Black Sachbak – No Pay No Gain

no pay no gain cover

Strapping on a tank full of punk to their trash fuelled juggernaut of sound, Israeli metallers Black Sachbak is one of those wonderfully intrusive treats which it is impossible not to develop a lustful hunger for. Theirs is thrash metal at its most mischievous and antagonistic, a sound which most likely along with the band’s antics and attitude has led them to earn the title of or make a self-declaration that they are “the most hated band in Israel!”

Imagine the devilish thrash ferocity of Municipal Waste with the hardcore flavoured metal viciousness of Suicidal Tendencies and the punk hostility of Biohazard, and you get somewhere around the uncompromising onslaughts of Black Sachbak. The Petah Tiqua hailing and 2010 formed quartet offers a warped uniqueness which given the chance is a seriously rewarding and impressive bitch slap to ears and senses. Though originally released last year, No Pay No Gain, the band’s debut album was re-released recently through Stormspell Records on CD and Tridroid Records on cassette. It has given the world another opportunity to discover a thoroughly compelling band, one certainly all thrash fans should seize with both hands.

No Pay No Gain takes barely seconds to induce full attention with an extra lick of the lips as the opening rock ‘n’ roll fanfare of Haircut I Never Got sets the fury in motion. Swiftly heavy handed thumps of beats from drummer Noam Chizo Salingre descend on the senses alongside the gruff vocal resourcefulness of vocalist Eliran Balely. Their potent bait is enhanced by the sonic endeavour from the guitar of Dor HaShamen Plaut and the meaty bass prods of Lidor Sharaby. It is a demanding entrance which just as forcibly twists into a heavy striding ferocity, riffs and rhythms almost goading ears and vocals. It is a glorious rage which is unafraid to juggle the pace of its attack and throw some wrong-footing twists into its tempestuous presence.

The outstanding start is followed by the slightly less astounding force of The IMF. It is only a dip because of the brilliance of its predecessor, the track a raucous brawl of compelling riffs and antagonistic beats speared by a virulently contagious groove. Also loaded with excellent guitar craft and enterprise with a sweet solo, the track provides another rugged inescapable trap for the passions before making way for the brief punk assault of Dubstep Sucks. Picking on the target in its title, the track roars and snarls with sonic hostility and vocal unpredictability to provide three highlights out of three for the album.

Both Marx Was Right and Beer Law keep the levels high and appetite greedy, the first flying from the traps with voracious riffs and similarly greedy rhythms ridden by the lyrically caustic and vocally savage tones of Balely. As anthemic as they come on the album, the song flirts with and barracks ears from start to finish with prime thrash ferocity equipped with a healthy strain of punk and heavy metal tenacity. Its successor provides more of the same but also takes a slower, at times stalking approach to ears. Riffs gnaw feverishly on the senses throughout whilst rhythms swing with unbridled sinews but in other moments both shift almost 180 degrees in their attack to again bring an intriguing turn of events.

     Next comes a cover of a song by an Israeli artist called Tamir Gal. Having no idea of its creator or the original, it is still safe to say that Black Sachbak has pillaged, maimed, and reinvented Soher in their own chaotic likeness. The track is pure bedlam, vocals deranged and sound disturbed into a sonic haze so that it is hard to know how to take the track. Yet it brings a broad satisfied smile before the excellent Capitalist Zombies goes for the jugular. It is a wonderful irritant, riffs and beats a hellacious ravaging whilst singular and group vocals rouse and graze the passions eagerly. Punk thrash at its best, the track is another insatiable slab of irresistible toxic and thrilling creative rabidity.

A matching blaze of voracity drives Fuck Your Law, a torrent of anger drenched vocals and riffs emulated in spite by the hostile swing of beats. Short and to the point, the track blisters ears and psyche before TV unleashes its infectious and malicious frenzy. Spiked with stabs of delicious grooves and hordes of addictive riffs, the track is a stormy treat which seduces as it batters, leaving the listener sore but blissful. Its certain triumph leads to the closing Smoke Hash, a final blitz which evolves into a scorching haze of heavy metal prowess and thrash savagery.

It is a great end to No Pay No Gain, which itself is the entrance into an exciting proposition in Black Sachbak, who surely will not be for much longer a secret to the thrash scene. The band and associated labels have given us all another chance to get in at the ground floor on their rise with No Pay No Gain; it would be rude not to take a look.

No Pay No Gain is available now via Stormspell and Tridroid Records, and @ https://blacksachbak1.bandcamp.com/album/no-pay-no-gain-3

https://www.facebook.com/BlackSachbak

RingMaster 19/09/2014

Copyright RingMaster: MyFreeCopyright

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https://www.youtube.com/watch?v=LY2IyCVFtdA

 

(Hed)p.e. – Evolution

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From the first striking and forceful raw incitements of tracks like Firsty, Tired of Sleep, and P.O.S., on their self-titled debut album, (Hed)p.e. has been a lustful follow for us at The RingMaster Review. Certainly their subsequent albums have ebbed and flowed in success but each hitting the personal sweet spot to some degree or other. So new release Evolution had a head start with thoughts but also faced a more demanding appetite after eight highly persuasive previous studio full-lengths. The questions and hopes placed before it were swiftly swept aside by a release which lives up to its title musically as well as in theme. It is a thrilling proposition which maybe does not show its new shift in ideation and sound as loudly in some tracks as in others but provides a tantalising brawl of intent and enterprise which should ignite even the emotions of those not quite as enamoured as ourselves.

Evolution is the quartet’s first release with Pavement Entertainment and sees the Huntington Beach hailing band grab inspiration from their heavier roots; sinews and heavyweight riffs challenging the senses as grippingly as the cast of flavours and imaginative ideation more expected from a (Hed)p.e. incitement. Just stepping into their third decade, the band has almost regrouped their ideas and thoughts with Evolution, starting a new chapter with the cream of the essences which took them to this point in time and entwining them with new adventures. As mentioned the album does not persistently roar with its new intent but there are equally times where new twists inspires the tingles first felt when discovering the eclectic enticement of the band way back in 1997 through their first album three years after founding.

The opening slap of tom toms announcing opener No Turning Back instantly grabs attention, their easy coaxing leading ears into a fiery wall of intensive riffs and forcibly crisp rhythms. It is a potent slap on the senses with the sonic HedPE_Evolution_Covergrowl expected of the band. Veins of melodic acidity add drama and intrigue to the proposal before the distinctive vocals of Jared Gomes surge into view with the lyrical confrontation and antagonism again firmly assumed of the band. With climactic shadows and imposing intensity, the track is a scintillating start, an infectious rage to set things off. The bass of Mark ‘Mawk’ Young is a throaty predator throughout whilst the melodic flames of guitarist Jackson ‘Jaxon’ Benge sparks the imagination to run with even more urgency into the accusations of Gomez.

The outstanding encounter is swiftly matched by Lost In Babylon, the track a blaze of metallic intent and hardcore passion. Again guitars craft a web of unpredictable and incendiary bait punctuated by the mighty rhythmic swings of drummer Jeremiah ‘Trauma’ Stratton whilst the bass stalks the senses with a belligerent yet addictive voice. Gomez flings notes and intent at thoughts with his accomplished and unique style whilst the chorus is pure (Hed)p.e. infectious persuasion, an anthemic bellow to ignite body and emotions.

A Rage Against The Machine like groove opens up Jump The Fence, its lure evolving into a progressive caress which in turn moves into scenery of jagged riffs and expressive grooves within a firm rhythmic caging. Stood over and incited by the great variation in the vocals of Gomez, the song strides with an agonistic swagger which again easily seduces for an inescapable anthem, a staple lure in a (Hed)p.e. provocation as shown by 2 Many Games in its slower flowing emotive expanse. Stirring imposing riffs strike through ears as a melodic weave of enterprise wraps the sturdy pace of the track, its emotive elegance and sonic narrative a colourful wash to the muscular core. It is not a rampaging offering but a thickly involved and imaginative suggestiveness with just as potent a temptation as the more rousing elements of other tracks.

The heavy rock canvas of No Tomorrow brings further diversity to the album, rigorously snarling vocals stalking predacious riffs and barbarous hooks for a tenaciously appetising provocation. Commandingly catchy with a vicious essence to its gripping breath, the track puts a militant spark into the passions before making way for the flavoursome venture of Let It Rain. From agitated and argumentative textures, the song seamlessly flows through immersive harmonies and scorching melodies, though everything is courted by a formidable intimidation and oppressive intensity. It is a riveting expanse of songwriting and evocative sound which is surpassed by the pugnacious One More Body, the band unleashing its most hostile weight and energy yet. It comes with another dose of infectious virulence too, another enslaving anthem for thoughts and emotions to get their teeth into.

From the more even tempered suasion of Never Alone, a strong and eventful song which just misses the spark of its predecessors yet enlists the full of the listener, the album moves through the unexpected meditative shadow of The Higher Crown to venture into its reggae seeded finale of tracks. The short ambience fuelled instrumental is an intro which sort of works though to be honest the haste to get to the excellent Nowhere To Go means it gets passed over more often than not. The next song is a delicious stroll of hazy melodies and mellow rhythms bound in a richer soaking of the reggae crafted charm the band has never been unafraid to explore. A tool for body and mind to work with, the song casts a spellbinding tempting which is emulated by the sultry tones and radiance of Let It Burn. Keys and guitars flirt with the senses whilst a dub spicery walks hand in hand with the vibrant vocal and staggered riffs, all combining for one of the most contagious and addictive songs likely to be heard this or any year.

The album closes with the smouldering presence of Hold On, the last of the reggae seeded encounters which is here courted by r&b soulfulness. Without lighting the fires of the previous two tracks it is still a fine end to a thrilling encounter, a triumph with only for personal tastes the fact that the closing trio of songs were seemingly segregated from the rest rather than scattered across the heart of the album slightly out of place . It is the only flimsy niggle to be found in Evolution though, a release which may or may not be the greatest (Hed)p.e. to date but is certainly the most eclectic and flavoursome proposition from the band yet.

Evolution is available now on Pavement Entertainment @ http://www.pavementmusic.com/product/hedp-e-evolution-cd/

http://www.hedperocks.com

Check out our interview with Hed)p.e. guitarist Jackson Benge @ http://ringmasterreviewintroduces.wordpress.com/2014/09/18/shifting-fights-and-battle-cries-an-interview-with-jackson-benge-of-hedp-e/

RingMaster 18/09/2014

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Krullur – Grounds For Termination

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Hailing from Houston, extreme metallers Krullur have recently linked up with Horror Pain Gore Death Productions and their first fury from the union comes in the blistering shape of the Grounds For Termination EP. Six tracks brewing up a raw and corrosive storm from a healthy collusion of death and thrash metal, the release is a tenaciously satisfying savagery. Not an encounter to roar outside of established templates it is fair to say but one feeding heavily all the wants of a slab of extreme provocation.

Formed in 1989, the band is no newcomer to unleashing ravenous hostility. From early demo Enormity in 1990, the trio has drawn attention through the Godvomit Compilation, a split release with Tumorhead in 1996, and debut album Open Ass Surgery in 2001, amongst a handful of releases. As evidenced by the new encounter, the band uncages as proposition which blends the darkest contagious and hostile elements of thrash and death metal with a further blackened intent and punk predation. Grounds For Termination is their new assault, and though the threesome of band founders Jay Langston (drums) and Marty Langston (guitar) alongside Diego Garza (vocals/bass) who joined the band in 2009,has not uncaged a game changer, it is a release to turn new heads their way and offer a thoroughly enjoyable violation.

Krullur take a chunk out of ears straight away as first track Bringer of Destruction flails with viciously swinging rhythms and similarly driven riffs to set off the onslaught. It is just a grabbing of attention though as once in control the song uncages an infectious stroll of bass hooks and scything beats aligned to caustic scythes of guitar. It is potent thrash bred bait which strides antagonistically over the senses and into the imagination, the punkish vocal growl of Garza adding to the raucous brawl of sound and energy. An abrasive and raw confrontation, the song makes for a captivating start with its Toxic Holocaust meets Sarcofago like ferocity and intensity.

Necromancer of Death follows, building on the appealing entrance of the EP with its classic heavy metal furnace of aggression and enterprise. The guitar spins a web of sonic intrigue and melodic craft which manages to be pleasingly vocal and open within the otherwise oppressive and ferocious weight of the track. To this drums and bass sculpt a demanding yet catchy suffocation, increasing the violent lure and grip of the song. Its success is surpassed by the outstanding Designed for Failure. From its first second, the thrash fuelled tempest strides over and tramples the senses, its gait launching from a predatory stalking to an unbridled assault before combining both for the remainder of its impressive fury. Vocals and guitar steal attention with their punk and melodic enticement respectively, but overall the track is a punchy rage which leaves satisfaction full.

Both Pay by Pain and No Holds Barred provide a distinct and unrelenting savagery, the first a carnivorous monsoon of energy and malevolence but a tempest veined by riveting guitar invention whilst its successor ventures into a more punk rock seeded inhospitality. The song is an exciting blaze of sonic endeavour and rhythmic sadism but again a track which manages to be addictively catchy, its thrash swing an invigorating temptation in the merciless and corrosive rampage.

The EP comes to an end with Infestation, a slower spiteful proposition compared to earlier tracks which preys on the senses and gnaws on the emotions with its vehement coated frenzy of rhythmic incitement and sonic causticity. It makes a fine end to a strongly pleasing release, and though Krullur is not opening up new avenues with Grounds For Termination, the band is definitely putting itself in a bigger window with its enjoyable attack on the senses.

Grounds For Termination is available now via Horror Pain Gore Death Productions @ https://hpgd.bandcamp.com/album/grounds-for-termination

https://www.facebook.com/pages/Krullur/154413801249768

RingMaster 17/09/2014

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Glenn Hodge Banned – Iconoclast EP

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With a sound you could describe as punk folk, certainly a proposition which casts a striking and bold adventure which hits home lyrically and musically with an inescapable honesty, the Glenn Hodge Banned provides one rigorously riveting encounter with the Iconoclast EP. It is an irresistible stroll of lyrical and vocal incitement which captivates from start to finish in an embrace of equally entrancing sounds. The band offers five tracks which whether addictively catchy or emotively gentle, spark imagination and feelings with relish to spark a greedy hunger for more.

Based in London, Glenn Hodge began life in Ashford, Kent, being raised in East Anglia before moving to the capital. There he found further inspirations to the folk seeded musical canvas his compelling lyrical and vocal talents colour. Musically too Hodge breeds provocative scenery as evidenced by the new release whilst onstage whether solo or alongside other like-minded musicians, he has earned a fine reputation on the London music scene. Earlier this year debut single Faces on Tables caught the imagination of many leading to potent anticipation for the Iconoclast EP. The new release builds on that rich start with a handful of explorations which focus on city life, personal relationships, and honest social commentary, all with a tinge of mischief and resonating veracity.

The EP immediately grips attention with opener Ignoramus, an initial throaty strum soon standing side by side with the distinctive and compelling vocals of Hodge. His voice has a quirky lilt to its tone which only adds to the lure and drama of songs. Voice and a lone riff continue to seduce the senses for the bulk of song as its lyrical painting sparks the imagination, before guitars and strings bring their own increasing revelry to the growing captivation. Vigorously infectious, the song enlisting listener participation with sublime ease, it is a colourful portrait of a city’s social landscape, melodies and strings bringing evocative hues to the enthralling insight.

The following Intrepid Thing saunters in with its own contagious sway of chords and vibrant melodies. Strings make a swifter entrance this time, instantly adding depth to the engaging entrance of the song. There is a Celtic whisper to the folk bred beauty of the music which holds attention as firmly as the ever impressing vocals, but it is the contagion sculpted chorus which ignites the passions most potently, again a moment which has feet and voice unable to avoid joining in with the anthemic persuasion. Maybe hard to imagine, but the song comes over like a mix of Kirsty MacColl and Frank Turner, and as its predecessor is just exceptional.

Wasted Labour keeps the outstanding level of the EP going; its sultry melodies and stringed incitement a resourceful caress on ears as Hodge shows further expanse and vivacity to his voice, almost breaking into a roar for the chorus which is another ridiculously addictive and anthemic moment on the EP, as the stunning song as a whole.

The final two songs do not quite match the first trio but each with their distinctive characters still leave a want and need to hear more. English Folk brings a slight country twang to its rich tapestry of strings, smouldering Irish seeded melodies, and vocal union which engrosses as it deeply pleases. As the rest of the encounters, it is impossible to leave the proposition alone with voice and toes, the song another organic anthem mentally and physically which is emulated by the closing C U Next Tuesday. A little spikey and ridiculously addictive, the track is a magnetic union of guitar and voice which takes its time to employ other spices, saving them for a rousing finale.

Glenn Hodge Banned is a proposition to set ears and thoughts alight, and push passions towards a tenacious greed. The Iconoclast EP is an exceptional incitement providing the fullest of pleasure and enterprise whilst suggesting you should expect to hear plenty more triumphs from Glenn Hodge and his band ahead.

The Iconoclast EP is available on September 22nd

http://www.glennhodge.com/

9/10

RingMaster 15/09/2014

Syren City – Escape EP

Syren City Online Promo Photo

Seemingly labelled as post hardcore, UK rockers Syren City has a sound which almost defies tagging as it employs a wealth of rich flavours such as punk and metal through to alternative and hard rock, and that is still only scratching the surface. It makes for a rousing incitement as evidence by their new EP Escape, a release which is best described as one almighty roar. Consisting of five tracks which twist with the flair of a pole dancer and has more moves than a senses ravaging roller coaster, the band’s new proposition is quite simply a ferociously compelling and thrilling adventure.

Hailing from Bristol and formed in 2011, Syren City took little time to light up venues around Wales and England, supporting the likes of Turbowolf, The Alarm, Max Raptor, Futures, Young Legionnaire, Attack Attack, and Blitz Kids, whilst festival appearances has seen them share stages with bands such as Brand New, Don Broco, We Are the Ocean, Mallory Knox, Kids in Glass Houses, and Feed The Rhino. Their live performances and their impressive portion of a split EP with fellow Bristolians and metalcore band Koshiro, has led to keen anticipation for Escape, an appetite fully fed by the impressive collection of contagious anthems.

The band hits top gear straight away with opener Bleed. It is a rampage of a song, heavy hitting and rigorously coaxing rhythms from drummer Louis Catlett aligned to the throaty lure of Adam Armour’s bass, an irresistible entrance soon PromoImageenhanced by the scything riffs and chords provided by guitarists Ian Chadderton and Adam Hopton. Instantly there is a feel of Foo Fighters to the muscular persuasion which increases as vocalist Simon Roach reveals his strengths. With gripping backing vocals and shouts adding to the incendiary array of hooks lining the charge, there is also an essence of Max Raptor and the now defunct Always The Quiet Ones to the stomp though all mere spices to something openly distinctive to Syren City. The track continues to set a fire in ears and emotions, its unpredictable invention and side steps in its imaginative emprise as swiftly addictive as the face on tempest of aggression and melodic enterprise.

The stunning start is followed by Our Disease, another track taking mere seconds to seduce senses and passion with its vocal bellow. This bait leads into a punkish antagonism in voice and sound before it in turn evolves into a hard rock stride. As it predecessor, the song mixes up gait and attack with seamless and skilled resourcefulness, never relinquishing its grip on ears and imagination with its increasingly catchy and enterprising temptation. It does not quite match the opening triumph, due to the majesty of that song, but easily ensures that the EP continues to inflame body and emotions as does its successor Fire In Your Name. The third song unveils an enticing sonic groove straight away which rapidly makes way for the potent lead and backing vocal mix, before returning to bind a stroll of punchy beats and raw riffs. As with most songs, that earlier mentioned post hardcore essence is a rich colour to the canvas of the track, but as with all it comes soaked in variety and diversity, melodic hues and a metallic sonic veining adding to the pop punk seeded emotive howl of the song.

The treats keep coming as Long Way Down enters the affair next. The blend of raw and aggressive confrontation within Roach’s predominantly melodic coloured vocals alone make a rigorously enticing offering whilst grooves and hooks in the heavily swinging tempest of the song, only add to its addiction sparking tendencies. The track shows a more savage side to the band’s sound and songwriting whilst still embracing their melodic natures; providing yet another highlight before final song Asphodel brings it all to an infectious close. Revelling in a hard and melodic rock web of enterprise, the song bulges with rhythmic sinews and fiery sonic endeavour whilst vocally Roach impresses once more as does the contributions of the band in the same department. At times raging with nostrils flaring and in others an evocative croon, the track is a mighty end to a similarly impacting release.

Escape is a riveting encounter from a band easily living up to the buzz around them whilst even in its impressive presence and success, revealing the potential for much more in Syren City.

The Escape EP is available now @ http://syrencitymerch.bigcartel.com/

https://www.facebook.com/SyrenCity

9/10

RingMaster 15/09/2014

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DeadAudioSaints – The Purge EP

 

DeadAudioSaints Online Promo Shot

Imagine the raw energy of early Therapy? and the industrial snarl of Pitchshifter aligned to the passionate fire of Reuben with the virulent melodic seduction of Queens of The Stone Age, and you get a keen idea of the explosive thrust and creative tenacity to the contagious sound of UK rockers DeadAudioSaints. Theirs is an aggressive yet warmly anthemic incitement which across debut EP The Purge, leaves you feeling like the prey to their musical intent and focus of their inventive persuasion.

Formed last year, the trio consists of the brothers Danny (vocals/ synth) and Corey Jones (bass/guitars /synth) with childhood friend Tyla-Joe Connett (bass/programming). Their most potent inspirations the band lists as 30 Seconds to Mars, Placebo, Marilyn Manson, Rob Zombie, and Queens of The Stone Age though to be honest apart from the last they are very low whispers in a sound which is not sculpting new templates to follow but definitely providing a fresh and striking not forgetting distinct voice to British rock music. Their first grab at nationwide appetites has been recorded with Matt Eliss (Skarlett Riot, Black Spiders) and The Purge EP swiftly sets out all the reasoning to make DeadAudioSaints a band to pay close attention to now and ahead.

The release opens with current single and title track, from its first breath a song which scorches the senses and incites the instinctive rocker in us all. A sonic tease turns into a simmering wail across a predatory bassline and matching 51EgX2CUlnL._SL500_AA280_rhythms, their instant stride n imposing waking call to the imagination. The song is soon a blaze of hungry riffs and antagonistically appealing vocals caged by the increasingly potent rhythmic provocation. With senses binding grooves and an industrial metal swagger, the terrific track is an incendiary brawl of sound and bounding enterprise which leaves you only wanting more.

It is followed by Tear Apart which also makes a dramatic entrance with rigorously strolling riffs, a flavour of early Marilyn Manson unmistakable, and equally rugged beats crowding ears with muscle and intensity. It is not a savage demand though with another dose of infectious hooks and grooves playing with the passions whilst the vocals of Danny and band add to the irresistible invitation of the imaginative track. Less urgent than its predecessor, the song still unleashes a hefty weight and pace to its enticement to ignite body and emotions.

The Game is a darker encounter, its emotion and presentation shadowed to reveal another creative landscape in the band’s sound. The song almost stalks ears and thoughts, its intensive emotive narrative matched by the raw and dark tones crafted by bass and guitar and coloured provocatively by the dramatic keys. It is a slow burner compared to the previous tracks but a song which still captures the emotions without reserve if with a less lingering bait than the other exploits of the EP.

There is a great caustic air to the next up Don’t Like You, a fusion of punk voracity bringing a stronger roar to the stirring and addictive contagion of its romp. The bass finds a delicious growl to its tempting whilst the rhythms again charge with strenuously flexing sinews. It is a brute of a song, guitars and vocals flaring with creative endeavour and passionate energy, everything combining for an addictive proposition, though straight away shaded by the closing rampage of Taking Control. If the last was a brute then the closer is a carnivorous beast, bass and drums again laying down a seriously compelling and voracious canvas upon which a weave of Pitchshifter like abrasing and Therapy? bred relentlessness erupts in a fire of creative toxicity. It is a scintillating tempest of sound and energy, a torrent of invention which ebbs and flows in its assault yet never relinquishing the strength of its melodic enticing and giving it moments to uncage a venomous brilliance. Electro rock, punk, hard rock, and alternative metal all rolled up into one, the track is a severely gripping storm and the pinnacle of the EP whilst with the title track impressively bookending an explosively thrilling release.

Raw in all the right places and elegantly creative throughout, The Purge is a maelstrom of sound and ideation which suggests that DeadAudioSaints has a very healthy and rewarding future; certainly our ears and hearts will on the evidence of their debut.

The self-released Purge EP is available from September 1st through all stores including http://www.amazon.co.uk/gp/product/B00L6NTJCA/ref=as_li_tl?ie=UTF8&camp=1634&creative=19450&creativeASIN=B00L6NTJCA&linkCode=as2&tag=uberoc-21

www.facebook.com/DeadAudioSaints

9/10

RingMaster 31/08/2014

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King Canute – Drive EP

King Canute Online Promo Shot

When UK rockers Ghost of the Highway came to an end two years ago fans were definitely left with a hole to fill in their enjoyment. Rising from the ashes, band member Johnny Lett (bass/vocals) has alongside Chris Woollams (drums/vocals), easily brought a new provocation to thrill over and bridge that gap in the compelling shape of King Canute. Fusing heavy rock and punk in a much more ferocious and raw yet voraciously imaginative brew than previous exploits, the duo made an immediate impression when emerging last year and its continues in the potent brawl of new EP Drive. Four tracks which roar and incite with unfussy and magnetic tenacity, the release is a storm not exactly setting out into new scenery for UK rock but undoubtedly giving it and fans a compelling adventure to keenly embrace.

Hailing from Guildford and Harlow, since forming King Canute has taken little time in raising support and attention with their at times uncompromising sound. They have lit up stages alongside the likes of Slaves to Gravity, Zico Chain, Idiom, Bad for Lazarus amongst a great many, as well as drawn acclaim with debut EP Cutting Teeth, it receiving equally strong media attention. The release which featured Jamie Lenman (formerly of Reuben), set down a feisty first marker for the band which Drive now pushes deeper with a richer persuasion, the Gavin Monaghan produced EP leaving ears and appetite with a new hunger for the band.

Cocaine Skank is the first encounter on the EP and instantly entwines ears in a mesh of vibrant rhythms and tempting bass, both increasing their coaxing in urgency and persuasion as the song evolves into a punchy incitement. Hooks King Canute Cover Artworkand short grooves add to the appealing and raw texture of the song whilst the vocals offer a potent expression and raw honesty to the proposition. A healthy punk antagonism crowds ears and riffs too whilst there is an alternative rock invention to the twists and turns the song seamlessly strides through.

The title track comes next and takes a more considered gait into its just as swiftly appealing presence. With scythes of chords and sonic temptation sweeping behind the strong vocals of both men, and a thumping rhythmic prowl inviting the fullest engagement, the song is a simmering hostile and openly anthemic enticement. Essences of Queens Of the Stone Age colour the impressive song but it, and the others making up the EP, most of all spark thoughts of nineties British rock band Skyscraper. Its captivating impact is matched by the following Trash Talk. Primarily electro punk but with aggressive abrasing and mildly corrosive melodies, the song is a mix of OurFamous Dead and Hundred Reasons with a touch of Alkaline Trio yet unique King Canute all the same.

An electro coaxing swiftly leads into the caustic arms of bass as Hellmates begins bringing the release to a close, jabbing rhythms and the similarly honest and expressive vocals of the pair soon joining the contagious bait. The song’s swagger is an instantly successful lure whilst the slipping into slower evocative moments, without gripping as potently still leaves thoughts and emotions enthralled. The song is again punk rock at its heart but the electronic veining, which equally pushes the potency of the song, and the exceptional intimidation of bass with its gnarly flavouring, all go to create a fresh and inventive proposition.

Drive confirms and reinforces the impressive emergence of King Canute whilst suggesting of greater things and more dramatic sounds ahead. That may come in the shape of the band’s debut album which they are currently working on for a 2015 release. Time will tell but it is hard not to have a healthy anticipation for its arrival thanks to the richly satisfying Drive EP.

The Drive EP is released 1st September and available through all good digital outlets.

www.KingCanuteOfficial.com

8.5/10

RingMaster 31/08/2014

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