Thy Fallen Kingdom – Fear The Hunter

Band Photo

Wearing its old school inspirations proudly on its sleeve, Singapore thrashers Thy Fallen Kingdom unleash debut album Fear The Hunter, an encounter swift to fire up ears and neck muscles. The nine track aggressor is not a proposition to change the shape of thrash metal or bring it anything particularly new but for passion and thoroughly enjoyable enterprise, it is an album to eagerly embrace repeatedly. The band lists major influences as bands such as Exodus, Slayer, Megadeth, Testament, Destruction, King Diamond, and Mercyful Fate, no real surprise as you listen to their raw and highly flavoursome encounter, but to be honest this familiarity only adds to the lure of their sound and makes Fear The Hunter like an old friend in the ear and a seriously irresistible stomp for the body.

Formed in 2005, Thy Fallen Kingdom has uncaged a trio of releases leading up to the new album. From the five-track All That Is Left EP in 2009, the quintet has aroused local attention and passions as well as creating interest in the metal underground generally. The following UnDemocratic Society a year later and Army Of One EP in 2012, only added to their emerging presence ensuring there was plenty of anticipation for the band’s first full-length. After numerous line-up changes, the more settled line-up of original member and rhythm guitarist Akhbar, lead guitarist Christian, bassist Bryan, drummer Aip, and vocalist Aidil (though since the album’s recording he has left the band to be replaced by Rajuna), has crafted the band’s finest moment to date, an album to ignite body and appetite with ease.

Adrenaline and energy spurts voraciously from the speakers from the first seconds of the second track, never relenting until the album’s final offering, but it is the short alluring instrumental Mental Oppression starting things off. An evocative melody drifts from the strings of a guitar, its elegant expression and caress a potent coaxing but courted by a sinister sonic squall which offers shadows and portentous suggestiveness, a threat soon realised in Army Of 1. The song lays down a rub of nagging bait before rampaging with nostrils flared and rhythms slapping ears with their mighty swings. In full stride the track is a thunderous provocateur loaded with torrents of abrasing riffs and great tangy grooves, all punctuated by heavy fisted beats. Vocalist Aidil stands in the midst of the incitement, his delivery scowling with serpentine hostility for a great caustic hue to the tempestuous yet melodically fuelled sounds around him. The song as a whole only increases its lure as the blend of every element beds in the senses as grooves drip with temptation.

My Murderous Childhood keeps the great start to the album in full swing, charging and pounding through ears with broad sinews and acidic invention. Vocal variety across the band adds to Thy-Fallen-Kingdom-Fear-the-Hunter-e1415715183881the contagion of the track but it is the virulent riffing alongside spicy grooves and hooks which turns recognisable seeds into a masterfully magnetic proposition. The track leaves appetite and ears that little hungrier, an increasing greed the title track is only too please to satisfy. From a sonic drama a delicious throaty bassline steps forward, skirted by a rhythmic shuffle of beats. It is a bait impossible to resist, even more so when a tangy solo sears its addictive web. In full flight, the song does not quite live up to its opening or predecessor but still lays down an anthemic and contagious provocation to devour, especially with the addition of a bluesy colouring and subsequently furious animosity.

The anthems keep coming thick and fast, the next up Imperious Regime a vocal roar over a contagious sonic turbulence whilst its successor Psychosis provides an inescapable addiction. The first of the pair teases with a Suicidal Tendencies like predation, especially in the vocals, to provide an exhausting and rigorously thrilling incitement, though it is swiftly left in the shade by its successor. From its opening swagger and grouchy bassline, the track is in full control of attention and emotions. A Pantera-like swing to grooves is pure infectiousness which persistently lingers even as the song spills the rawest corrosive essences for a cantankerous canter of sound and attitude. That is enough to make it a formidable encounter but with a slip into a pasture of radiant melodies and harmonies with an air of Motherjane to them, the track has its sights on best on album honours.

The salaciously grooved Operation B.E.A.S.T. has its say on that straight after though, its rugged terrain a barbarous temptation bound in infection soaked grooves and vocal persuasion. The result is another epidemic of tenacious thrash enterprise which with plenty of creative hues and craft from the guitars and potent invention throughout sculpts its own peak in proceedings. That success is matched by the outstanding Unchallenged, another relentless assault with additional punkish textures to the surge of voice and riffs. There is no getting away from the fact that Thy Fallen Kingdom enclose themselves in their open inspirations without seemingly trying to break into bold originality, but here and across the whole of Fear The Hunter, it does not prevent the album from being one of the most pleasing and fun genre releases this year.

Closing with Possessors Of Absolute Power, one more creative cage of vicious rhythms and inventively spicy grooves roared on by torrential riffery, Fear The Hunter is thrash metal at its most furiously compelling. It may be bred on a diet of classic influences which the band is unafraid to share in their sound, but it is a familiarity which Thy Fallen Kingdom uses in their own attention grabbing way for a proposal all thrash fans should take up.

The self-released Fear The Hunter is available now.

RingMaster 09/12/2014

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Cripper – Hyëna

Cripper_Promopics_Hyena_band_017 by Alina Omerbasic

We all fall into the grasp of a band at some time or other whose sound is just the perfect fit for personal wants and desires, an instinctive proposition always destined to ignite the passions given the chance. Sometimes the frustration with that is not coming across said provocateur sooner. Such is the case with German thrashers Cripper. The band has just released their fourth album and the first with Metal Blade Records, and it is fair to say that Hyëna fulfils every need of these appetites and emotions with consummate ease. It is an incendiary fury of old and modern thrash, but an inventive turbulence which is unafraid to throw in thick grooves and darker ravenous elements aligned to death metal instincts. Whether it will raise the same ardour in all genre fans time will tell but it is hard to imagine the voracious encounter not leaving thrash fans with a certain hunger.

Hailing from Hannover and fronted by the gutturally bred temptation of Britta Görtz, her compelling and bracing fiery tones lying somewhere between Otep Shamaya and Krysta Cameron, Cripper has been earning acclaim and an ever increasing and loyal following since forming in 2005. From the release of debut EP Killer Escort Service in 2006, the quintet has unleashed the albums Freak Inside (2007), Devil Reveals (2009), and Antagonist (2012), as well as made their mark live, sharing stages with the likes of Overkill and Onslaught and lighting up festivals such as Summer Breeze, Wacken Rocks, Metalfest, Brutal Assault, Rockharz Open Air, and Metaldays where they caught the attention of their new label. Each event has increased their stock but it is probably fair to say, the band has yet to breach a global spotlight, something through Metal Blade the spectacular Hyëna has the potential to easily do.

From its first moments the album grips the imagination, the opening of its title track a backward played coaxing which leads into the jaws of predatory riffs and firmly swung rhythms. It is an intriguing lead, an attention grabbing lure which is soon swallowed by the tsunami of vicious rhythms from drummer Dennis Weber and a rabid cascade of riffs bred by guitarists Christian Bröhenhorst and Jonathan Stenger. From this point the track is a torrent of primal rabidity and flavoursome sonic enterprise; it all lorded over by the swiftly impressing tones of Görtz. There are few big surprises in the track but then again the whole song is a surprise and an intoxicating assault on personal passions.

The potent start is straight away surpassed by the virulently compelling Tourniquet, a song with visceral texture to its riffery and rhythmic persuasion and exhausting energy to its unrelenting hyena_book_16p_v7a.inddonslaught. Speared with rich sonic flames of guitar and the intensely gripping bass predation of Gerrit Mohrmann, the track swarms ravenously over the senses before making way for the more restrained but no less intimidating incitement of Bloodshot Monkey Eye and the more ferocious A Dime for the Establishment. The first of the pair feels like it is prowling ears, sizing up its victim before Görtz infests the imagination from within a menacing web of evolving and uncompromising sonic animosity. At times flying with flared nostrils and more often holding rein as it simply stalks with flexed sinews and hungry invention, the song is pure magnetism with the bass again the darkest temptation. Its successor snarls and roars with malevolent belligerence, its unpredictability, something blessing all tracks in varying degrees, blossoming in vocals and imagination against the raging aggression.

7″ is next and from a thought prodding opening is soon striding with anger in its eyes and acidic grooves through its body, all leading to a tempestuous and scintillating furnace of intensity and impassioned viciousness. Görtz is a venom clad temptress in the track, her little twists of diversity in delivery as important and potent as those within the music, her presence never feeding expectations to match the constant evolving lure of sound. Again we would not say Cripper is breaking boundaries but they have a freshness and creative turbulence which definitely sets them apart from the crowd.

Animated Flesh with its opening regimented bait of rhythms and subsequent steely swagger instantly has body and passions to their feet, the track the kind of addiction to which no respite is available or wanted, whilst both the melodically veined predation of The Origin and Patterns in the Sky keep album and listener high. The first of the two another which taking its time before tearing out the throat of the senses, though it is never lightweight in its imposing touch and tenacity at any point, whilst the second is a lung bursting charge of malicious rock ‘n’ roll. Grooves spice up its predecessor but here it is all out thrash hostility, and quite irresistible, the pair equally not short on delicious sonic temptation from the guitars either.

The Jackhammer sums itself up in the title, the track as heavy and relentless as anything on the album but also equipped with enslaving grooves and deep rooted hooks draped with the scathing tones of Görtz and an inescapable and barbarous infectiousness. Another pinnacle of the release, the track is blistering thrash manna unafraid to venture into fascinating and mouth-watering explorations.

The album is completed by firstly the rabid bludgeoning of Patronized, its inflammatory grooves and rhythmic outpouring again sheer enslavement, and lastly Pure, a tantalising drama all on its own moving through varied tones and emotions, melodic calm and pure ferocity for a riveting adventure.

Not strikingly unique but with a character and fury which stands alone from other trash seeded rages, Hyëna is one of the most refreshing confrontations of the year and certainly a slab of undiluted pleasure for these ears and emotions. Expect to hear and find Cripper making major inroads into the frontline of thrash metal from hereon in.

Hyëna is available now via Metal Blade Records @

RingMaster 27/11/2014

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Die No More – Elected Evil

Die No More Online Promo Shot

If like us you were gripped by the Blueprint EP from UK metallers Die No More, then get ready for an even greater riot of Bay Area inspired thrash from the Cumbria band in the voracious shape of debut album Elected Evil. Again the band wears its influences on its muscular sleeve with a sound which rings with the loud echoes of certainly Metallica and Megadeth, but for newcomers to the band rest assured neither of those bands has released a tempest in recent times as hungry and richly enjoyable as Die No More’s first full-length.

Formed in 2011 and hailing out of Penrith, Die No More consists of four friends with the single aim of creating modern metal seeded in classic designs. Aggressively heavy and melodically fiery, the band’s sound uses familiarity to their inspirations as another texture in their not exactly startlingly original but certainly vivaciously fresh and furiously virulent endeavours. The Blueprint EP alongside the band’s live performances awoke a sturdy and attentive spotlight from fans and media alike upon the band. Potential drenched and passionate, the release made a potent declaration of a band on the march, a creative attack which finds greater depths and character within Elected Evil. Recently signed with Rocksector Records, Die No More is a band heading towards the frontline of British metal and the album, which they recorded with producer Matt Elllis (Black Spiders, Absolva and Massive Wagons), the creative sledgehammer to lay the foundations.

Sinister portentous scenery opens up album and first track Dark World, sonic wind with an apocalyptic undercurrent immersing ears and imagination. Its coaxing is then rudely interrupted by a thunderous slam of beats from drummer Steve Orchiton and a torrent of heavy predatory riffs from guitarists Marc Farquhar and Kev Smith. Within a few breaths the intimidating avalanche settles into a just as formidable stride of rabid rhythms and menacingly prowling riffs. There are no real surprises to the song but loaded with an inescapably anthemic persuasion driven by the excellent vocals of Farquhar, it roars and seduces with virulent thrash bred hostility. The bass of Martyn Simpson is almost bestial in tone and touch which adds to the threat and lure of the song whilst Smith provides plenty of melodic flame and intrigue to bring extra mouth-watering temptation to every raw snarl of enterprise.

It is a virulent and outstanding opening to the album, a commanding entrance continued by the even more impressive Soul Destroyer. Stalking ears and imagination with scowling riffs and thunderous rhythms, the outstanding provocation immediately binds the passions in its antagonistic proposal. Grooves flirt with and sear the senses whilst beats and basslines impose further intimidation, all converging on thoughts with resourceful and ravenous intent. To that though inventive sparks, melodic invention, and the continually contagious vocals add greater colour and imagination to the song. There is again something persistently recognisable to the song but not in the weave and feverish way that Die No More cast songs.

The following Absentia offers a darker sultry climate to explore, the increasingly addictive throaty tone of bass veining a canter of predacious guitar suasion and punchy beats which in turn surrounds the sandy tones of Farquhar. 10665776_912335752111902_8565161791212898740_nWhereas its predecessors rampaged across and forcibly stalked the senses, the third song takes a more restrained approach to its grudge, instead exploring a broader and richer tapestry of sonic craft draped in evocative hues. Not as swift in enslaving thoughts and passions as previous songs, it emerges just as potent over time though it is straight away surpassed by a beast of a track in Council Of War. Another slowly asserting its menace and intensity initially, it is soon careering through ears with unrelenting energy and ferocity. It is a perpetual gnawing on ears, simultaneously nagging body and emotions whilst binding them in a masterful sonic web as psyche scorching creativity from Smith blazes away.

The peaks keep coming as the album moves through its tracks, next up One In The Chamber as content and accomplished in bruising the senses as it is in lighting the imagination with a melodic and evocative beauty. The two sides are more often than not side by side across the tempestuous and emotionally agitated incitement, the song in its individual way another epidemic of contagious and aggression fuelled drama making appetite and ears hungrier for more. It is a greed swiftly fed by the arguably unremarkable but seriously thrilling Connection Lost. The track has a rein on its riffery and controlled yet imposing rhythms and in many ways feeds expectations from start to finish yet equally it confronts them in something invigorating and ultimately fresh. Hindsight says it provides a strong and satisfying encounter but constantly in its presence the track is another riotous treat.

As soon as a heavy grizzled bassline hits ears to start Blood In The Veins off, emotions are ready to leap upon the song, especially when it is joined by a single minded and paced bait of beats. Guitars are not far behind, adding to the irresistible tempting with their corrosive and similarly predatory endeavour. With a swagger which is as testy and threatening as the nature of bass and riffery, and a swing to the rhythms that almost has you ducking with every swipe, the track easily seduces the passions. It feels at times as if it is more improv than predetermined and makes scintillating company before passing the thrills loaded baton onto closer Oblivious. The final track is pure thrash ferociousness speared with melodic intrigue and punk brewed belligerence. The listener is grabbed and drawn deep into its anthem early on, feet and voice eager partners in crime under the lure of the excellent nostrils flaring stomp.

It is fair to say that anticipation for Elected Evil because of the band’s EP was hungry and demanding but Die No More not only feeds every want but provides additional promise fuelled adventure revealing their mature and creative growth. Yes the band still comes with a healthy dose of Metallica and Exodus flavouring but as stated earlier certainly in the case of the former, they have not come up with anything in recent times to breed the level of satisfaction and pleasure as spawned by Die No More.

Elected Evil is available now via Rocksector Records, details at

RingMaster 03/11/2014

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Hellish Outcast – Stay of Execution

Photo by Fotograf Jarle Hovda Moe

Photo by Fotograf Jarle Hovda Moe

Simultaneously a tsunami of organic hostility and premeditated intimately defined brutality, Stay of Execution from Norwegian metallers Hellish Outcast is quite simply one of the finds of the year. Not that the Bergen quartet are real newcomers, the band has been tearing up the local underground scene since 2001 and making a potent announcement of intent with debut album Your God Will Bleed two years ago. Their new album though is a whole new murder-pit of creative antagonism and majesty from the band, a rhythmically crippling and sonically ravishing destruction and seduction of the senses. Described as thrash/death metal, their sound is so much more than that limiting tag, the album inescapable evidence of a vicious and scintillating tapestry of varied flavours and styles picked apart and used as weaponry in one of the year’s major triumphs.

Formed by guitarist Martin Legreid, bassist Mads Mowinckel (Breed), and drummer Mads Lilletvedt (Solstorm, ex-Byfrost), Hellish Outcast as mentioned was swiftly an attention grabbing and growing force in the Norwegian underground scene. 2006 saw the release of the demo Release You from Their Soil, and two years later came the unleashing of the Raping – Killing – Murder EP which drew keen and favourable attention on a wider scale. The addition of vocalist Thebon (ex-Keep Of Kalessin) in 2010 helped trigger a new twist and attitude in their already visceral sound, a spark ensuring Your God Will Bleed was well-received by a more potent spotlight . Stay of Execution takes it all to another level though, the expanse and maturity in sound and songwriting as marked as the greater insatiable brutality accompanying it. It is an album which tears senses and psyche asunder whilst serenading them with addiction binding grooves and melodic toxicity. Stay of Execution is exhilarating, rigorously compelling, and a release impossible to get your fill of.

It is fair to say that as soon as an avalanche of riffs and rhythms cascades down on the senses through opener Partition of Lust, the album takes a tight hold of ears and attention. It is an instinctively anthemic lure, the creative artillery of beats from Lilletvedt rigorously enticing bait within which riffs cast their own raw tempting. It is an onslaught which never waivers in its demands and punishing intensity, only increasing its savagery as the malevolent vocal squalls of Thebon explode in the maelstrom of spite. Though there is a repetitive core to the track, it just as grippingly unleashes strong variation in voice and grooving to provide the most hostile and irrepressibly addictive start to the release.

Things only accelerate in persuasion and ingenuity as the following punkish brawl of I Can No Longer See the Sun erupts. The song’s subsequent barbarous body is swiftly drawing on groove and nu-metal tendencies as it dips into the 10653627_10152640278209718_9183828471053285056_ndeath bred corners of muscular animosity. It is a bewitching pillaging of the emotions, at times crooning with melodic and harmonious beauty and in other moments stripping the senses bare with vicious and merciless invention. Its deceptive and thrilling mastery is soon emulated by the lethal breath and inhospitable landscape of Heresiarch, the track a stalking predator but again unafraid to sooth the wounds it’s rhythmic and sonic claws dig with a weave of warm melodies and spellbinding clean vocals. The song is ravenous in its fierce imagination and seductive through the grizzled radiance similarly expelled.

The corrosive rancor of the thrash fuelled Hunter Supreme comes next, its title perfect naming of the exhaustive sound within the predacious enmity masquerading as a song, before a new pinnacle is forged with Gods of Fear. This track is as primal as it is innovative, the opening crawl of riffs and bass intimidation bestial at best and tar thick malevolence at its deepest. It is soon engulfed in another thrash driven tirade of death and groove metal blood lust yet manages to hold a rein on its venom to more taunt the imagination and emotions. Scorched with a blistering solo, the track is a monstrous rancor and virulently infectious.

Leave offers its own outstanding violation next, its entrance a mellower coaxing than anything provided before on the album but also as portentous and menacing as those same companions. With a slow groan of a delivery from Thebon exposing the song’s narrative as at times vocal harmonies magnetically colour the background, there is a Faith No More essence to the brooding incitement, a similarly distinct inventiveness as the track seduces with clean vocals and grizzled snarls musically and lyrically. It is a transfixing treat setting up the listener for the impossibly contagious presence of Machines. With a robust swing to its stride and sonic tenacity to its enthralling enterprise, the track is loaded with a creative rabidity which is pure fascination. A round that is a ferocity which is honed into something controlled but forcibly hungry. The mid-point slip into a stark and dystopian like metallic soundscape does not quite work with personal tastes, mainly for the length it consumes before allowing the severity of the blistering storm to return, but it cannot derail another track from impressively igniting body and passions.

The album’s irresistible title track makes for a distinct and intriguing antagonist next, its winding grooves like sonic ivy entwining the imagination and lingering in grip, before both Morbid Attraction and Torment unveil their destructive and thrilling characters. The first is a nostrils flaring, fist pounding hellacious assault; riffs and rhythms scything and swiping respectively upon the senses with barbaric and deliciously infectious urgency whilst its successor almost glares at the listener with its initial imposing stance before casting a canvas which is as predatory in tone and effect as it is sizzling in unpredictability and melodic imagination. Both tracks, as the whole album throughout, share searing and unique displays of sonic invention from the guitars aligned to exciting vocal variation and an enslaving rhythmic animus. It is a starling blend, which in whatever individual form the combination comes, never loses the band’s almost inimitable touch.

The album comes to an end through the instrumental beauty of The Wait, an acoustic led piece of music which is expressive in melodies and spellbinding in elegance. It finally gives time for breath to be taken within Stay of Execution, though in some ways the senses feel it might have been more useful earlier. The track makes a provocative close to a devastating and mercilessly thrilling release whilst at the same time revealing yet more of the qualities and thoughtful adventure within the band.

Whether Stay of Execution is forging new scenery for extreme metal is a debate which can be argued either side way. It does provide without any doubt though one of the most exciting and refreshing releases this year, pushing Hellish Outcast to the frontline of brutal pleasure.

Stay of Execution is available via Listenable Records @

RingMaster 22/10/2014

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Chainfist – Scarred


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

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

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

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

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

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

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

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

Scarred is available now through Mighty Music @

RingMaster 07/10/2014

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Warstorm – Goatspel


Hailing from the city of Busto Arsizio in Northern Italy, Warstorm is a young band which on the evidence of their new album, has all the makings of providing thrash metal with a new explosive character to hungrily devour. The band’s debut full-length Goatspel, is a raw and rebellious slab of metal voracity, an encounter loaded with potential which easily suggests healthy horizons for the quintet.

Formed in 2011 by bassist Federico Colombo and guitarist Lorenzo Gagliardi with the appetite to follow new thrash metal intentions, Warstorm swiftly became a threesome with the addition of drummer Davide Guzzetti. Completing the line-up with guitarist Enrico Giovinetti and vocalist Lorenzo Saccà a little after, the band recorded the Let The Warstorm Begin demo in their first year. This was followed by the last two members of the band leaving to be replaced by Andrea Collaro and Giorgio Ossola on drums and vocals respectively. Following further successful shows with the likes of with Irreverence, Vexed, Mesmerize, and Ultra-Violence, Warstorm entered the studio last year to work on their first album, its six tracks now unleashed to raise a keen appetite for the band and a suspected enthused reaction from the thrash metal scene.

Released via Earthquake Terror Noise, Goatspel opens with the excellent Checkmate for Mankind, an instantly forceful yet inviting entrance into the album. In no time feisty riffs and hungry rhythms are resourcefully filling ears as WarstormCoverthey swiftly establish a steady and eager charge which openly goes up in gears as the song reveals more of its contagious presence. A throaty bass tone adds underlying drama to the increasingly gripping excitement, its lure in full flight as the great punk vocal antagonism of Ossola belligerently erupts. Goatspel is a thrash record but immediately established by the opener, there is a definite potent punk rock tenacity and attitude to the encounter, the first track the most vocal of this welcome essence permeating the release. Striding and charging across its compelling presence, the track is a riveting treat which is also unafraid to explore its melodic corners with gentle elegance and depths with progressive colour and invention.

The exceptional start is followed and matched by the rampaging The Age of False Innocence, riffs and rhythms a predatory incitement from its first breath. As with its predecessor there is an inescapable virulence to the riffs and grooves of the track, its thrash urgency and voracity enslaving ears as the imagination is taken care of by the tantalising craft and enterprise of the guitar whose sonic seducing comes warped and discord blessed. The thrilling onslaught makes way for the similarly irresistible Cursed. Grooves as now expected cast a passions trapping web as soon as possible, and though arguably their lures and those of the ferocious riffery at times holds no surprises, it is hard to think of many same genre releases this year to enthral and tempt the passions as powerfully as Goatspel. A strong whisper of Slayer erupts across the song as a raw vocal attack from Ossola and guest Hyades rages impressively to add, alongside a funkier bass exploit and viciously grooved guitar invention, greater tempting bait for ears and appetite.

Both Relentless Possession and Pulse of Existence keep body and emotions aflame, the first a fiery torrent of thumping beats and unpredictable yet seductive grooves across feverish riffs whilst the second of the pair provides a slower and heavier stalking, though as expected it too finds a lease of urgency within its magnetic fury. The two tracks impress and thrill as thoroughly as those before them, each a merciless epidemic of attention grabbing and pleasure fuelling grooves aligned to biting inventive temptation.

The title track brings the album to a close, the song a ten minute creative emprise which seamlessly flows through progressive and melodic pastures into warlike thrash scenery before diving into even more exploratory textures and corners. The track is glorious, alone the revelation of the promise and ability of the band in songwriting, craft, and sound. As Goatspel, song and album, comes to a close it is hard to suppress the enthusiastic urge to shout loud about Warstorm and their future. It is only their first album and second release but as it is given more time to convince, it is impossible to deny that thrash metal has something special in its midst.

Goatspel is available now via Earthquake Terror Noise @

RingMaster 23/09/2014

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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 @

RingMaster 19/09/2014

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