Arcade Parade: Cave Of Swimmers (Radio Edit)


Since forming in 2010, it is fair to say UK indie rock band Arcade Parade has not let any dust settle on their vibrant presence as they have performed at some of the notable venues around the UK, such as O2 Academy 2 & 3 in Birmingham and The Sugarmill in Stoke. They have also played Osfest twice matching their strong sounds to artists such as Example, Razorlight and Hard-Fi and the Shrewsbury Fields Forever Festival with The Wombats, The Sunshine Underground, and Simon & Oscar from Ocan Colour Scene. Their live reputation has certainly risen at the same time and as nationwide recognition is waiting to be persuaded, the release of their debut single should make an initial  strong impression to set things off.

The band recently recorded their first EP with acclaimed producer Gavin Monaghan, which will get its release early next year but 557768_10151140260428691_534556431_nfirst comes single and video Cave Of Swimmers. The Shropshire quartet of Ollie (guitar and vocals) and Elliot Scott (bass), Jacob Ferguson (guitar and vocals) and Dan Byrne (drums), create a sound which layers precise inviting hooks and melodies over unpredictable and inventive beats alongside rich compelling basslines. As the single proves the quartet know how to shape a song into something enticing and thoughtful without resorting to obvious lures. The track is openly infectious nevertheless and makes a strong taster for their forthcoming release. Not exactly rich in originality yet fresh in its breath and energy, the song from its opening summery caresses around sultry and a winding tight melody catches the imagination with ease. The vocals are as warm as the sounds with an expression which balances nicely with the enthused energy and sinewy melodic enterprise veining the pleasing engagement with the ear.

You can never be completely sure of a band from one song alone but certainly Cave Of Swimmers has ensured the release of the EP next year will not go without intriguing attention.

RingMaster 03/12/2012

Copyright RingMaster: MyFreeCopyright

Sin Of God: Limbus


Canadian label PRC Music have really pulled out the stops to make the end of year a brutal yet special time for death metal. Firstly they have re-introduced the world and genre to the outstanding album Reign Of Lunacy from Quebec legends Goregust with its re-release and on the same day shown that current bands can be just as impressive and inspiring with the release of Limbus from Hungarian band Sin Of God. If you were struggling of what to ask for from the fat bloke in the red suit than you could do far worse than plumping for either titanic releases.

Limbus is exceptional, a bruising and intimidating encounter which rises to outright brutality and startling enterprise throughout, well for all of its presence to be honest. The band blends a sensational mix of technical death metal with old school with no reluctance in offering a groove or two which are more contagious than any viral outbreak. Sin Of God is recommended to all who like bands such as Nile, Behemoth, Immolation, and Morbid Angel, but they offer plenty more which is sure to capture the imagination of all extreme metal fans. It is a striking hybrid which merges the true essences of varied genres into something which ignites imagination and passion alike.

The based quintet was formed  by guitarist/vocalist Laszlo Pall and drummer Balázs Botyánszki , expanding to a stable line-up in 2009. The following year saw the recording and release of first release Satan Embryo which brought the band strong recognition in the Hungarian underground scene. It was just the beginning as the band went from there to touring with Brazilians Infested Blood, being placed in the top ten out of 400 bands in the Talentométer competition, and becoming one of the biggest forces in the underground scene in their homeland. It was at this point guitarist Szabolcs Molnár joined the band as well as a new vocalist. Sin Of God went on to share stages with the likes of Benighted, Nethirbird, Smashed Face, Krow the Sanatorium,the Scorned, and the Casketgarden before next recording debut album Limbus and signing with PRC for its release. Once into the ears of the world it is doubtful things will be the same for the band again, Pall, Botyánszki, Molnár, bassist Ferenc Vörös, and vocalist Balázs Lévai surely finding 2013 will be a year of demands and more acclaim upon their inventive heads.

The first thing to note with Limbus is the outstanding vocals, the malevolently soaked impressively cultured guttural growls and limbus_lowblack hearted squalls quite brilliant. The bio for the band leads one to think Lévai joined after the recording of the album and if so it is a shame we could find no credit to the actual singer as he is a staggering force and talent, and if it is Lévai than all praise to the man. Not that he is the sole talent on show, the craft and ingenuity of the guitarists is breath-taking and imaginatively resourceful whilst the drums of Molnár leave a wasted husk in their skilled and destructive wake. The bass of Vörös too inspires only immense accolades in his direction, the band and release triumphant in all aspects from songwriting, its interpretation and delivery to sheer ferociousness.

From a brewing intro with an inviting guitar lure and telling bells the title track seamlessly leans in, the album seizing instant hold on thoughts and ears; the soon smothering assault of concussive drums and sonically twisted riffs soon  quite irresistible. The track is an abusive delight with grooves which lick the senses with serpentine tongues and an intensity which leaves one overwhelmed and shell shocked. Actually it is probably not the most brutal confrontation  you will encounter but from its towering power and invention is sheer erosion to devour.

The following Kill The Irreligious equals the start with its flesh scorching sonics and rapier like rhythms though both are exceeded by the excellent Demonshrine. It is a ravenous brawl on the psyche, unrelenting for its first third before showing respite…in the shape of a nasty yet delicious grooved spear of sonic manipulation soon joined by the again storm of intensity. It is a magnificent violation blessed throughout with fiery guitar weaves and poison vocals.

The likes of the senses worrying waspish Eucharist, the violently carnivorous Bloodlust, and especially the brilliant Yearn Of Lesions too reach the highest pinnacles though without fear of contradiction every song on Limbus is well within their triumphant heights. The last of the three and maybe best song on the album, though the choice changes with each listen, is another treacherous yet seductive testy malefaction  which irritates like a giant hornet whilst bringing the fullest sonic orgasm of pleasure.

The release also comes with six bonus tracks which we sadly did not have access to but there is no reason to doubt that they will only enhance the already staggering release. If you had doubts whether modern death metal has any heart or imagination left in it than just dive into Limbus to alleviate those fears. Sin Of God is going to be huge!

RingMaster 03/12/2012

Copyright RingMaster: MyFreeCopyright

Gorelust: Reign Of Lunacy


Eighteen years after its release, Reign of Lunacy the one and only album so far from Canadian death metallers Gorelust, gets its reissue through PRC Music whose owner also incidentally gave the album its first appearance. With a proposed new release planned for late 2013, the re-release from one of the most impressive bands of the Quebec death metal scene will be a welcome treat for all fans of the genre, especially those leaning towards the sounds of Suffocation, Mortuary, and Monstrosity.

Regarded as one of the best live bands of their time, the young Quebec band disbanded within the year of the release of Reign Of Lunacy in 1995. The release itself was limited to 1000 units when released by New World Symphony Records and has since changed hands at amounts leading up to $100 a time as well as getting bootlegged by Cryptic Soul Productions in Italy. The true re-release will thrill a legion of death metal fans wanting to own a copy of an album which should be regarded as a classic, and with the recent announcement of the return of the original line-up to finally make a follow-up album next year, you can only expect an eager devouring of Reign Of Lunacy this time around.

The album has been dedicated to Steeve Hurdle of Gorguts who sadly passed away earlier this year and who alongside band mate Luc Lemay at the time, contributed backing vocals to Reign Of Lunacy. The album is a raw and brutal exercise for the senses, a merciless assault of technical and uncompromising death metal brought by the combined might of vocalist Jean Beaulieu, guitarist Martin Fournier, bassist Pascal Chevrier, and Francis Marmen on drums.

From the staggering first track right through to the closing violation Infant Devourment, the album is an insidious capture of the imagination and passions, an extreme metal corruption which you eagerly welcome. The release sounds just as fresh as it did back in the day which is impressive with the spoiling of digital technology since. The track Gorelust opens things up and has the senses drooling with its towering vicious rhythms driving that delicious raptorial bass of Chevrier and the scorching imagination and flesh searing sonics of the guitar from Fournier, their union irresistible as they twist and damage the synapses. The vocals of Beaulieu are unreservedly intimidating and stand as one of the most formidable when placed in the company of other great malicious vocalists which graced the genre then and since.

As tracks like the spiteful Abhorence Beyond Repugnance and rabid Sclerosed Brain Eater infest, the album declares itself as still a measure new bands should become acquainted with when looking for an inventive yet debilitating presence. It is impossible not to feel a little saddened that the band never managed to remain intact, the sounds and might which may have come our way, but with the proposed Gorelust release of next year excitement reigns over the past.

For any genre fan yet to be touched by Gorelust, being churned up and molested by the nasty malevolence provided by the title track and Indigestible Human Remains, let alone the cell invading venom of Anthropophagist, is going to not only be an well overdue surprise but a primal devastating treat which will shape their tastes and preferences. Reign of Lunacy is one of the true death metal classics and a must have for all genre and extreme metal fans. It is the time to become acquainted or reintroduced to one of the greats well in time for what will be their highly anticipated return.

Ring Master 03/12/2012

Copyright RingMaster: MyFreeCopyright

Doom’s Day: The Unholy

Doom's Day

Though arguably offering more promise for the future than major satisfaction in the now, The Unholy the debut album from Canadian  occult metal/horror punk band Doom’s Day is still a recommended investigation if the likes of Mercyful Fate, Venom, Ghost, and early Misfits grab the imagination. There is also an eighties essence to the sound which pervades the eight songs which make up the release bringing spicery from the likes of Joy Division, Sex Gang Children, and Fields of The Nephilim into the mix. It is a far from flawless release but given time makes a more than decent persuasion that this is a band to keep an eye on.

The Québec based band has been making big waves in their surrounding area since forming earlier this year, soon moving from a small project into a full band for shows around their province. The Unholy was originally released as a hand numbered CDR consisting of just 50 copies, but soon came to the attention of PRC Music owner Remi Cote. Impressed by what he heard and no doubt the promise ahead, his label has re-released the album on CD and digitally. It is a release proudly steeped in the musical past but with the intent to embroil things with a freshness of modern imagination and opinion, it is debatable how successful it is in that but certainly engages enough to incite returns to its sounds and inspire intrigue ahead.

From the opening track Overture, a gothic cathedral instrumental breath within an oppressive storm, the album enters fully with dooms_day_lowresthe title track. Dark heavy riffs and Hammond organ like keys merge for a heated embrace upon the ear which holds many similarities to fellow Canadians, the excellent New Jacobin Club. The gruff unpolished vocals stand aside from the strong guitar play and scorched melodic  touches to add an abrasive bite to the track. It is quite a compelling song despite the weak production, a trait for the whole release which manages to leave the strong aspects of the album rather lifeless and the raw unrewarding parts accentuated. It is a more than decent start though inspiring good expectations for the rest of the release.

The following trio of songs She’s Possessed, Necronomicon Ex-Mortis, and Sabbath Deadly Sabbath do not exactly live up to the hopes though most again offer things which suggest the possibility of good things coming from the band on the future horizon. The first of the three has a great female vocal alongside the restrained and tempered delivery of vocalist Doom, it makes for a magnetic encounter lined with hypnotic rhythms and a snarling bass  within the sonic wash of guitar. A short and crisp track it is certainly one of the better efforts on the album to ensure continued investigation. The metallic groove of the second song makes an enticing additive to another strong enough song whilst the latter is a bland formulaic song but one fans of classic metal will find something to latch onto.

The best moments of the album are kept to the end with The Sorceress and its great Bauhaus like opening, the muscular Your Last Breath, and the closing Ghost Of Fate. The smoother vocals of the first pair of the songs are a definite plus to the sound of the band and used within a sinewy and formidable intensity works a treat. The last track Ghost of Fate is a great tease of what one senses hopefully will be ahead with Doom’s Day, the song a rampaging well thought out merge of riling energy and melodic craft.

The Unholy is overall enjoyable with its strengths managing to outshine its negatives but it does lack the spark to ignite any real passion for its contents. Placed in a studio with a top producer who can breathe life into their certain creativity and the band itself discovering a unique heart to their invention, it is not too hard to imagine Doom’s Day turning into a more notable ingredient within occult metal.

RingMaster 03/12/2012

Copyright RingMaster: MyFreeCopyright

Rhyme: The Seed And The Sewage


Bring to the boil a strong measure of nineties metal, a heavy dose of hard rock, and a liberal helping of varied classic spices, whisk it all up with imagination and enterprise and  what emerges is a thoroughly satisfying slice of sinew rippling rock n roll, or more specifically The Seed And The Sewage, the second album from Italian rockers Rhyme. Whether the release offers anything distinctly new is debatable but its ability to excite and please is beyond question, the band unleashing a stomping confrontation of high grade attention grabbing muscle which leaves deep satisfaction.

Released through Bakerteam Records, the release builds on the already strong reputation garnered by the Milan quartet through debut album Fi(r)st and their impressive live performances. Since forming in 2008, the band has taken no time in grabbing attention, their first EP, Rhyme2009 drawing strong responses and play from radio shows across Italy and the US. With a new and settled line-up set the following year, the band recorded their debut album which upon its release January of 2011 received eager responses and acclaim. Combined with successful tours with Papa Roach and Misfits in Europe, an impressive appearance at the Rocklahoma 2011 festival alongside the likes of Staind, Seether, Whitesnake, Motley Crue and Black Label Society, and a multitude of their own energetic shows around Italy, Rhyme has built a formidable reputation which The Seed And The Sewage does nothing to diminish.

Consisting of eleven well-crafted and pleasing slices of passionate rock, the album takes one on an easy to digest but thrilling ride of 304414_10151301835285993_1823377093_nenergy and invention. At times the band walk well-worn paths as many others but never without bringing a fresh and vibrant presence and ability to the landscape to bring an endeavour which is honest and impacting. It is also a release which the more time you spend with the more it unveils and persuades the passions, ultimately an experience which inspires participation physically and emotionally.

Opener Manimal steps up to the ear with open riffs and senses caging rhythms but a less than forceful breath, though the energy of the song is muscular enough. The guitar of Matteo Magni is immediately a fiery and enthralling proposition which never relinquishes its magnetic appeal from first note to last whilst the beats of Vinny Brando thump with aggression yet restraint. The bass of Riccardo Canato at times has to be sought but is a constant predatory presence within song and album bringing depth and intimidation alongside Brando. Vocalist Gabriele Gozzi completes the line-up with a delivery which is impressive and engaging, his Chris Cornell like tones a mix of might and melodic skill to match the sounds perfectly.

The great start is soon built upon by the equally powerful tracks The Hangman and Blind Dog. The first is a furious encounter which leaves an abrasion upon the ear and heat in the heart, riffs and rhythms a senses raging thrill veined by compelling sonic skill from the guitars. Lyrically the album is inspired by world and social issues, the intent brought with an array of inciting emotions, and none as potent as within this track. Musically the band match the anger and strength of the words to deliver an uncompromising and rage inspiring statement. The second of the two songs opens up deeper shadows to bring a heavier emotive engagement which though not quite finding the impact of the first two is a provoking pleasure. Influences for the band include Audioslave, Deftones, Stone Sour, and Soundgarden, and where other tracks have essences of say classic metal and rock bands this track is distinctly inspired by the former names.

In an album which is of a strong level throughout other extra highlights come with the outstanding Slayer To The System, a track which throws you in a brawl of scorching energy and riotous musicianship brought with open imagination, Party Right a song which says what it is on the label, and Brand New Jesus. The last of the three is a delicious slab of metallic soaked rock n roll which leaves one breathless and smiling.

Closing with an impressive cover of the Depeche Mode song Wrong, The Seed And The Sewage is an excellent release which offers plenty for fans from all areas of rock and melodic metal. It does not lay out a new road for rock music but interprets and improves on existing directions with accomplished skill and infectious enterprise.

RingMaster 03/12/2012

Copyright RingMaster: MyFreeCopyright