

Entropy provides the loftiest peak on the album, the track an enslaving bait of sinew stretched riffs from Bojan Preradovic and the probing beats of Josh Saldanha within an atmospheric sonic glaze courted by a gripping throaty bass temptation unveiled by Kaveh Kashani. Vocals swiftly add their smooth and evocative tension as keys swarm tenderly over the senses with a smouldering breath of seduction. The song prowls as it seduces, expelling raw abrasing flames of sonic and emotive passion throughout for a climactic and absorbing flight.

Blue is another short cinematic slither of industrial bred scene setting before the transfixing beauty of Anomie immerses ears and senses, the skilled designs of guitarist Mehdi Gr a gripping narrative alongside the increasingly mesmeric vocal qualities of Preradovic. There is a sinister almost bedlamic eruption of discord kissed sonic ingenuity within certain twists of the song which simply adds to its engrossing intrigue and unpredictability. The following Lost In a Void That I Know Far Too Well has less of the second of those two aspects but certainly a wealth of the first within its soaring melody strewn instrumental landscape. The piece again has thoughts flying their own agenda before Untitled spreads its unique but easily accessible melodic rock revelry and provocative expression. Detours into cinematic glimpses of life and festivities wrong foots at first but opens up further exploration within the constantly surprising track which over time only enhances its suasion.

The dark cavernous depths of Sama make another short but impacting twist in the narrative of Kallisti before it seamlessly evolves into the melodic enchanting of God Has His Reasons, a self-reflection driven slice of melodic and harmonic beauty. Keys and vocals steal the ears but only because the striking canvas built by restrained rhythms and an inescapable web spun by the enterprise of the guitars and bass gives them a potent background.

A final short piece called Green leads into the closing triumph of The Call, a track from its initial rhythmic trap binding ears and passions in a nine minute travelogue of gentle and tempestuous emotional climates and rugged aural terrains. It is a final emprise for thoughts and feelings, a thrilling sonic gest to lose reality within.

Though many tracks work alone superbly, Kallisti works best as a whole even though that means greater attention and effort is needed. The rewards though are enormous as Empty Yard Experiment proves themselves to be one of the truly exciting emerging forces in melodic and progressive endeavour.

The self-released Kallisti is available now @ http://emptyyardexperiment.bandcamp.com/album/kallisti

http://www.emptyyardexperiment.com/

RingMaster 29/09/2014

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Evenline – Dear Morpheus

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Hailing out of Paris, melodic metallers Evenline recently released their debut album and in the process made a rather potent impression. Richly enjoyable and impressively accomplished, Dear Morpheus is a sizeable persuasion of alternative rock and metal bound in the inspirations of bands such as Alter Bridge, Creed, Metallica, and Nickelback. It is a captivating proposition which lights a richly contented glow in ears and emotions whilst showing a potential of even greater things ahead as the band find their own distinctive sound and presence, which is not quite there on the album. It certainly makes for a pleasing companion, its familiarity to others a warm and easily accessible embrace to be fair, helping lead to a thoroughly satisfying engagement.

Formed in 2009, Evenline first made a mark in with their first release, The Coming Life EP the following year. The band continued to build an increasingly attentive support and attention with their shows, including supporting Alter Bridge in Luxembourg in 2011, before the quartet settled down to record their debut full-length with producer Jim Dewailly. Its arrival in the flavoursome shape of Dear Morpheus, suggests the band is on the brink of a much wider recognition, something the release which without setting new standards firmly deserves with its eleven melodically crafted and emotionally eventful songs.

The album makes a swift persuasion on ears and imagination, the evocative opening to Misunderstood, a melodic caress matched by the potent tones of vocalist Aarno Gueziec. There is an almost hazy glaze to his voice which adds to the expressive start of the first song, a coaxing which eventually roars with passion and intensity as riffs break out with raw energy. Imposing rhythms match this emerging sturdy incitement whilst vocally there is also a powerful evocative flame to the delivery which captivates ears. With a Seether meets Breaking Benjamin like feel to its creative potency and easily pleasing sound, the track makes a gripping beginning to the release, especially with the sonic flame of enterprise from guitarist Fabrice Tedaldi which erupts across the encounter.

Without You keeps the album flying high with its almost rabid gait and energy, choppy riffs and magnetic grooves winding masterfully around ears as the beats of Olivier Stefanelli provide an equally compelling frame. With a virulently Album Covercontagious chorus and similarly rampant urgency to its whole body, the song romps with a Sick Puppies bred swagger and suasion, one loaded with passion and occasional outpourings of caustic growls and sonic fury. It is an outstanding slice of melodic metal increasing the appetite ready for the following Letter to a Grave and Insomnia. The first of the pair is an emotionally charged stroll with an enjoyably enticing throaty call from the bass of Thomas Jaegle through a cascade of vocal harmonies and fiery riffs. Gueziec provides an emotive croon to the skilled web of invention in the song which from a slow start increasingly impresses. Its successor flexes its sinews for an agitated and tenacious exploit which like its predecessor does not quite match the opening two tracks but provides another satisfying turn to the album. It is hard to avoid comparisons to Alter Bridge, Three Days Grace and the like, but such the craft and prowess of songs and band from vocals to sound, it does not defuse the enjoyment offered by the different songs.

Both the resourcefully catchy Over & Over and the heavily emotive Already Gone leave ears and thoughts richly contented if not surprised before the excellent title track weaves its intriguing enterprise. From a haunting atmospheric opening, a sultry melody flirts with the imagination. It is aided by the equally suggestive mystique of the bass, both laying a warm canvas for the excellent vocal skill and strength of Gueziec to further colour. It is a transfixing offering, the most inventive and unpredictable song on the album with its inventive rhythms and sonic exploration, and the pinnacle of Dear Morpheus.

The aggressive Hard to Breathe ignites the senses next, pounding beats the forerunner to carnivorous riffs and cantankerous grooves which are tempered by infectious vocals and the anthemic ingenuity of the raucous exploit. It is a quick match to the heights of the previous song and those setting things off, but also another weighty twist in the character of the songwriting and presence of the release.

The next up Judgement Day is no slouch in inflaming ears and emotions either, though it lacks the spark and lingering potency of those before it, even with its imagination entwining grooves and suggestive melodies. The same applies to the enthralling power balladry of You Should Have Left Me, a perfectly crafted and melodically coloured proposition but one which despite all its impressive elements is an exciting proposal in its company but soon forgotten away from its charms. Nevertheless both only add to the potential of the band before the closing slow croon of Eternal Regrets provides a gentle and mesmeric conclusion to the album with its emotive strings and acoustic hues.

Dear Morpheus might not be ground-breaking in originality but with its inventively sculpted songs and the open skill and imagination of the band, it is a very enjoyable reason to check out Evenline and their journey to finding that distinctive presence.

Dear Morpheus is available now via Dooweet Records @ http://store.dooweet.org/en/home/133_evenline-dear-morpheus.html

http://www.evenline-music.com/

RingMaster 18/09/2014

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LOST GRAVITY release debut album on 13th October.‏

Lost Gravity Online Promo Shot

Hailing from London, Lost Gravity are quickly making new friends with their formidable sound that takes from the stout elements of Soundgarden and The Foo Fighters merged with the riff-creating sensibilities of Metallica. Rightly so, Lost Gravity have gained recognition for their energetic and noose-tight live shows. The UK noise beasts are now poised to up the ante with the national launch of their self-titled debut album, which is out Monday 13th October through all stores.

 

Formed mid-2007 by Brazilian born guitarist & vocalist, Breno Val, Lost Gravity have three self-financed and self-released EPs to their name: 2008’s ‘Anywhere But Home’, ‘Selfish’, which was released in 2009 and ‘Lost Gravity III’, which dropped in 2012. True to Breno’s DIY ethos, he set up his own label, Priston Records, which to date has been an ideal vehicle for the band’s releases. The label’s fourth release is Lost Gravity’s debut album which drops nationally this Autumn.

 

Originally a four piece unit, Lost Gravity had a glut of line-ups changes during their first few years. However, Breno has been the consistent and main creative force since the band’s formation, and to this day, he’s remained their primary songwriter. In 2012, the band paired down to a trio and installed Giuliano Kolling on the drums. Guiliano’s power and groove perfectly complimented the band’s sound and vision, and finally everything began to click into place for the power trio.

 

After a barrage of stunning live shows at the start of this year, the riff lords decided to lay down their debut album at the studio, and it’s a ferocious piece of modern rock ‘n’ roll. Stacked with ten killer tracks, the album has some true highlights from the snarly riff attack of ‘What Goes Around Comes Around’, which slightly nods towards the Audioslave, to the crushing drive of ‘Back Where You Belong’ and the contagious appeal of ‘Selfish’. This record will shine brightly for any true rock fan.

 

-LOST GRAVITY IS OUT MONDAY 13th OCTOBER THROUGH PRISTON RECORDS-

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http://www.lostgravity.co.uk/   |     https://www.facebook.com/lostgravityofficial

 

 

Guilty As Charged – Leap of Faith

BAND guilty as charged

On the evidence of their debut album Leap of Faith, Belgian metallers Guilty As Charged create a brew of thrash fuelled heavy metal which without stretching originality too far provides a rather tasty and invigorating proposition. The band’s new album is a fiery and creatively gripping encounter which surges and rampages with all the right moves to ignite ears and passions as its ferocious enterprise works away on the imagination. A game changer it is not but for riotous pleasure and honest satisfaction not many albums have surpassed Leap of Faith so far this year.

Formed in 2008, Guilty As Charged soon made a good impression with their live shows and the following year through the demo Boxed In. That was followed by the quartet sharing stages with the likes of Pro-Pain, UDO, and Stormrider as well as festival appearances at events such as the Alcatraz Metal Festival in 2011 with Helloween and Death Angel, and Masters @ Rock 2012 with Soulfly & Channel Zero. Recorded last year, Leap of Faith is poised to push the foursome of vocalist/ rhythm guitar Jan De Vuyssere, lead guitarist Dempsey Derous, bassist Hannes De Caluwe, and drummer Matthew Vandenberghe into a wider and more intensive spotlight, one certainly deserved by the storming presence and exciting escapades within the release.

Opening track Preach to the Masses instantly seizes ears and attention with its swipe of melodic coaxing which is soon over run with thumping rhythms alongside keen and feisty riffs. It is an easy bait to find an appetite for, one growing Albumcover Leap Of Faithinto a magnetic stroll of roving beats and a senses entwining sonic enticement. The raw and grizzled vocal roar of De Vuyssere only accentuates the impressive and incendiary start, sparking off an even richer strain of guitar endeavour to snake across the song’s climate. In full muscular flight, the track badgers and intimidates with resourceful enterprise and a great rapacious groove which flirts perfectly with the throaty basslines and the melodic scorching of heavy metal incitement. It is a riveting entrance by the album, not one to leave jaws slack in awe but one to fire up body and emotions for a greedy anticipation for the subsequent tracks.

Those expectations are soon fed a tasty morsel with Last Chance, a track which does not quite match the opening plateau but still sets its own thrilling level with predatory riffs and similarly gaited rhythms and vocals. There is an underlying hostility to the song but it is tempered by the blaze of melodic enticement and skilled sonic suggestiveness. The vocals like the music mix up their textures and attacks to add their own depth and intrigue to the rampant confrontation. Its triumph is soon rivalled by the outstanding title track which from its funky lead in expels waves of sonic intrigue to which the ever impressing vocals add their expressive narrative. The dark hearted tones of the bass and ridges of riffs only add to the rigorously contagious encounter whilst Derous lays a web of ingenious bait which is as insatiable as it is addictive. There is also a punk edge to the track which offers hints of Suicidal Tendencies and Biohazard to the flavoursome and impressing mix.

Both the Metallica like I’ll Never and the enthralling Lonewolf bring diversity and potency to the release, the first prowling and gnawing on ears with sinister expression and predatory invention which sparks the imagination into new adventures. Its successor again has that fierce attitude and breath with an air of the likes of Megadeth and Testament to it yet with its exploratory sonic designs equally provides something individual to the band. Both tracks incite the listener to join their potently anthemic calls before the melodic caress of Elysium wraps its elegance around ears. With rising sultry flames of guitar and emotive hues, the instrumental makes for an evocative engagement before making way for the bruising presence of Lack Of Control. With a caustic scent to its rapacious intensity and attitude, the track boils and bellows with passion and antagonistic purpose whilst veining its roar with acidic shards of sonic invention and colour which as much as the song intimidates equally seduces.

The album is closed by Down, maybe the least eventful and striking track on the release but a song bringing Leap Of Faith to a mighty close with its Pantera-esque swinging groove and simply ravenous intensity. As suggested Guilty As Charged do not change the face of heavy and thrash metal with their first album but certainly they have given it a thrilling and explosively enterprising new proposition and who cannot be up for that?

The self-released Leap of Faith is available now.

https://www.facebook.com/pages/Guilty-As-Charged/73401643876

8.5/10

RingMaster 05/08/2014

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