Luxembourg Based Progressive Metal Mob Scarred Stirring things up onthePsycroptic Tour

Scarred_press_RingMaster Review

Luxembourg Based Progressive Metal Mob Scarred Added To Psycroptic Tour

Announced as main support of Australian mentalists Psycroptic’s UK tour, off the back of their stunning slot at Bloodstock Festival, Luxembourgian metallers Scarred are set with their companions to leave England aflame on the last dates of the successful rampage around the UK.

Final date son the tour are at…

Oct 08 – Star & Garter, Manchester

Oct 09 – The Shed, Leicester

Oct 10 – The Exchange, Bristol

Scarred is a Death Metal Band from Luxembourg formed in 2003. Initially they started out as a Thrash Metal Project which released an E.P. called “Inner Scars” in 2004. However, through the years and after various line-up changes, they evolved towards a heavier and more brutal sound. In 2009 their first full-length album “New Filth Order” was released. Since then, Scarred has performed alongside many great artists and on major stages such as Wacken Open Air and Metalcamp. Due to many different influences, Scarred’s precise genre is hard to define and should be discovered.

On May 10 2013, Scarred has released their new album entitled “Gaia/Medea” under the banner of Klonosphere / Season of Mist Distribution. This Opus was mixed and mastered by Jochem Jacobs (Textures) at Split Second Sound Studio and features a guest solo by Attila Vörös (Nevermore, Leander Rising).

EofE – Self Titled

EofE_RingMaster Review

Earlier this year UK rockers EofE uncaged a rigorously captivating slice of muscular rock ‘n’ roll in the shape of Stars In Hollywood, the fiercely enticing single also a potent lure to the band’s forthcoming full-length. The same song roars just as mightily in the now arrived debut album from the West Midlands quintet, and around it are ten other inescapable rock pop anthems which prove the potential talked of in the band’s previous encounters is now a thrilling reality.

Formed in 2012, EofE has become an increasingly talked of and attention given prospect over the past couple of years with 2014 a highly eventful and potent time for the band. Fair to say it has in turn been eclipsed by this year’s success through the release of the aforementioned acclaimed single, touring the UK in support of Glamour Of The Kill, a highly praised performance as Download, and now one beaut of a first album.

EofE-Cover_RingMaster Review   Get Caught gets album and listener off to a rousing start, its dirty opening riff alone rich coaxing but quickly built upon by grouchy guitar play, rolling beats, and the instantly impressive vocals of Tom Harris. His warm melodic tones and quality are a perfect blend with the more agitated nature of the song led by the scything swings of drummer Nicky Waters and great groaning bass bait offered by the strings of Luke Bradley. As predatory as the song is, it is equally a blaze of melodic enterprise and catchy endeavour as guitarists Dan Bremner and Reece Luke spin their individual webs of seduction and fierce energy in superb unity.

It is an outstanding start to the album powerfully backed by both Wake Up and Bridges. The first is the band’s latest video single, another contagion of thumping beats and a gleefully prowling bassline colluding with fiery craft and guitar attitude. Working on body and imagination from its first breath, the song becomes an anthemic arousal of stadium rock meets virulent pop led superbly by the ever strong and enticing prowess in voice and expression of Harris. Its successor draws in some hard rock tenacity to drive its melodic hues towards a more enveloping catchiness, hooks and grooves a ripe temptation as it takes the listener on a feisty and invigorating ride.

A mellower but no less impassioned and magnetic draw is offered by Save the Night, it’s easy going indie croon further proof of the vocal strength of Harris and imaginative songwriting in the band. For sure the track does not imposingly grip as its predecessors but holds attention and satisfaction firmly in its creative, slight Fall Out Boy like hands before Waiting for Olivia also flows with emotive and simmering energy; though an earthy bassline and rigorous veins of intensity are perpetual fuel to the dramatic roar of the song.

Drifting on a sea of melodic and vocal reflection Lifeboat slips into view next, its opening elegance soon immersed in a thick tide of sonic fire and rhythmic badgering with both contrast subsequently blended in the tempestuous heart and resonance of one increasingly impressive incitement. The likes of You Me At Six, Young Guns, and Mallory Knox are often offered as reference to the EofE sound and more than most this track offers reasons why whilst providing its own identity, the same applying to Close to Me with its tapestry of tangy grooving, swiping rhythms, and vocal flames.

As stated before Stars in Hollywood steals its hefty slice of the plaudits building for the album, the track bounding in on a sonic lace around controlled but keen rhythms before everything swiftly stirs into a hungry blaze. Though things settle down around a stirring deeply throated bass lure and vocals, crescendos continue to brew, erupting in compelling choruses before the delicious cycle is repeated with further invention and imagination in tow across the irresistible anthem. The song alone shows all the attributes and ideation which makes EofE such an exciting proposal with Harris at the same time offering evidence that he is one of the most natural and captivating vocalist in British rock right now.

Both the fascinating Only Get Better and the Y.O.U keeps ears and a greedy appetite happy, the first with its fluid mix of melodic craft within sinewy aggressiveness, their companionship woven into an increasingly volcanic landscape in turn emulated by its successor though it at times brings a more punk like vociferousness to its dynamics. Each of the pair provides a lingering involvement before Ruins closes up the album with a thick rock pop roar which maybe does not match earlier conquests but leaves only the urge to go again.

EofE has announced themselves on the UK rock scene in big style with their outstanding album; they were already forcibly nudging it but now there is certainly no ignoring them.

The EofE album is released October 9th via Cream Records digitally via iTunes and on CD.


Pete RingMaster 08/10/2015

Copyright RingMaster: MyFreeCopyright

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Athena's Word Online Promo Shot_RingMaster Review

Dutch Melodic Hardcorers ‘Athena’s Word’ release their jaw dropping debut EP ‘Lasting Legacy’ on Saturday 24th October. Pulling from the drive and potency of While She Sleeps and Heights, and adding their own engaging dynamics and footprint, the five-some have created an intriguing amalgamation of modern hardcore.

Officially born during the Autumn of 2014 in Holland and featuring Erik Voestermans (Vocals), Dennis Sjoers (Guitar), Tjerk Goselink (Bass), Jerry Klein (Guitar), and Kasper Stap (Drums), Athena’s Word have been relentless in their pursuit of progression and have carefully cultivated a sound spurred on by intense rehearsals and whole-hearted writing sessions. With glowing comparisons to Architects, Napoleon, and Blood Youth, the quintet are now braced to take their music out to the masses.

The band have persistently toured throughout their homeland, and the riff slingers are now set to span their wings out to mainland Europe this Winter with a cluster of prominent dates on the horizon. Besides focusing on their live reputation, Athena’s Word have also been holed up in the studio working on their new EP ‘Lasting Legacy’. The record is a true marker in the sand, kicking off with ‘Deserved Freedom’, which is stacked with breakneck riffage, full frontal vocals and ample groove. The EP continues to entice with the delivery of ‘Wolfpack’; this track is something special with its poignant phrasing and earnest exaction. With five glorious slabs of melodic metalcore, the EP is sure to propel the band to the frontline of the European scene and beyond.

One Year Delay – Deep Breath

OYD_RingMaster Review

Turning a jumble of varied metal/rock styles into an unpredictable sound which eagerly romps in the ears and captures the imagination, Greek Hard Rockers One Year Delay make their full introduction with debut album Deep Breath. Offering seven songs which entwine flavours from nu and alternative metal with grunge and punk rock in rock ‘n’ roll also unafraid to embrace more classic/hard rock hues, the release is a roller coaster of invention and undulating but perpetual success.

One Year Delay began in early 2012, coming out of the Greek city Kalamata with a sound which through numerous line-ups, the current in place earlier this year, has evolved into the tapestry of adventure which potently marks Deep Breath. The album was recorded in 2014 with Toby Wright, the band travelling to the Sound Emporium Studios in Nashville to make it, with the release finally mastered by Andrew Mendelson. Unveiled through Pavement Entertainment, Deep Breath is an ear catching proposition fuelled with a potential suggesting a bright and for us all a rewarding horizon ahead of the sextet.

deep_breath_oyd_RingMaster Review   The album opens up with Gunpoint and badgering bursts of sound and energy which soon merge into a predatory stroll with intimidating riffs and threatening rhythms prowled by the instantly appealing vocals from Orestis Alimonos. As grooves spring their bait and intensity darkens, the song growls and lurches from one antagonistic twist and roar to another, but within this brews a melodic lure of clean vocals and keys seeded enterprise. The song has the unpredictability and imagination of a System Of A Down, if not the sound which is closer to the alternative metal prowess of Israeli band Onoma. Increasingly addictive the track gets the album off to a rousing start.

Headhunters steps up next and again riffs and beats make a potent invitation to which Alimonos once more adds vocal drama and energy backed by the equally strong tones of Steve Tsotras. Striding with an antagonistic swagger, the snarl and lure of the song is accentuated by short scything grooves and fiery sonic enticement through guitarists Nick Koumoundouros and Nick Trimandlilis, the former enticing with individual flames of hard rock enterprise across the metal bred proposal. A continuation of the riveting start to the release, the track makes way for the melodic rock meets groove metal triumph of Truth, Dare, Despair. The song dances on ears with a swirling web of riffs and rhythms, bait as much punk as it is metal and rock ‘n’ roll, to forge its own familiar but personal character; though imagining Drowning Pool meets Finger Eleven gives you an idea to another quickly persuasive encounter by One Year Delay

A sludgy air and gait comes with the following Water Under the Bridge, its slow movement and enticing croon stoner-esque but equally grunge coloured with a whiff of doom rapacity. Though not as immediate on ears and thoughts as its predecessors, or ultimately as dynamic, time allows the song to tempt and unveil intoxicating attributes which in turn gives a keen appetite for the album another reason to indulge often, the same applying to the Nirvana toned Miss You which takes over next. Its gentle voice and guitar entrance is a good welcome but it is when the song picks up its energy with the beats of Sotiris Papadeas a shuddering impact and the bass of George Manesiotis a highly agreeable heavy shadow that it comes into its own. Still the track lacks the same rich and inventive spark of earlier songs but satisfaction is nothing less than strong as it swings through ears.

The band is back spitting aggression with Try to Stay Alive but also entering a raw rap /groove metal crossover with warm rock melodies and Korn like boldness in ideas and unpredictability. It is a great adventure in idea which at times simply enthrals and thrills and in other moments loses its grip with unfulfilled promises, but again a want to hear it again is never far from thoughts after each venture into its potential.

For personal tastes the first half of Deep Breath easily outshines the second but as proven by the closing blues rock call of 5m, 9k, there is always plenty to seriously engage thoughts and have enjoyment fully on board. The last song is a potent weave of heavy riffs and provocative rhythms within scenery of spicy grooves and vocal tempting bringing the album to a rich and persuasive close.

You sense it is early creative days in the growth of One Year Delay but Deep Breath, as a first album, suggests things are definitely heading towards very exciting places. They are already there in many ways with their first full outing but when maturity and natural evolution comes to the fore too, keeping a close eye on One Year Delay might be a clever move.

Deep Breath is out now via Pavement Music through major online stores.

Pete RingMaster 08/10/2015

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Zebras -The City Of Sun

Zebras_RingMaster Review

If you could sum up the rage and discontent burning through the world right now it would be in the same kind of angry roar to be found in The City Of Sun, the new album from US punk metallers Zebras. The release is a brawl on the senses, a violent incitement for the emotions, and simply the best thing to come out of the band and arguably hardcore fuelled metal this year.

There is no surprise to the potency and hostility drenching the release, Zebras’ self-titled debut album of 2012 and subsequent release and songs, have all been virulent animosity equipped with the ability to stir addictive tendencies through fearsome hooks, wild rhythms, and searching grooves. The City Of Sun is exactly the same but the trio of guitarist/vocalist Vincent Presley, keyboardist Lacey Smith, and drummer Shane Hochstetler have taken and stretched everything to new benchmark setting levels.

Again like the uncontrollable bastard son of Lard and Dead Kennedys, but with its own ever increasing identity, the Zebra sound instantly burns as opener Hollow Earth brings The City Of Sun to dynamic life. An initial spicily grained groove pierced by thick rhythmic jabs grips ears and attention first, that lure within a few breaths unleashing antagonistic tension and weight as riffs and swinging beats descend with great zeal around the raw tones of Presley. An already in place appetite for the band through past successes explodes with greed as the song continues to twist and rage, the trio spinning a lethal yet contagious web of violence and doom bred turbulence.

cover_RingMaster Review   It is an invigorating and addictive start continued by The Turning Of The Bones, where again the toxic invitation of grooves binds and enslaves as Hochstetler batters and Lacey’s keys stroke the senses. The repetitious nagging quality of riffs and grooves is also easily devoured manna, an essence which enhances every track upon the album as Presley’s ire shapes and colours the confrontational energy and heart of each incitement further like in the outstanding death shuffle of My Apocalypse and the corrosive majesty of The Bell. The first of these two bounces along throwing sonic spears and bone splitting beats out whilst ingraining the imagination with a hook lined groove carrying a Biafra and Co breeding. From one peak to another as its successor seamlessly escapes from its companion with its own hypnotically debilitating rancor and seriously catchy tirade of guitar and bass enterprise. Ministry at their corrosively niggling best comes to mind as the song continues to bind and scar but again the face and character of the song is all Zebras.

Baalbek is a rather similar tempest next, its body and lures closely matched to the previous track though with admittedly equal success, but in the only ‘issue’ with The City Of Sun there is certainly a kind of surface similarity to the tracks, and between others, which less bold and determined listeners might be fooled into thinking the album lacks strong variety. As The Garden swiftly shows it is not the case even though the template for songs is a constant seed. Expelling a thrash like urgency and tenacity, the song goes for the jugular straight away, uncaging more of the prime ravenous riffs and infesting grooves Zebras are already and set to be further acclaimed for. Swarming over the listener from every angle as vocals and drums create a hellacious and addictive beating, the track has ears ringing and emotions lusty, both more than ready for the barbarous tango of Levitation where punk and metal collude in engagingly oppressive conflict.

There is no let-up in the emotional fire and physical ferocity, or indeed the pleasure as firstly Solomon shares its exhaustive ill will and synth led exoticism and then Vitrified which comes forward with a sultry climate around a predacious turbulence of word, voice, and sound. The track is a spellbinding proposal, another fresh spark for the imagination with arguably the album’s most inventive and experimental song, and nectar for the instinctive desire for twisted tapestries of noise.

Closing with the sonic blaze and rhythmic grudge of Filled With Fire, Zebras leave the body shattered, senses drained, and emotions aflame. With only a wish for the synth craft of Lacey to be a little more forward in the overall production of the fabulous turmoil, Zebras has crafted another stunning release but more so their greatest triumph yet. They are a band come of creative age and with recent times seeing the band supporting the likes of Jello Biafra, Black Flag, Negative Approach, Melt Banana, High On Fire, Goatwhore, and Die Kreuzen, The City Of Sun offers inescapable reasons as to why Zebras should be spoken of in the same kind of acclaiming breath.

The City Of Sun is out now @ digitally, on vinyl, and Ltd Ed CD.

Pete RingMaster 07/10/2015

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Deep Desolation – Possession

possession cover_RingMaster Review

Living up to its name in so many ways, Possession is an occultist waltz with the devil, black metal fuelled rock ‘n’ roll which just gets more compelling and adventurous track by track. The latest album from Polish metallers Deep Desolation, the release offers five tracks which devours ears and in turn imagination as black and doom metal gets entangled in psychedelic and progressive enterprise, all around blasphemous and challenging intent.

Deep Desolation hails from Łódź, emerging in 2009 with their debut album Subliminal Visions coming at the beginning of 2011. That same year saw the band unite with Primal and Iugulatus for the split release Chapel Of Fear with a year later second album Rites of Blasphemy was unleashed. Well-received it showed the growth and evolution running through the band’s sound which continues and blossoms in Possession. At times the new release is not an easy listen, making no compromises for the senses with its barbarous rancor and intensity, but from start to finish, and as suggested with stronger persuasion song by song, it is one seriously fascinating and enjoyable encounter.

The quartet of vocalist/rhythm guitarist Meriat, lead guitarist Markiz, bassist Piorun, and drummer Wilku begin their insidious incantation of pestilential temptation with Bestial Mind. Opening on an almost shamanic rhythmic invitation, the track is soon a brewing tempest of sonic agitation and thickly landing beats with guitars and bass entangling in tempestuous manner and creativity as they await crawling vocals squalls. The song continues to prowl with a doom rich breath, before unlocking a canter of spicy groves and melodic hooks which soon have ears and the imagination enthralled. Never unleashing its full venomous urgency, the track continues to stroll and prowl, malevolence an oozing hue across atmosphere and voice with a leaning towards progressively honed groove metal an additional magnetic texture.

Each listen reveals a little more going on within the quickly enticing animus of sound and intent, potency echoed throughout the album and certainly in the rabid depths and intrusive endeavours within Place Of The Darkest Thoughts. No reins shackle the energy and intensity of this track, its instinct to rock ‘n’ roll feeding the cancerous intent, creative adventure, and pure ferocity within it. In time bass and guitars spill a cascade of hook loaded bait as sonic and rhythmic savagery prevails around them whilst an almost schizophrenic passage of off kilter classic metal enterprise wrong foots and thrills simultaneously.

Both Demonic Elation and The Wizard Of Overdose keep ears enthralled, thoughts intrigued, and pleasure full. The first is an intensive dark trespass of sound and heart which truly comes to life when the psychedelic imagination of the band starts to wrap and infuse its black metal canvas. Before then it is a solid encounter but once the mystical imagination invades, it becomes another impressive beast before making way for its successor and its similarly persuasive tempest ignited by melodic and psych rock invention. The core groove is pure addictiveness and as confirmed by the final song on the album, Deep Desolation is at its most striking and unique when bringing their psychedelic and often deranged imagination into the mix, something hopefully they will explore and exploit much more ahead because we will then get more triumphs like Divine Dance.

The closing track is epic; eighteen minutes plus of heavy rock ‘n’ roll blackened and twisted for a glorious escapade of extreme metal irreverence. It is easily the best track on Possession, the realisation of all the band’s attributes in craft and sound in one extensive doom leaden, sludge thick, creatively carnal rampage of fierce and compelling metal and such a success because this time it is a groove and melody rich endeavour being given a black metal and doom infusion rather than the other way round.

As mentioned Possession gets bigger and better with each passing track, its finale the major treat which alone suggests that if Deep Desolation continue down this route they have the potential to intrude on the broadest metal spotlights.

Possession is out now via Old Temple / The End Of Time Records.

Pete RingMaster 07/10/2015

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Zephyr – An Odyssey For The Living

Zephyr Promo Shot_RingMaster Review

There has been a wave of metalcore seeded releases to cover recently and joining that relatively strong list is the debut EP from UK quartet Zephyr. The band’s sound is a little different to the rest though with its fierce roar aligning with progressive metal imagination and post rock ambience. Fair to say it is a blend which swiftly engages ears and makes the An Odyssey For The Living EP one fascinating potential loaded enticement.

London bred Zephyr only emerged earlier this year with the foursome of vocalist Cameron Alexander Thomson, guitarist Jacob Gudge, bassist Attila Tashi, and drummer Gideon Waxman quickly unveiling video single The High Road. Its viral online success sparked a live presence which in little time was also soon gaining strong support and praise. Now a full introduction comes the way of An Odyssey For The Living, five compelling and tempestuous tracks recorded with Kelly Pinchin and Ollie Dow from In Archives and produced by Julian Rodriguez from Elitist.

Zephyr Cover Artwork_RingMaster Review     The release is opened up by Familiar Spirit, a track instantly wrapping ears in an atmospheric guitar melody before thick bass groans and firm beats collude with raw vocals squalls. All the time the fingers of Gudge are weaving sonic and evocative tendrils around which keys lay their tantalising hues, the song as ethereal as it is viciously uncompromising. It is an enjoyably busy track with new corners and layers being unveiled through subsequent listens, a quality applying to the whole EP, and a personal want of diversity in vocals within a genre generally seeming to lack adventure in that department, nicely satisfied by Thompson.

The strong start is potently backed by Little Lamplight where again a warm melody honed coaxing brings the track into view before cruel riffs and rhythms bruise whilst being entwined in a provocative and perpetually shifting web of progressive leaning guitar enterprise united with suggestive keys. Further variety to the vocal incitement from Thompson and the band equally adds to the alluring but dangerous nature of the song to leave ears and thoughts firmly involved.

Cloud Spires opens in similar style to its predecessors whilst creating its own persuasive design of open technical craft and jagged riffery soaked in melancholic and emotionally reflective ambience. Those evocative textures are matched in potency by the mix of scarring and clean harmony wrapped vocals and though there does seem to be a kind of common template to Zephyr songs each creative canvas is coloured and twisted into individual characters that, as here, hold ears and imagination firmly in their intrigue lit tempests.

Next up is Gemini where, with Rodriguez guesting, a mariachi like vocal lure leads the listener into a maelstrom of jazzy guitar tempting, vocal ire, and a sonic painting of evocative endeavour and textures. Enthralling with its unpredictable imagination and great diversity, the song emerges as the strongest highlight of the release before Black Luster brings it all to an invasive and tantalising close. It is an outpouring of physical and atmospheric emotion, an undulating wave of intensity and creative tempting which like the sea has fierce under currents below a shimmering surface beauty.

An Odyssey For The Living is an impressive and thickly enjoyable debut from Zephyr, the band’s potential as rich as the flavours in their sound. There is for personal tastes that final spark missing to really inflame thickly satisfied reactions and emotions to the release but easy to sense that will come as the band grows, matures, and evolves in all aspects. Certainly they are ones to watch ahead and enjoy now.

An Odyssey For The Living is available from October 9th through all digital platforms.

Pete RingMaster 07/10/2015

Copyright RingMaster: MyFreeCopyright

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