44 Fires – The False Flag Agenda EP

     

     44 Fires has brought a confrontation of bruising rock n roll to London and the UK for a while now, the band which just gets better and better with each year and new song they unleash, earning a strong reputation and loyal fanbase for their fusion of metal, alternative rock, and grunge. The release of their new EP, The False Flag Agenda shows that their rise and increasing presence within UK rock is not going to be slowing down any time soon, in fact with the release being as impressive as it is they might just be leading the scene very soon.

The three tracks making up The False Flag Agenda grip the ear and thoughts with skill and invention from the very first second of all their individual declarations, each a snarling and provocative encounter lyrically and sonically leaving long lasting impact and pleasure. That ability to make a lingering mark has been a trait of the quartet since it first formed though the new EP is undoubtedly their finest moment to date. Emerging from ‘a collective desire to return to the musical roots of each of our band members’, 44 Fires took shape in 2011 with the union of guitarist Jay Franklin (War Criminals/The Final Hour/The Duvets & Big Twin) and drummer Aaron Beard (The Final Hour/Latch/HOYB). They were soon joined by vocalist Brian Small who joined from No Silent Order and bassist Dan Turton, since left before the recording of the EP. Infusing a mix of essence from inspirations such as Clutch, Pantera, Rage Against The Machine, Metallica, Alice in Chains into their own distinct ideas, uncompromising politics, and invention, the four piece was soon riling and inspiring audiences and fans whilst earning a growing positive response from the underground media. It has been a rolling brawl of a rise for the band which has grown with each year and will surely explode once The False Flag Agenda rampages through the senses of the country.

Previous songs have always had a hook and eyeball to eyeball intent which has gripped and recruited strong attention but as opener Army Besides Me alone shows, the band has honed it into a potent weapon and persuasion which compares with anyone. The song lays a blaze of guitar across the ear first before the throaty bass of new member Tony Hampton dances slowly upon the grazing. It is an instantaneously inviting embrace soon employing greater sinews through the challenging narrative of Small, his forceful and expressive delivery the perfect vehicle for the intent of the song’s attack, and the ear snapping rhythms of Beard. Not so much in sound but in stance and construct, the song reminds of One Minute Silence and the band easily rival the Americans with this scintillating start. The bass is a persistent incitement throughout the song too, the spine to which the guitar and sonic imagination inflame their enterprise around, all combining for a powerful and enthralling encounter.

The following Idiot unveils an accelerated hunger to its press upon the ear, riffs and rhythms snarling and biting with elevated aggression and intensity soon matched by the vocals of Small. With a contagion soaked chorus making its play not long into the song too, the track stomps with insatiable appetite upon the listener to spark a mutually greedy response in return, the blend of rock and metal with a shifting and unpredictable blaze of enterprise and virulence, ensuring full involvement. Not content with succeeding in seducing the passions to its anthemic cause the song also sneaks in a spicy groove at one point which offers scything discord and delicious venom to brand the connection is permanent.

The band follow up the best track on the release with one which decides rather than stand toe to toe to win the affections it will offer a smouldering lure  with an incendiary potency to its call. Merging a slow suasion of melodic rock and grunge enticement with a spine of metal entrapment, Freedom is the most intense and provocative track on the EP resulting in a presence as distinctly different and equally impressive as the other more direct finger poking riff loaded songs. It is a stirring fire for thoughts and emotions completing an outstanding release which places 44 Fires to the front line of not only underground but we suggest UK metal in general but do not take our word for it check the band out @

http://www.44fires.com

9/10

RingMaster 22/05/2013

Copyright RingMaster: MyFreeCopyright

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Full Throttle-Roads Of Life EP

The Roads Of Life EP, from Russian band Full Throttle is a release which combines hard rock and heavy metal with other assisting flames, for an encounter which fires up the senses with ease, its high octane melodic fuel and forceful energy spilling over for an engaging and invigorating ride which would enhance any intensive road trip. It is a release which admittedly offers little new in barrier breaking but easily feeds any appetite for melodic metal bred by passion and invention.

Full Throttle was formed in 2004 in Kaluga and initially had a softer metal sound which with a change of personnel of the years evolved with a harder more aggressive breath. 2005 saw the band’s debut album Lie released to strong responses but was followed by a three year hiatus for the band from 2007 due to internal disagreements. The band returned in 2010 and soon was working towards a second album which due to difficulties was reduced to this EP and an impressive release it is too. Taking influences from the likes of Manowar, Nightwish, Metallica, Sonata Arctica as well as Russian bands Aria and Kipelov into its own invention, the three track release makes a powerful persuasion offering all the spices which could see the band find the widest awareness and with the band recently signing up with GlobMetal Promotions, it is hard not to feel that the band will soon be garnering strong interest and a wealth of eager new fans.

Full Throttle’s songs find seeds in the ideology of the biker’s movement: freedom, speed, the choice between life and death, not that we could tell as the songs are all sung in Russian, though not any issue of course. The opening title track revs up with sturdy riffs and crisp rhythms whilst keys and the melodic tease of the guitars enflame the air with sonic colour. It is an immediately appealing introduction which settles down into an energetic charge across the plane of the song with expressive winds from the keys and powerful female vocals astride a spine of heavy intensive riffing. Though lacking a groove or hook to make it strongly contagious the accomplished and fiery song has an infection about it which potently entices and recruits deep satisfaction. It is a richly pleasing and stylish cruise of intensity to start things off.

The following Crying Soul changes tact and stance of the release instantly, its emotive beauty and symphonic whispers an impacting elegance within the strong hungry melodic flames which skilfully shoot into the roof of the song. The keys are especially enchanting whilst the vocals have a bite to their again open beauty and harmonic grace, their presence epitomising the blend of light and intimidation seemingly prowling the track. It is a soulful and powerful song showing the diversity of the band and their adeptness at fusing gentle and vigorous embraces for one enriching confrontation.

The closing Night Fraternity is cored by the sound of bikes as they speed off into the horizon with the song gripping their tails with eager riffs and hungry rhythms. It is a simple but wholly effective attack which has a punk growl to its incessant drive and a metal aggression to its sinews. An excellent acidic groove makes its play mid song to complete the impressive temptation of what is the best song on the release.

When Full Throttle gets to make that second album there will be plenty eagerly waiting to climb on board with it thanks to the Roads Of Life EP, us for one.

Read Full Throttle’s Interview with Kostya Aronberg @ http://ringmasterreviewintroduces.wordpress.com/2013/04/12/exhausting-speed-an-interview-with-full-throttle-by/

7.5/10

RingMaster 21/05/2013

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Exhausting Speed: an interview with Full Throttle by

Russian metallers Full Throttle is a band on the rise, their adrenaline fuelled classic metal sound capturing the attention and imagination of a growing greedy audience. Our big friend in Israel, Kostya Aronberg has stepped forward to find out more about the band and their music, concentrating on  their new EP.

Good afternoon guys. How’s the band Full Throttle doing this days?

Good afternoon, we are fine. We continue to work in a heavy direction, preparing for the further implementation of the ideas.

With you solid playing classic heavy metal you have had some success: being signed by European promotion project GlobMetal Promotions for example. How did you do it?

With some degree of certainty it is a credit to each musician individually and the team as a whole. When forming the musical and textual components of songs, maybe we have invested part of the soul which is transmitted to listeners. We think, aspiration and persistence  also played a significant role in achieving objectives.

Of musicians who was behind the Full Throttle? How to promote the creation of the band?

The group was founded in the city of Kaluga by guitarist А.Gunko in 2004. Initially the creation of the team was carried out in conditions of significant difficulties, was to find the priorities and directions, that also was a professional test for individual group members, and the formation of will to move forward. Originally the musical style best suits “soft rock”, but from 2006 with the arrival of new musicians we began to play in the style hard’n'heavy. Having played a few shows with a new repertoire, the band began preparing for an album, but unfortunately due to some disagreements, in January 2007 the group’s activities were suspended. We gathered again only in 2010. Right now we are working without a drummer, but hopefully will find one soon.

Perhaps this issue will affect one of the main secrets of the group – which is a planned full-length album? Will there be any special, breakthrough ideas that will further progress throughout the musical level of the team?

We are located deep in thought, will the next release be a long play or another? This will depend on a combination of meaning and music products to all songs which is an integral part of the whole, and without necessarily to link a single concept. A few songs from the new material are already written, some  to determine in time. Necessarily to add a new sound to music lyrics are carefully checked, and trying to make every song memorable work, we think about every note, appreciate every word. We hope to convey to the audience the very important life components: the constant need for proper selection of vital categories; manifestation of will in overcoming any barriers and obstacles to the goal.

Where was the  recently released EP “Roads of Life” recorded? What roads did fate take this record?

EP “Roads of Life” even six months ago, was not planned in this format. We wanted to produce a long play album. Recorded in Kaluga studio «Machine Band», for mixing and mastering the tracks were sent to Belarus. There were some difficulties, not enough free time during recording to edit some arrangements, sometimes had disagreements over individual understanding of participants. Because of this recording and mixing stretched about six months, but in general we think was good.

Will the Full Throttle shoot their first official video? How do you imagine it?

The idea of creating a video has been around for some time. Most likely, the shooting (already decided on what song) would start after the studio recording of the next release. In the video we want to fully express the inner atmosphere of the team and the semantic content of the conceptual ideology. We will not do, of course, without the special effects.

Heavy music old style is going through hard times, it is difficult to resist the new fangled trends. How are things on the stage of your hometown?

The general trend of heavy music fashion dictates the rules, and in the city of Kaluga  this is no exception. In addition to representatives of the classical styles of metal, there is, of course, a large number of groups implementing new areas of heavy music. Even though the popularity has declined, heavy metal lives, that is periodically confirmed by participants at urban music concerts.

Whose music has an indirect impact on the work of Full Throttle? Whose level do you want to achieve? And in what ways do you plan to do this?

The formation and development of the group took place under the indirect influence of both local masters – “Aria”, “Kipelov” and foreign: Manowar, Nightwish, Metallica, Sonata Arctica.
However, the music of these artists is for us the example of the creation of creativity and performance, but in no way it is not plagiarism.
In terms of improving the limits for themselves, bands must constantly evolve. We hope to reach a minimum level of Dream Theater, everybody understands that it needs only two things: a strong desire, and “hell work”, which is always the most reliable ally. We will try to.

Thanks for your time, what would you wish to our readers?
To readers we want to wish good luck to the boundless, the implementation of plans and ideas, true friends in life. Nothing is impossible!

Interview copyright Kostya Aronberg

12/04/2013

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Johnny Wore Black – Noise

    

     Having already captured the imagination and emotions through previous singles All The Rage and Up In Flames, UK rock band Johnny Wore Black unleash a new fire of rock fervour in the stirring shape of Noise. The new single taunts and persuades with a might of intense passion and instinctive craft which easily commands the ear to leave a lingering grip and rich satisfaction long after its parting.

London band Johnny Wore Black is the brainchild of songwriter/producer Johnny Jay, the former leading force for The Jay Harley Band. Debut single All The Rage, a track released in conjunction with Help For Heroes to raise funds for Help for Heroes and Combat Stress, was an immediate provocation to awareness and critical acclaim for the project, with the equally imposing and incendiary Up In Flames further raising the temperature around the band and its powerful sound. Jay is renowned for his work with musical collaborators and the previous singles featured the skills of  David Ellefson from Megadeth in their striking presences. Noise has been mixed by David Bottrill (Stone Sour, Muse, Tool), with a video produced by Paul Solomons to accompany it, and comes with all the weaponry to take the band on to the widest recognition.

The song is about social networking and its impact on modern society. Regarding the track Jay revealed it was, “an awareness of how we seem to be losing the ability to communicate with each other in ways that were once most natural.” He continues to say “I was sitting in a cafe watching two people arguing about the fact they weren’t paying enough attention to each other as they were too busy focusing on their mobile phones, and the song developed from there.”

The track opens with a delicious wash of emotive and melodic elegance. It soon sees the guitar caressing the  listener with thoughtful enterprise whilst the bass adds its individual textured shadows to walk alongside. Once the song is settled upon the senses the vocals of Jay begin the narrative with inviting warm expression and sinewy tones which lead into a chorus which is as anthemic as it is emotionally antagonistic. A brooding breath stalks the song throughout with the melancholic strings offering a sinister yet vibrant and inviting temptation to match the muscular lure of the song. Though in sound the bands are apart, the song finds that compelling persuasion and depth which marked Metallica’s Black album so impressively, and also suggests that something promising those heady heights from the Brits in the future is not beyond the realms of probability.

Though it never explodes into a blaze of fire, the track is a prowling and inciting presence which ignites the passions and sets itself up as one of the most addictive and potently lingering tracks to emerge this year so far. A kind of a cross between Stone Sour and Soundgarden, Noise is an outstanding gateway into an emerging creative force in UK rock, the exciting Johnny Wore Black.

http://www.johnnyworeblack.com/

8.5/10

RingMaster 06/04/2013

Copyright RingMaster: MyFreeCopyright

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Death By Ki: The Right Of Might EP

   

    Add a pinch of Slayer and As I lay Dying with a healthy dose of Metallica and Anthrax, and you get once thrilling and powerfully accomplished band in the shape of Death By Ki. The British metallers as shown by their tremendous debut EP The Right Of Might, is a new invigorating force in UK metal and a band which breathes honest and rampant rock n roll through songs which scintillate and exhaust. Their first EP is a mighty introduction and though arguably it is playing with already seeded ammunition in the genre, the record is one of the most enterprising and exciting releases to hit this year.

From Bridgwater, Somerset, the quartet of Josh Ayerst (guitars and lead vocals), Chris Chamberlain (guitars and backing vocals), Will Robins (bass and backing vocals), and Nick Cope (drums), has grown into a compelling and richly satisfying presence since seeds which began when Ayerst and Cope jammed together as school friends. Subsequent time saw Robins join but it was with the addition of Chamberlain in 2011 that the band found its whole and solidity. The past couple of years has seen the band unleash impressive stage shows on their own and alongside the likes of Gallows, Revoker, Romeo Must Die, Evile, and Be’Lakor, all the time honing and exploring their sound and ideas until ready to record their first offering. Recorded with Jeff Rose (former guitarist for Dub War and Skindred), The Right Of Might is a stunning collection of songs which whilst not exactly re-inventing existing formulas certainly gives them a fresh and impacting fury.

Released May 20^th, The Right Of Might instantly raps on the senses with the first sinewy beats of opener Like Oxygen To Fire. Soon joined by ravenous riffs and keen acidic sonics from the guitars, the track slaughters the ear with crisp rhythms and rabid energy for an instantaneous rewarding confrontation. The vocals of Ayerst brawl with impressive craft and expressive passion to add to the already in place intrigue and pleasure, and as grooves and hooks tease and entwine the energy the track needs to make no more persuasion as to its impressive stance and purpose. But impress further it does with great melodic flames from Chamberlain and a raptorial menacing prowl to the bass of Robins. The song has a familiarity to it which for sure is a consequent of the band playing with existing essences but it also makes it an immediate best friend for the heart, as with the whole release. The fact that the band conjure these already in place endeavours into their own creative rampancy does the release or the massive enjoyment no harm either of course.

The title track follows and within seconds is searing the senses with fine guitar heat and craft. As with the first song soon the storming blend of hungry riffs and bone shuddering rhythms drives the track deeper into the passions with an excellent scraping yet picky melodic vein, which actually reminds a little of the Skids back in their early days, adding another spiral of lust to the brewing ardour. A seamless collision of styles and attitude, the track ignites an anthemic appetite which captures the imagination with merciless efficiency and backed up by the great skill and imaginative rhythmic and guitar sculpting, it is no surprise why the track steal top honours on the EP.

Control (In A World Of Free Will) is a less intensive encounter though still drives with a muscular intent and energy which leaves many other similarly gaited bands sounding pale in comparison. The track again entices and seduces with musicianship which exploits every ounce of quality within the songwriting and a vocal attack which growls and harmonically persuades with matching strength. The fiery solo of Chamberlain again leaves one grinning whilst the song as a whole is a rampant and wholly rewarding bruise of aggressive invention.

The band expands their sound further with Tao, a song with an emotively melodic embrace and enveloping atmosphere which wraps itself warmly around ear and thoughts. The vocals of Ayerst shine even further here, his part gravelly tones given further space to expel every syllable and lyrical intent with expressive breath. The excellent track then passes the metallic baton to closer Lights Out, a tempest of insatiable and debilitating energy which sparks even greater fires. Grooved, greedily riffed, and rhythmically uncompromising, the track ends the release as impressively and powerfully as it all began.

The Right Of Might EP may lack a little originality but whether you can find the same rapturous enjoyment and energising experience that easily elsewhere we doubt. Death By Ki is going to be big, mark our words.

www.facebook.com/deathbyki

8.5/10

RingMaster 28/03/2013

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Order Of 315 – Near-Birth Experience

     Near-Birth Experience in its initial encounter made for an extremely pleasurable bruising rampage but given time and frequent sorties with its antagonistic and deeply satisfying riot, soon became an instigator to the hunger to chew upon the world and all its occupants. It is arguably not the most destructive release you will come across but certainly offers enough brutality to send the senses into a glorious riot whilst unleashing a diverse enterprise with spores birthed in a cross wealth of genres which ignite the passions with ease.

The 2010 formed French quintet distils the crucial essences of anything from hard rock, progressive, and alternative metal to metalcore, and thrash into their own focused sound. It is a brew which sparks plenty of varied comparisons to others but stands apart from most. Despite the wealth of different spices musically the band does not operate in new undiscovered realms but instead uses their inspirations in a way unlike most others. Near-Birth Experience is their debut album which proudly and eagerly assaults the ear with this intriguing mix to leave nothing less than enthused emotion in its muscular wake. It is not quite flawless but any niggles disappear into the storm of impressive enterprise and irresistible energy.

The album explodes into life with one of its many highlights. Enemies Wait Inside prowls as it leans against the senses with concussive percussion and thumping rhythms whilst riffs snarl and unleash a raw breath upon the ear. With the taking of a slight musical breath as the vocals of Edgar Jabberwocky enters the affray, the track stomps into a course of pace switching and magnetic enthralling invention. The track immediately gives pointers to the influences which have styled the sound of Order Of 315. As it unveils sinewy caresses and simmering intensity it triggers a flight of thoughts and comparisons to the likes of Korn, Marilyn Manson, (Hed) PE, and fellow Parisians Watcha. It is an exciting potent encounter where the bass of Giovanni R. Baldini is an impressive provocative shadow throughout and the guitars of Klaus K. Kersey and James W. Lowellson the conjurors of melodic and sonic flames which shoot across the backs of the uncompromising riffing.

Dogs That Lick, Dogs That Bite (The Leary Bill Of Rights) takes up the challenge of following the strong start with relish. It is another measured consumption with compulsive riveting riffs and sonic scything whilst the vocals squall with full passion eye to eye with incited thoughts and impressions of their recipients. With more than a heavy whisper of Five Finger Death Punch and Hellyeah to its stance the song bristles with attitude and makes the richest persuades convincingly with its compelling twists and varied craft of sound and gait. The drums of Pablo Civil have a more controlled muscle to their demands than with the first song and only add further stature to the track and its depth. The song unveils more of the great craft and skill of the guitarists which was hinted at in the opener, the sonic solo midway a furnace of energy and heart which leaves a lasting impression.

As the songs come in rich and muscular presences so the variations continue. The excellent Some Like It Shot opens a door into the thrash/metal touches of a Metallica whilst The Pact breeds grooves and incendiary melodic scarring which explodes with tones of Black Label Society and Machine Head. Nonpoint is another varied caustic contagion, the song a grasping and rasping expanse of barracking rhythms, ravenous vocals, and infectious melodic imagination. It taunts and rips at the senses until they and the heart is a quivering compliant and most of all a greedily willing victim. The song is a towering example of the band at its best on the album and another major pinnacle in its hulking presence.

To just raise one minor quibble over the album, the vocals are outstanding throughout but they do bring a similarity to the tempests which defuses a little of the differences between the songs but something which you can expect to work itself out ahead. As more of the album stands tall and raucous against the ear through songs like S.A (Territorial Glorious Story) and the closing gem Mr Brainwash, the release forges itself deeper into the passions. The release is an excellent debut from in Order Of 315, a band with a wealth of obvious promise still to be explored and exceeded. Near-Birth Experience is an album which we have no hesitation in recommending.

https://www.facebook.com/OrderOf315

RingMaster 19/01/2013

Copyright RingMaster: MyFreeCopyright

 

Dr. Spookenstein – They Came From A World Long Dead

As mysterious as the shadows which undoubtedly spawned them, Dr. Spookenstein is an entity which remains in the dark but from their hidden domain unleashes sounds which equally thrive upon and incite nightmares as they surely ignite the passions. Stalking similar roads to those well-trodden by the likes of Misfits, Danzig, Michale Graves, Calabrese, and Blitzkid, the North Carolina horror punk band has conjured a stirring death drenched album in the shape of They Came From A World Long Dead which just hits the sweet spot at every turn. It challenges as much as it sends flames of pleasure shooting through the heart, the result an ultimately exciting and bruising treat.

They Came From A World Long Dead follows the well-received album Devil Clown Hunts the Town of 2010 and marks Dr. Spookenstein as one predatory and intimidating band in sound and intent. The release offers numerous recognisable influences and flavourings to its compelling and contagious night shift but also plenty of original and striking elements bred solely by the band. It is not flawless but never is anything less than compulsive listening and at its pinnacles a senses buffeting rapture instigator.

The punk fuelled Hang ‘em High barges through the ear first, it’s thumping rhythms and ear trawling basslines an immediate lure into the aggressive heart of raging riffs and fiery energy. The core hook and bass riff is a ‘plundered’ delight which is like a returning best friend though one is unsure of its original home and with the strong vocals and infectious chorus leaves only highly enthused adoration in its vibrant wake.

The album is a little inconsistent at times though mainly through the vocals which vary from excellent to ‘wobbly’. Actually as in the following Witch Bitch when the vocals are less impressive they are still good but strangely seem to be running different notes and melodies to the sounds. On this track the voice has a definite decent Misfits attack whilst the music is a more classic rock inspired fire and the two struggle to lie with ease side by side. It is just a niggle which occurs from time to time but generally a minor aspect against the strength of the album.

At the heart of the album a wealth of outstanding tracks stomp through the ear to forge the greatest pinnacles on the release. The Ramones lilted I Don’t Wanna Go To Hell is first, its anthemic breath and incendiary energy takes no time in recruiting the listener to its thrilling cause and with an excellent metallic twist and surge nearing its climax shows the invention and mischief of the band. Challenging for best track on the album You Will Burn also ripples with imagination and enterprise within its uncomplicated and raptorial presence. Another metal stoked riot of irresistibility the track swaggers and weaves around the ear with gladiatorial expertise and a devilish hunger to own the senses and beyond. With its ear stroking riffs and beckoning vocals driven by the oppressive metallic intrusions it ensures there is no defence to its immense glory.

The Fog is an equally addict forming instigator, its Misfits/Balzac like beckoning a raging invitation to join vocally and with limbs its punk rock tempest of pleasure whilst Fire In The Sky with its scorched guitar teasing and hard rock stance just treats the listener like its helpless puppet, manipulating body and passions with its magnetic incitement and melodic hooks. The track in between its most compulsive moments breaks out riotous rock riffs and sizzling guitar taunts which recall the likes of Metallica, it is a mix which intrigues and satisfies from start to finish echoing the album as a whole.

Though the occasional song does not live up to its surrounding companions it is still an enjoyable lull in the elsewhere raging pleasurable storm and with songs like the title track, a song which starts by inspiring only uncertainty and leaves behind definite satisfaction, They Came From A World Long Dead is a thoroughly intriguing and intoxicating joy.

The mighty We’ll Take Your Face also has to have a mention, another track with an impressive claim to top honours. It is a tempest of metal and classic rock invention with a punk heart which at times teases Municipal Waste realms with a Murderdolls gait, quite simply horror punk at its best.

They Came From A World Long Dead chews on the ear and heart with accomplished insatiable greed and receives an equally potent reaction in return. It is a great release and its creators Dr. Spookenstein angling to be your new favourite horror punk nightmare.

https://www.facebook.com/SPOOKENSTEIN

RingMaster 16/01/2013

Copyright RingMaster: MyFreeCopyright

Frosthelm: The Northwinds Rend Flesh EP

     Accosting the ear with a malicious caustic wash of thrash and black metal, the self-released EP The Northwinds Rend Flesh from US band Frosthelm is a savage and pleasing confrontation which rewards as fully as it punishes. It is a merciless abrasion, a release which scars and soaks the senses in filth coated nastiness whilst leaving them eager to feel and hear much more from the band.

The quartet from North Dakota formed in 2009 and soon had their local area subservient to their  blackened viciousness. An acclaimed early demo marked the band as one to watch for a great many and with the release of their first EP and an appearance on a CD sampler from Terrorizer Magazine with a track from the release, now might be the time Frosthelm rampage to wider recognition, The Northwinds Rend Flesh certainly deserves the attention.

As the title track emerges from a harsh atmospheric wind with a simple play of guitar it is hard to imagine what is to come for newcomers to the band. Even as it widens its arms the song is a sonic blistering which is reserved and melodically tight within heavy riffs. Taking a breath the track then unleashes a torrent of insidious vocals from Tyler, his serpentine delivery a tongue lashing for ear and thoughts, whilst riffs and rhythms fill the towering skies with thunderous energy and destructive intensity. Now in full rampant flight musically, the release offers essences of the likes of Dissection and Goatwhore as well as spicery from others such as Amon Amarth and Testament, though references to early Metallica and Skeletonwitch has been also deservedly been placed upon the band and record. The guitars of Dakota twist and scythe through the ear with skilled enterprise whilst the rhythmic malice of bassist Jim and drummer Ji hold no respite within their crushing presences. It is a great start and an immediate statement of intent for release and band in the future.

Goblindriver rushes through the ear next with rampant intensity and tsunami like rhythms. It is an avalanche of festering spite and sonic teasing which evolves throughout whilst refusing to show any mercy from its heavyweight corruptive annihilation. Arguably more involved than the first track but less immediate, the song crawls and squalls over the senses softening them up for the following Reaping the Seeds of Corruption perfectly.  Its tempest of sound and energy spews riffs and rhythms like a vindictive tornado, intent on searing flesh with sonic incisiveness whilst bruising everything else with barbarous intensity. The best track on the release it is a sprawling venomous treat which sucks in and spits out the listener with accomplished might and erosive effect.

With final track Damage Over Time offering a further punishing violent engagement which leaves only lingering satisfaction in its wake, The Northwinds Rend Flesh EP is a striking introduction to Frosthelm. It offers thoughts and promise of greater things ahead from the foursome whilst in the now leaving a very satisfied victim with its cancerous and appetizing presence; certainly a release and band to make a note of.

www.facebook.com/frosthelmband

RingMaster 02/01/2013

Copyright RingMaster: MyFreeCopyright

Motorfingers: Black Mirror

Bringing a diverse and strong mix of styles to their rock sound, Italian band Motorfingers is one of those bands you know once heard you will be paying attention to all they do in the future. Black Mirror is their debut album and a release which lights up the passions with its eclectic breath and stirring presence. It is not actually a record which opens new doors for rock but one which comes up with imaginative and thoughtful uses of existing flavours to captivate from start to finish.

Formed in 2008 by guitarists Max Barbolini and Andrea Spezzani with the intent of creating original music inspired by their love of overseas rock music, the band went through a few line-up changes before finding stability with the addition of vocalist Claudio Corrado, bassist Mauree Novelli, and Alex Gualdi on drums. Their debut EP MSC was well received with two tracks being included on the soundtrack of the movie Spark Preludio. Following an intensive time gigging with further acclaim garnered, second EP Brand New Skin in 2010 made a positively welcome appearance before the band set to work on their first album the following year. Released via logic(il)logic Records earlier this year, Black Mirror is nine tracks of blood pumping energy and fluid creativity which pulls essences from the likes of Velvet Revolver, Nickelback, Metallica, Black Label Society, and Faith No More into its absorbing mix. It is an unpredictable record with inventive twists and well-structured songwriting throughout, a release which at the end of the day leaves a fully satisfied and contented listener.

The album saunters up to the ear with the initial beckoning guitar lures and strong rhythms of opener Bastards and Saints. Having brought attention to bear on its sinewy sound the track relaxes its energy to allow the bass of Novelli to lay a shadowed weave upon the senses whilst vocalist Corrado pushes forward the lyrical content in fine style. The song is undemanding but grips tightly with hot melodic play from the guitars, thumping beats, and the pleasing vocals. The track maybe not become the riot which one was expecting as it began but it is a welcoming invitation to rock hard with accomplished and magnetic sounds.

Dust Over Stone with its heated whispers and compulsive basslines is a strong continuation even if it fails to light the same fires as its predecessor, but with its stylish and skilfully brought sounds it begins to show the good mix of spices and imagination to the release.

The temperature soars with In My Dreams, arguably the best track on the album though a few rival it. Beginning with a hard to soft rock start with a gentle atmosphere admittedly one was not expecting too much from it but was soon put in their place by the evolving journey through sounds. At times it is Seether like then in others offers a slight Linkin Park twist with a progressive tinge. It is an excellent track with further alternative metal tendencies which not for the only time reminds one of UK band Tricore.

Black Mirror is a quality release from first note to last with further heightened pinnacles coming through the evocative gem Mad Crime, a mesmeric slice of thoughtful craft which leaves the senses smouldering , the equally impressive My Soul, and the irresistible Lost. The songs make for a consecutive quartet of treats which lift the album to even loftier acclaim. Each of the tracks keeps you guessing whilst making for a long term friend you feel you already knew with the band turning expectations on their head and seamlessly fusing varied ideas and sounds with majestic ease.

For personal tastes the album slips off of the pedestal it attained before a tad with Fallen Brother, Out Of Control, and Here I Am, and it is merely that the songs take a less adventurous trip through their hard rock influences to offer a presence of less appealing sources. It has to be declared too that each of the songs ignite the passions with infectious hooks, finely shaped invention, and enthused energy which will thrill most rock fans. The second of the trio has a grinding riffing to it which has excitement flaring throughout and makes this demanding freak  doubt his view of the song constantly and pleasingly.

Black Mirror is a fine album which will please melodic metal and hard rock fans alike. Motorfingers is a band on the march with sounds to match, you need to check them out.

http://www.motorfingers.com

RingMaster 19/12/2012

Copyright RingMaster: MyFreeCopyright

Derek Buddemeyer: Afterthoughts

   Afterthoughts is one of those albums which needs numerous plays to explore its many diverse corners of sound as well as the thoughts and emotions it incites during its engagement. The release from rock guitarist Derek Buddemeyer unveils a little something more within its expanse of instrumental pieces with each encounter whilst lighting different imagery each time too and though it is not always as consistently successful, it is a rewarding and enjoyable engagement which is easy to return to and often.

Originally from Kansas City, Missouri, the musician moved to San Jose, California at an early age and found musical influences which included The Beach Boys, Hall & Oats, and Barbara Streisand. As a young teen, Buddemeyer then discovered the likes of Van Halen, Def Leppard, and Stryper, inspirations which led him to buying a guitar at 15. Another move this time to Southern California drew him to the sounds and skills of George Lynch, Steve Vai, Warrant, Scorpions, Skid Row, Metallica, Megadeth, Testament, Anthrax, and many more. Taken by the heavier and rawer sound, as well as the melodic imagination borne from such artists, he evolved his own blend of melodic hard rock with sinewy veins and pop metal warmth. Debut album Afterthoughts, which is released through the Jerry Dixon and Erik Turner of Warrant owned Down Boys Records, is the vibrant result of his inventive ideas and honed craft, a release which breathes with enterprise and rich and full sounds.

The album starts with a storm of a track in the mighty Wicked Little Sister. The track immediately fires up the heart with flesh grazing riffs, insatiable energy, and a melodic teasing which smoulders with skill and sonic manipulation. It is an adrenaline soaked piece which is unrelenting in its purpose and inspiring in the open invention driving its course. Amongst the ten tracks which make up the release there are a trio which stepped to the fore instantly upon first listen, the opener heading that impressive first thrill.

The album is a varied little pleasure which investigates and ventures into numerous premises and soundscapes of sound. From the metal rush of the first song the album strolls into the progressive and metal expression of Breathing In The New, the powerful guitar adventure an invigorating and expressive heat supported by electro showers of sound. Then the title track takes over, it another of the great  pinnacles within Afterthoughts. It is a symphonic wrap with emotive keys and a brewing epic atmosphere which surges thoughts and senses through a striking escapade of melodic elegance and lush imagination. Whereas the previous songs were guitar driven this song is a delicious weave of keys and sonic beauty which leaves one basking full of content in a flush of strings and dramatic grace.

As the likes of the magnetic New Groove with its gentle and sunny coaxing of the ear, the classy and refined Morning After, and the fiery Lift Off with its burning temptations, reveal their creative and distinctly individual gaits, the album is a continuing captivation. Occasionally as with the brief presence of the last of these three songs, it feels like a track is written with the thought of soundtracking a cinematic moment so often depart without a defined climax but it only adds to the imagery incited during their usual dramatic breaths.

The third of the previously mentioned greatest heights attained by the release closes the album up. Sandstorms is an immense piece of writing which seduces the senses with its Eastern promise and intrigue setting imagination. Completed with coarse riffs and snarling guitar rubs shadowing the majestic melodic whispers, the track is an evocative delight.

For personal tastes and no other reason, there are moments on Afterthoughts which do not quite rise up to spark the same enthused ardour as at other times, like the mechanical rhythms and shallow electro  drizzles in some places, but it is a minor niggle in the overall quality of the album and does not deter from offering the recommendation to check the album if you are looking thoughtful and inventive instrumental melodic rock.

https://www.facebook.com/DerekBuddemeyerFanPage

RingMaster 20/11/2012

Copyright RingMaster: MyFreeCopyright