Desert Storm – Horizontal Life

If like The RR you thought the debut album Forked Tongue from UK heavy blues metallers Desert Storm was the dogs meat and two veg than their new album is going to excite places you never knew existed. Whereas the previous album from the Oxford quintet also boasted an avalanche of heavily boned riffs and sludge thick blues grooves not forgetting equally demanding rhythms, Horizontal Life expands it all to hungrier heights whilst drenching the results in a fire of passion and striking invention. The band has grown so impressively between albums, the new release holding a maturity and enterprise which makes its excellent predecessor look almost lightweight in comparison.

Formed in 2007, Desert Storm took little time in finding a greedy appetite locally for their formidably pressing sounds going on to breed a similar and larger following and hunger across the UK through their impressive live performances and festival appearances. They have also shared stages with the likes of Orange Goblin, Taint, Weedeater, Zoroaster, CKY, Winnebago Deal, Firebird, and Black Spiders across the years to ever increasing acclaim and swiftly growing fanbase. Forked Tongue added its impressive weight to their sturdy rise but with the sheer quality and brute force temptation of Horizontal Life you can only assume the widest recognition is waiting to embrace the thunderous quintet.

Released via Blindsight Records, the album opens with the charismatic and contagious Word to the Wise Man, a track which takes off from where last album left off, its care free swagger and magnetic lure of inciting thick riffs and crisp rhythms instantly addictive. The vocals of Matt Ryan are as grisly and throaty as ever whilst the bass of Chris Benoist brings its own primal breath to stalk the ear within the fires of sonic excellence from guitarists Chris White and Ryan Cole. The blues fuelled lining equally excites the senses whilst the potent call of the guitar within the song is a French kiss for the ear.

Both Shadow of an Eagle and Astral Planes leap upon the passions with stirring craft and exciting melodic flames, the first off of a impacting spike of drums from Elliot Cole which sets up the strolling blaze of searching riffs and sonic temptation all again with a hooked persuasion which ignites energy and captivation. It is a scintillating romp with a familiar air to its curvature of infectious sounds and rich grooves as well as compelling enticement from its thoughtfully sculpted variation to gait and direction. Again the vocals of Ryan bring a rich whiskey breath to the encounter whilst the guitar solo sears the senses gleefully. The second of the pair again holds the ace card of being new yet a returning friend to the passions in many ways and like the previous songs commands hungry affection and commitment to its tremendous provocation.

The following No Slave to Master increases the heaviness and rapacious sound, its Orange Goblin/ Down like stance an air sucking beast coated in shadows and venom musically and vocally which has the need to devour the listener without offering the easier to digest swing and grooves of other tracks. Instead it unveils a light sucking intensity which is just as fascinating and magnetic, as does its successor Mr Strongbatch, a track equipped with carnivorous riffs and punchy rhythms. Its inviting groove does ignite a heat and barbed welcome which is impossible to be ignored and again has a confidence to its stroll which borders of aural cockiness which is irrepressible.

Both Enslaved in the Icy Tundra and Lunar Domes unleash corrosive riffs and an intensity which plenty of metal bands can only dream of, with the energy and vocal spite to match, whilst the second of the two from a bass driven aside, creates a passion exploiting mesmeric and abrasively smothering ending which is outstanding. It also marks the point where there is a shift in the album, Desert Storm exploring more of their progressive/psychedelic side than ever before. Firstly Titan steps forward within a sludge toned swamp of sound which shifts into a cavernous beckoning of noise Ryan growls the narrative with even stronger shadows in tow. The riffs still dictate the course of the song whilst a slow burning groove makes its declaration but once things slip away into a haunting evocative ambience, a wonderful exploration of band, imagination, and sonic beauty is unveiled. It is a startling and enthralling joy with a muscular finish to cement its impressive contribution to the now in place rapture for the album.

The release does not stop there as the serpentine treat of Shenzhen next twists and writhes all over thoughts, emotions, and the senses with reptilian chills, sonic ferocity, and wolverine rabidity before handing over to the best track on the album in Gaia. The song is pure sonic alchemy, a pungent soak of southern heat, eastern shimmering, western harmonies, and tribal instinctiveness. It is glorious, a masterpiece of aurally expressive songwriting and exhilarating imagination, and the undeniable proof of just how far and expansive Desert Storm can push themselves  if they so wish.

Closing with a return to the uncompromising energies and trunk thick riffing in the Mastodon spiced Hofmann and the mercilessly contagious Scorpion to ensure further exalted satisfaction, Horizontal Life is a major triumph not only for the band but UK melodic metal/rock. It is explosive and impossibly impressive with Desert Storm putting a great many established signed bands to shame, long may they continue. A must have release.

http://desertstormband.com/

10/10

RingMaster 23/04/2013

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Lion Splicer: Holiday in Dystopia

Three track release The Valkyrie EP earlier this year, marked metal duo Lion Splicer as a band to watch closely whilst enjoying a bruising and invigorating mesh of metal and rock n roll. The New York pair now returns with new album Holiday in Dystopia and show in the mere months between releases, a marked progression to their sound. It is still as riotous and unpredictable as ever, at times a chaotic storm of sounds and ideas to relish, but there is a clarity missing previously and a leap in their already sharp invention. The eight songs within the release are diverse and imaginative, a scorching and compulsive rub fuelled by at times aggression and spite whilst in other moments by sheer beauty. It was unexpected to be honest and most welcome as the band show the early promise and impressions were just the beginning of great things.

Danny Splice (drums, piano, percussion) and Max Splice (vocals, lead and rhythm guitars, bass guitar, percussion) have created a full range of essences which move on those within the EP and explore many more. Arguably their core is heavy metal with thrash and punk tendencies, but to that you can add stoner, progressive, and groove metal, and that is still missing plenty. Holiday in Dystopia is a rampage of fun, mischief, and musicianship which engages wholly and excites consistently. As mentioned the production clarity is just right this time around, thanks to the returning Nathan Long alongside Max Splice, the pair finding the right mix to the outstanding and unforgettable presence of songs.

The opening Jezebel is a fiery ball of flaming rock n roll, its hard rock energies fuelling the insatiable heart of the song. With charged riffs and galloping guitar sonics burning a place in the heart around the scowling vocals and belligerent bass sounds, the track is a riot to jump on board with. It borders a chaotic fall a couple of times but that just adds to its devilish wink.

The Whip opens with an inciteful bassline before prowling around and through the ear with intimidating riffs and group bruises vocally. Featuring a guitar solo from Long, the track is a forceful prod of thrash and classic metal which leaves one almost breathless. Again like the first it almost has too many elements at play to run with a perfect fluidity but it merely makes the track just more intriguing and psychotically powerful, not to mention satisfying.

The punk driven title track steps in next to push and barge the senses with dirty riffs and combative energies, its barracking shouts and incendiary guitar play irresistible. It is another brawl of rock which one cannot refuse or easily move on from. From this point things get very unexpected and interesting. The next two songs are instrumentals, outstanding guitar led pieces which simply shine with invention and quality. They are equal to what came before but as openly different, like the clean cut brothers to party crashing miscreants. Little Conquerors is a short and mesmeric piece, a shimmering caress of warmth whilst its successor Forgotten City unleashes infectious grooves and an incendiary magnetism which simply fires up the passions.

The release is completed by Watchtower and Panopticon Stomp, with third instrumental Utopia in Regalia sandwiched between the two. The first is a black metal flavoured abrasion which is pleasing enough whilst the closer is a tempest of energy and ideas brought through intense aggression and sounds. Utopia in Regalia stands above them both though, the expressive journey and breath offered an easy to devour expanse of stylish guitar play from Max with a guest solo from Andres Abenante, and emotive piano. With no negativity towards the vocalised songs, Lion Splicer hit their highest summits on the instrumentals showing the skill and still immense promise of the band in the future.

Holiday in Dystopia is great fun, an album to party hard with whilst taking refreshing breathers within its eager presence. If dirty rock n roll with inventive surprises sounds good then Lion Splicer is your next best friend especially when they give their album away for free @ http://lionsplicer.bandcamp.com/

RingMaster 17/10/2012

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The Cory Smoot Experiment: When Worlds Collide

Listening to When Worlds Collide really brings home what a talent was lost to not only metal but music when Cory Smoot (A.K.A Flattus Maximus), guitarist with GWAR passed away last November. It is fair to say he was generally overlooked by far too many when talking about the great metal musicians but just one listen to this album easily sets the record straight. Without the sad background to the album it is a strikingly  impactful release leaving one open mouthed at the skill and imagination at work but knowing this is his last piece of impressive creativity brings a deeply sad yet celebratory emotion surging through thoughts as it excites and satisfies immensely.

The songs on When Worlds Collide were recorded in 2010 at Cory’s Karma Studios and were meant for a concept album called Religion is Fiction. The original idea was for Cory to record the tracks and then bring in some of his favourite and the best vocalists from within the Richmond metal scene, including frontman Dave Brockie from Gwar and Randy Blythe of Lamb of God. Due to scheduling problems this never materialised so he did the vocals himself and renamed the whole project The Cory Smoot Experiment. Cory completed the project just before what was to be his final tour with Gwar in the fall of 2011. Found dead in the band tour bus from a heart attack aged 34, he left the world with great memories and an album in When Worlds Collide which is destined to have a highly acclaimed place in metal for decades to come.

Though not quite flawless and at a few times feeling still not quite completed the album from its very first few seconds captivates and ignites nothing but enthused passion and deep stirring pleasure. The Blood Red opens with a guitar slicing the air with red hot sonic slashes of sound before the song erupts into a rampaging grooved infection. With grizzled understated vocals immersed within the commanding riffs and bulging rhythms the song bundles through the ear with excited muscular intent. The song also immediately sets the stall for the album in the bringing of a persistent array of flavours and sounds into a thunderous and inventive union, the song playing with a classic metal energy and almost grunge like breath.

The song slips right into Fortunate Sun next with its slow burning intensity and invasive presence. Heavy, atmospheric, and openly expressive the track reaps many essences from sludge and stoner sown fields to great effect. Though brief it is striking and makes the perfect seamless lead into its successor Religion Is Fiction. Apart from the great sounds the way the songs for the majority fluidly flow into each other no matter the fuel driving each strongly diverse and distinct song is another excellent aspect to the album. It brings a rolling energy to the album to give it an evolving and perpetually organic structure.

Religion Is Fiction is where the album truly ignites, the song a raging feast of intensity and great sounds. It is a maelstrom of grinds, grooves, and ravenous riffs to leave the senses breathless and the heart hungry for much more. Again short at barely two and a half minutes the track is a vicious aural predator which wastes no note or thought as it saturates the listener in pure metal contagion.

The corrosive violation of Rebirth feasts on the debris the previous track left behind whilst the stunning melodic and acoustically lined Brainfade sets an inspired respite before the death thrash assault of Mandatory Purgatory lays one on their back once more with its colossal unrelenting riffs and venom dripping groove. Again these tracks are very brief and it does add to the feeling that the album was not at its final completion and would have gone on to be a true all time classic if fate had not stepped forward.

The album simply continues to light up the ear and heart through the likes of Countdown To Oblivion, the blackened hearted The Gauntlet with its spiteful riffs and funked up mischief, and Hollow Tree with a glorious mesmeric bedlam of ideas and sounds. Ending on the unpredictable and surprising instrumental Sloth Loves Chunk, a jazz funk/progressive metal brew of invention, enterprise, and teasing, the album is a real treat for the ear and beyond.

With all proceeds of the album to be donated to The Smoot Family Fund which Gwar and Metal Blade Records set up to help provide  for Cory’s family, When Worlds Collide is quite simply a wonderful must have album offering a constant pleasure for metal fans of all preferences.

Go get the album here http://www.metalblade.com/smootfamilyfund/

RingMaster 04/06/2012

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Stone Axe: Stone Axe II Deluxe Edition

Released a couple of years ago Stone Axe II is given another outing as a special deluxe addition on Ripple Music and is a vibrant treat for not only fans of the band Stone Axe but for rock music lovers in general. If you have not yet felt the majestic power and heart of Stone Axe and their sounds then this release of their second album complete with a second CD of fifteen tracks only previously available either upon their vinyl releases, as part of compilations, or are just rare tracks previously buried deep within their vault, is an essential for your ears. The package bulges with blues and classic rock fuelled rock n roll, the band dipping into the past and soul of the genres with flavours from the likes of Free, Deep Purple, Bad Company, The Faces, Thin Lizzy and Led Zeppelin the catalyst for their own absorbing sounds.

The band was formed in 2007 by multi-instrumentalist T. Dallas Reed in Bremerton, Washington who upon leaving previous band Mos Generator and its different direction to what the band was set up upon, worked swiftly to set up Stone Axe to continue his hearts calling, Seventies rock preservation. Alongside Reed in the studio there is vocalist Dru Brinkerhoff and live the pair is aided by bassist Mike DuPont and drummer Mykey Haslip. Since forming the band has become an important part of the current rock scene for an ever rising fan base with their impressive live shows and their two albums, as well as splits and EPs which show so sigh of slowing, constantly grabbing eager acclaim, attention and enthusiasm. The nostalgic music influences strike a firm partnership with the band invention to offer a fresh and powerful mix that has a versatility and variety to satisfy persistently.

The first CD as mentioned is the complete ten track second album of the band, a release that with an enthused attitude, heart, and energy combines the flavours of blues rock, stoner, and seventies rock into a stirring and fresh homage come reinvention of classic rock without losing its passion and soul. With songs like the hit Chasing Dragons and the excellent Thin Lizzy spiced Those Were The Golden Years where Brinkerhoff sounds like the reincarnation of Phil Lynott through to the Free inspired Ain’t Gonna Miss It and the stunning Procul Harem tinged Turned To Stone, Stone Axe II is an essential release for all old classic rock favouring fans.

Very often these types of packages offer very little for the passionate fan that has much of the output of a band already, the release riding on the desire of the fan to simply want everything a band releases for their collection. With this special edition those who already have the second album are more than provided for with the second CD and the wealth of tracks within, though if a truly ardent fan you may still have everything already of course. The disc includes a cover of the Cream song SWLABR, an early version of Black Widow, as well as a thrilling live cut of Taking Me Home to name just a trio of the excellent tracks within. With the majority of the cuts now unavailable the CD alone makes the release a virtually new one for most and a very rewarding package with more than just something for every rock fan.

Stone Axe has taken classic rock forward without losing the essence and purpose they and the genre strive by. From the excellently crafted sounds and lyrics through to the perfect and impassioned delivery the band and this release sparks up all the senses and emotions easily and impressively. Many bands are trying to create music with a soul and breath seeded from the early fires of rock, Stone Axe just do it better than most.

RingMaster 05/03/2012

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Christian Mistress: Possession

Deep within its vibrant heart Possession the new album from US metalers Christian Mistress has a little siren at work. Once the release has laid its splendid and full charms upon the ear there is an irresistible urge and need to repeatedly throw oneself back into its impressive swirling blends of classic rock, heavy metal, and stoner rock. You can fight it, offer a well meant resistance but Possession always wins out with sounds that light up the ear and riffs that excite the heart.

The new album is the follow-up to the 2010 critically acclaimed debut Agony & Opium from the Olympia, Washington quintet and their debut on Relapse Records. Long awaited the album is a sure bet to elevate the band to greater heights and draw a growing swarm of new souls eager to be touched by their well crafted rock sounds. Inspired by and spiced by flavours past and present the release offers moments and elements first seeded in the likes of Black Sabbath, Thin Lizzy, and Witchfinder General. They are not another band just copying the sound though or simply playing homage, Christian Mistress use these influences to fire up their own distinct invention and also add in a Blood Ceremony like stoner swagger that is tinged with psychedelic tones and punk rock. The last is less defined but it is there and offers a bite and attitude to stir up and impress.

From the opening track Over and Over the band reveals their cards and skills. Vocalist Christine Davis fills the song with a vocal that breathes energy and attitude and a lot of the punk feel stems from her delivery, as here where her tones recall early Siouxsie Sioux. Alongside her the guitars of Ryan McClain and Oscar Sparbel ignite sparks in the ear with their cutting play and enormous riffs whilst bassist Johnny Wulf is immense as his heavy lines rumble and intimidate. With drummer Reuben Storey equally formidable and impressive the band gives notice of what is ahead though not yet of how good things will get as the opener though agreeably strong is relatively unsurprising.

Pentagram and Crucifix is instantly a different beast to the opener. Big burly rhythms and heavy riffs to match accost the ear whilst a guitar litters the surroundings with acidic sounds which invites one into the throbbing mass. Again Davis delivers her words with a punk spite that is excellent and a great counter to the mesmeric play and a colleague to the eager might that crowds the ear. Christian Mistress never demand attention on any of their tracks instead they let the music give the invitation but their power does feel as if it is standing over one to ensure nothing is missed, the riffs like bouncers to the skilled melodic creations within .

The album is firmly consistent with songs like the striking Conviction, the Sabbath riffed The Way Beyond, and the prog/pixies meld of Haunted Hunted very rewarding. The latter of the three sounds strange on paper but musically that is what hits the ear to great satisfaction. There are songs which go further to leave one breathless and smiling ear to ear like the previously mentioned Pentagram and Crucifix. The title track is the biggest thrill on the album, the moment its riffs slowly crawl through the ear as Davis serenades with seductive grace it captivates the senses. The song unwinds like a pole dancer, tempting and teasing with a blissfully wanton groove and eagerly sensuous guitars. The track never breaks free to run riot remaining a seduction to the end enticing and flirting with the senses whilst Davis offers the steel with more punk styled vocals and harmonies.

Black to Gold and There is Nowhere come close to matching this stunning track, the first with a chunky moody bass that lifts the already enthused riffs, scorching solos, and anthemic flow is a tasty treat whilst the second driven by a heartbeat rhythm from Storey caresses the ear with sparkling guitars and vocals before building into a climactic heavy rock crescendo of bustling riffs and dazzling progressive guitar invention.

Possession is an excellent album, a constant pleasure no matter the amount of times one lets its impressive charms play with the senses. It also still feels like the band has a lot more to come within them, so watch this space and hold onto your hats as there is an exciting and irresistible creative storm brewing ahead and it is called Christian Mistress.

RingMaster 27/02/2012

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Blood Ceremony – Blood Ceremony

There has been plenty of re-issues of debuts and albums from bands finding  a resurgence in popularity or simply the re-release of recordings that originally had a limited presence and were lost and out of circulation for many years. A varied collective in sound and quality they have been too but even the best of them will find it hard to match the essential quality and vibrancy of the latest from Metal Blade Records / Rise Above Records in the shape of the self titled debut from the Canadian folk/heavy rock band Blood Ceremony. The release is a gem that pulsates and bewitches with a startling array of elements that sees them as part homage to their influences and distinctly unique in the current metal/rock world.

Originally released in 2008 Blood Ceremony is a wonderfully colourful blend of psychedelic/folk/doom and stoner rock punched through with the audacity and attitude of heavy metal. There is so much going on that it is a mesmeric and beguiling release that is mischievous and also deceiving at the same time. The nine tracks within this psychedelia influenced doom rock beast offer up numerous recognisable elements and sound, riffs and melodies that you may think it is just a band wearing their influences openly on their sleeve, which in many ways they are, but without anything more. A focused listen though and you soon realise there has been and is no one fusing these things into their own unique sound like Blood Ceremony, and whether their sounds take a hold of you or not you will not have heard anyone exactly like them.

How to describe them is not a swift thing to do, imagine a bubbling cauldron of the likes of Electric Wizard, Black Widow and Pentagram spiced up with the psychedelic sounds and freedom of The Doors, the downtuned heaviness of Black Tusk, the meaty riffage of Black Sabbath, and the folk inspiration of a Jethro Tull or a Horslips without the Celtic sound, and you are in the vicinity of what Blood Ceremony weave together. With songs inspired by the heart and soul of witchcraft movies, the occult and magick, and Satanism, the quartet from Toronto conjure up fascinating and unavoidable imagery and emotions with their stirring songs and imaginative themes. As the album plays you can just see them playing to a back drop of a modern day Wicker Man ceremony or numerous covens and satanic festivals, their sounds uniting pagan and witchcraft inspired intent.

Formed in 2006 Blood Ceremony carry a heavy 60’s/70’s rock sound borne of sterner modern intensity and as their second album Living With The Ancients of 2011 confirmed it is a sound that whatever your preference in rock music one will find plenty to feast upon. From the opening concussive intro to opening track ‘Master Of Confusion’ on the debut, the band swoop upon and gather up the senses taking them on a part theatrical and wholly absorbent experience. That is one thing about the album, it has a showman feel in a way, the dark themes and sinister tales lacking venom and fear, but offer up glorious fun. The track provokes the ear with belligerent riffs and attitude as it winds its way through the ear to menace and tease the senses, especially from the lovely grumpy bass and expressive keys.

The album is perfectly varied, from the heavy opener ‘I’m Coming with You’ muscles in with a well crafted blend of militant riffs, throbbing energy, and Lucifer spawned pan pipe like flute from vocalist Alia O’Brien. This is the harshest of the tracks keeping a deliberate muscle throughout despite the wicked ‘pipes’ that whip around the bulky energy. Guitarist Sean Kennedy and bassist Lucas Gadke give real heavy fibrous intent to the sound on the album perfectly supported by drummer Andrew Haust, all allowing O’Brien to light up torches of exquisite melodies and add incisive breaks to the weighty atmospheres.

The album is impressive from start to the last devilish wink of its closing note, with tracks like the shadowed ‘Into The Coven’ , the spirit raising necromantic celebration of ‘The Rare Lord’, and ‘Hop Toad’ with its insatiable preying riff and siren like melodic beckoning, rifling through and engaging the senses completely. If you have not found Blood Ceremony yet then here is your chance to jump in at the beginning, time to immerse into their earthy dark world with more burning flames than you could wish for.

RingMaster 30/01/2012

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