Superhorrorfuck: Gore-Geous Dead

Superhorrorfuck

    The story goes that on October 31st 2005, a band known as Morphina was supposed to play a Halloween party in a dirty pub but disappeared after a mysterious car accident. In their place stepped forward four fresh corpses under the name Superhorrorfuck, and a trail of death and mayhem began from that night forth.

With that dark tale you can feel the essences which inspire the Italian shock rockers and give a rich mayhem to their insatiable and infectious sound. The quintet creates a tomb spawn noise heavily loaded with the loud whispers of Frankenstein Drag Queens from Planet 13 and Wednesday Friday, with further glam and heavy metal spicery to their horror rock eruptions. This rich mixture makes the band and their new EP Gore-Geous Dead, a delicious riotous party with a daring mischief and tongue in cheek irreverence, though it might be your cheek more than theirs which is ventured within.

Consisting of vocalist/guitarist Dr. Freak, bassist Mr. 4, guitarist Paghalloween, and Littlebomb on drums, Superhorrorfuck opened their recorded mayhem account in 2008 with debut album Horrorchy to a notable response within their local graveyard. The following year saw the addition of guitarist/vocalist Sgt. Anubys which allowed Mr Freak to concentrate on vocal duties and in 2010 the quintet unleashed second album Livingdeadstars, a release which showed the band with a stronger more defined sound as they grew into their death soaked craft. Across the years the band has shared their notable live decaying presence with the likes of Wednesday 13, Torpedohead, Vain, Sister, Buggirl, and Hardcore Superstar, the band continually gaining increasing acclaim. The Gore-Geous Dead EP is  without arguably breaking new ground but using already mined flavouring, the thrilling result from a band who has evolved into its most skilled and imaginative stature to date with a fusion of punk, metal, and wantonness which is sheer horror sleaze rioting.

Released via logic(il)logic Records, the release opens with the bruising encounter Death Becomes Us, a track which hits all the 205614_10151259604859250_893431619_nright spots without quite igniting any strong fire for its wares. It does and goes where you expect the song to venture but with a fiery attitude and sound which is wholly contagious and a spark for limbs and head to join its encounter. Maybe not a track to linger in the memory it is still a good bruising start to proceedings.

Things soon fire up from beneath the earth with the following Voodoo Holiday, the first single from the EP. Opening with a roll of heavy roll of beats and a compelling bassline the song is an instant irresistible tease with the coarse inciting vocals of Dr. Freak bringing the perfect growl to the sweltering seduction elsewhere. Into its stride the song wraps familiar yet refreshing melodic and anthemic flames around the ear alongside a sultry brass caress which just adds to the infection which has now a firm hold. It is a glorious brawl of rock n roll with marked invention and devilish imagination which leads one into a definite rapture for its easy to consume and be invigorated by aural virus.

Down At The Graveyard steps from the Alice Cooper crypt of sound with its own sonic interpretation and passion, another impressive track which declares punk and metal as two willing and compatible bedfellows. Like all the songs it uses existing tools to sculpt its own character and presence, its sonic scything and provocative melodic enterprise leaving an agitated and full pleasure within its victims. The same can also be said of the final track Ante Mortem Pictures, a song bulging with sturdy riffs, uncompromising rhythms, and once more an unrestrained revelry which is just addictive.

Gore-Geous Dead is a wonderful slab of aural debauchery, a release you just cannot stop from finding a passion for. Yes it and Superhorrorfuck are not bringing you anything particularly new but they are offering a blatantly thrilling and irresistible confrontation.

http://www.superhorrorfuck.net/

RingMaster 31/01/2013

8/10

Copyright RingMaster: MyFreeCopyright

Sin’ Sound: From The Underground

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Though taking a little time to make its persuasion, the first encounter with From The Underground held more than a passing hold on the senses, eventually though the debut album from Italian rockers Sin’ Sound emerges as a rather impressive and imaginative piece of rock n roll. Released through Atomic Stuff Records, who the band signed to after winning a competition arranged by the label, the album is a compelling and diverse brew of sound which masterly meshes hard rock, psychedelic 70’s-inspired rock, and funk into something unique and deeply satisfying.

The Brescia based septet formed in 2006 following the break-up of two popular underground bands, Casbah and Synaestethic Sound. A tremendously active band live with a strong reputation for their shows and energetic sounds, Sin’ Sound is set to emulate that reaction with this their first album. Released at the end of last year, From The Underground is record which is never close to being predictable or ever less than enthralling. The musicianship and sounds which flow from within are as accomplished, thrilling, and as mentioned strikingly diverse within the overall distinct presence of the band s you could wish. Arguably the variety of ideas and styles within the songs gives it a stance which ebbs and flows at times, the album having definite peaks which reach noticeably higher than in other moments but throughout the release is nothing but refreshing and openly impressive.

The album does not manage to capture the imagination with its first two tracks for personal tastes but both Celebration Of Apathy and Preparing The Journey are strong and skilled songs thought neither ignites a spark stronger than nodding appreciation for their charms. The first is a heated piece of classic rock with tight fiery riffs and a sonic gift which certainly leaves one impressed with the musicianship and heart of the track. The heavy persistent bassline from Flavio Meleddu is a real plus whilst the guitar invention of rhythm guitarist Enrico Rango and lead Marco Cavalli captivate but overall the song is a companion who is welcome without overly exciting. The second song is the same and like the first a perfectly presented and skilled composition. Fuelled by a jazz funk swagger and sultry brass caresses from Enrico Zoni (trumpet) and Stefano Verzelletti (sax), the song is a more than amicable encounter again without lighting fires.

From here on in the album just explodes onto another level starting with the muscular Introduction: From The Underground. From a slow and heavy prowl with great inciting rhythms from drummer Roberto Micheletti and provocative riffs alongside the expressive vocals of Francesco Zugno, the track erupts into a feisty surge of eager energy and lush intensity. Well into its presence the song intertwines this slower gait with an accelerated passion in its insistency and attack with the guitars sending flames of melodic enterprise across the ear throughout to match the easily evident impassioned lyrical heart of the track. It is an emotive song from words and atmosphere, and beautifully crafted to achieve the greatest effect and reaction.

This excellence is continued with A Bad Day, a song with punk urgency and mischief veining its explosive rock infection. At times the track reminds of Manic Street Preachers and other times thoughts of The Doors and Fatima Mansions are inspired, but constantly the originality of band and song is paramount.

Further highlights come with I Really Like You’re Back, Elisa and closing song Mr. Goodbye, though each track around them leaves one more than merely satisfied. The first of the trio has a slight eighties new wave feel to its vibrant bearing and tight melodic guitar wash which provokes a ‘lick of the lips mentally whilst Elisa is a seductive tease of suggestive brass and a contagious groove which is just irresistible within its brooding passion. This fascinating and bewitching weave coats  the track as it explores its deepest shadows, the restrained yet potent emotive smouldering the soundtrack to the aural scenery and sonic passion.

The final song on the album is again an unhurried walk through the ear, the gradual build of intensity and emotion through brass and guitar quite delicious and invigorating even with its wonderfully dare one say sluggish presentation. It is an outstanding end to an excellent album which initially takes its time to convince but does so with undeniable expertise. If you investigate one band this month you can do a lot worse than taking a listen to Sin’ Sound.

7.5/10

https://www.facebook.com/sinsoundfanclub

RingMaster 31/01/2013

Copyright RingMaster: MyFreeCopyright

 

Chariots of The Gods: Tides of War

Chariots of the Gods -Tides of War official (group)

     Exploding out from the depths of the underground, Tides of War the debut album from Canadian metallers Chariots of The Gods, is quite simply sensational, a metal album of the highest order. It offers no indulgency or pretences to mislead on paper or aurally, but openly knows what it is good at and delivers those aspects with a passion and force which few other bands certainly recently have matched. Fusing diverse textures and sounds from melodic metal, thrash, and death, their music and album is simply a tour de force of metal.

Formed in 2007 by guitarist Mathieu St-Amour alongside bassist Christian Methot and guitarist Christian Carrière, the Ottawa band grew into a quintet with the addition of drummer Rich O’Neil and vocalist Renaud Jobin. Soon impressing live, the band released to very strong responses their Reverence EP in 2010. The release pushed them onto another level locally and sparked better opportunities live for the band, though the end of the same year going into the next saw the departure of Methot and Carrière. Moving forward though Chariots of the Gods brought in long-time friend and guitarist Dimitri Gervais and bassist Payam Doryani and set about laying waste with their towering sound. The band has bruised stages alongside the likes of Misfits, Voivod, Despised Icon, Kataklysm, Blind Witness, Misery Index, Martyr, Fuck the Facts, Blackguard, Neuraxis, and The Agonist, over the years and now burst into the world with their triumphant first full length release.

The Glen Robinson (Gwar, Annihilator, Queensryche, Voivod) produced album is a thrilling tempest of insatiable riffs, rhythms Tides of War - Cover - High Reswhich make demands no one should be forced to take but do willingly, and deliciously confrontational vocals. Spread throughout there is also a melodic and sonic enterprise which burns like an invigorating furnace and combined the result is one of the most impressive metal albums in recent years. Self released, Tides of War immediately from its dramatic and compelling opening instrumental Overture has a hold over the ear and thoughts. It is brief yet the perfect atmospheric lure into the epic intensity and drive of the album starting with the ravaging Seventh Weapon. The first seconds consists of thumping beats and sizzling guitar twists around the ear before expelling a ferocious breath through the squalling scowls of Jobin and an avalanche of rhythms. Now settled into its fearsome charge the track towers over the senses with the intensity and expansive reach of a storm. Across its bristling sinews and colossal breath, the track unleashes a whip lash triggering attack from O’Neil, exceptional and fiery melodic persuasion from the guitars of St-Amour and Gervais, and an irresistible raptorial vocal devouring.

As in the first full song, Blind Assassin reveals the prowling might of bassist Doryani; it is not always an aspect with as much clarity as the other elements but removed would undoubtedly leave a big gaping hole and when the heavily consuming notes find clarity of voice, the songs just bulge with impressive shadows. The third track is a less forceful entity than its predecessor with a sonic elegance which lays rough caresses over the ear, though it is not lacking any demanding spirit or heart either. It arguably pales a little against the previous track but outshines so many efforts from other artists.

Each and every track is immense and in varying degrees offers hints of the influences which vein the sound. Within the likes of Ambrosian Wings, the Russian Revolution inspired pair of the crushing Revillusion (1905) and the voracious Severing the Bloodline (1917), and the violently smouldering Red Skies, as examples, essences of the likes of In Flames, Norther, Testament, Lamb of God, and August Burns Red are apparent and add extra spice to the rich sonic menu of the band. As to be expected some songs reach the highest pinnacles and the biggest highlights on Tides of War come firstly with the title track. It is a thunderous rampage of sizzling guitar magnetism and invention driven by again the tumultuous and outstanding rhythms of O’Neil.  It is the perfect blend of aggression and melodic persuasion which chews up the senses whilst treating them to a fine dining of sonic imagination. Further lofty heights come with the senses grasping and obliterating Collapse of an Empire with its delicious spearing flames of melodic intrigue, and the corrosive and glorious Unbound which also features Aleksi Sihvonen from Norther.

The album is not just intensity and brawling aggression though as to perfectly break up the onslaught there are a couple of compelling instrumentals in the enthralling shapes of Snow Falls On The White River (1914) and Nebula, both beautiful pieces of music in their very different guises and far from interludes and fillers.

Tides of War is an exceptional creative ambush for the heart with a rage of the fullest rewards and an expressive depth of unbridled undiluted metal. You may not have heard of Chariots of The Gods before now but that is sure to change very soon as their album is exposed to the wider world.

http://www.chariotsofthegods.net/

RingMaster 29/01/2013

Copyright RingMaster: MyFreeCopyright

Toxic Grind Machine: Embryonic Emission

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Though it came out a four months ago, Embryonic Emission from Dutch industrial metallers Toxic Grind Machine is one big thrill which has to be shared. Firstly we have to give thanks to Ray Westland from Ghost Cult webzine for pointing us in the direction of what is a stirring and impressively dynamic album, a release which ignites a full ardour for its imaginative and compelling sounds.

Even with determined research little can be found out about Toxic Grind Machine except that it consists of Robert Slump (songwriter, guitars, keyboard, and programming) and Trevor Marks (vocals, synths, lyrics), merges the essential essences of electro, industrial, and metal in to a blaze of infectious invention, and takes inspiration from the likes of Sybreed, Fear Factory, Strapping Young Lad, In Flames and many more. Not that you need to know any background to enjoy the results of the inventive creativity spawning the album, the eight songs within do all the telling and persuasion needed to be enthralled with the band and release.

The album opens with emerging mechanical whispers and cyber teases as Burn Bright, Wry Jackal comes into view. From the shadows it soon bursts into a glorious confrontation of vocal squalls, thunderous rhythms and rabid riffs. Then it throws the first surprise by slipping into a melodic wash of clean vocals and emotive synth caresses. The subsequent combination of the two is a striking and accomplished union which favours neither but excels in allowing both extremes their full and compelling voice. The track is a vibrant mix of Silent Descent, Fear Factory, and Left Spine Down with elements of Pitchshifter to its sinewy depths, and a stunning start to an album which only gets better and better.

Next Amphetamines in Ghost City rampages from a kiss of electro effected vocal harmonies into a torrent of ravenous riffs and spiteful rhythms driven by an intensity which smothers the senses with near malice. Again the unpredictable might of the band takes us into a melodic room as the bruising energy outside brews up its storm to unleash soon after and entwining itself with the warm electro wash. Sybreed and Scar Symmetry comes to mind whilst the song reveals more imagination, though this or any song on the album is uniquely Toxic Grind Machine. There is also an antagonism to the lyrics and some of their delivery which like the sounds is an exciting contrast to the smooth soothing tones elsewhere.

The whispering ambience which introduces AphidHaze is another emotive example of the thought and ingenuity within the album and though the track cannot resist unleashing a full and rampant force the song offers a less intensive storm to fall before, instead inviting a willing immersion into its still immense and formidable breath. This slight mercy is soon dismissed by Cell 600, a track which rips the senses asunder with a gleeful brutality before stomping them into dust with a rhythmic violation and riff driven annihilation that would make the likes of Meshuggah and The Browning sweat. Again from the impressive vocals, violent and caressing, and mesmeric synth expression to the voracious riffs and barbaric rhythms, the song is outstanding, just like Embryonic Emission itself.

As the even tempered Hymnlock, though it too cannot restrain its sonic rages at times, and the fascinating Judah, Let’s End lay their intriguing cards on the table the album becomes even more engrossing and intoxicating. The latter of the pair especially has a constant shadow over its expanse to hide where it is going and offer mystery to its intent. It only draws thoughts and emotions in deeper despite its wonderful ‘deceit’ as each and every unexpected twist opens up new avenues to explore.

The album departs upon firstly the brawling excellence of Morphia, a riotous grapple which leaves one pumped up in a frenzy of energy and passion, and the instrumental Enther. The final track is a piece of music which would have made the perfect beginning to the album, its brewing epic feel and dawning dramatic expanse an electrifying experience suited as a delicious introduction and personally feeling wasted as the admittedly rousing climax. The bottom line is Toxic Grind Machine in Embryonic Emission has created an album which with each listen reveals something new such its depth of layers and imagination whilst offering nothing less than unbridled pleasure at all times.

http://www.facebook.com/ToxicGrindMachine

http://toxicgrindmachine.bandcamp.com/

RingMaster 29/01/2013

Copyright RingMaster: MyFreeCopyright

Celtachor: Nine Waves From The Shore

celtachor

    Celtachor is a band whose name we had come across plenty of times without making a concentrated effort to seriously check out their sounds. The release of their debut album Nine Waves From The Shore has given us the opportunity to amend that slackness and with ease the Irish blackened folk metallers impress. Their album is a refreshing and potent blend of Celtic folk and black metal with a passion and heart for its inspiration and a sound which shares those same intensive traits; an aggressive and melodic enchantment which leaves one smitten.

From an established idea in 2007 to a realised and working band in 2010, Dubliners Celtachor have announced themselves as the ‘the narrators of Irish Mythology’ with the purpose of bringing to life their vision of the stories which live vibrantly within that history. Since forming the band has earned a strong reputation through their live shows which has found them alongside bands such as Skyforger, Primordial, Heidevolk, Suidakra, Cruachan, Wolfchant, Alestorm, Darkest Era, and many more, and their previous self recorded demo In The Halls Of Our Ancient Fathers of 2010. The newly self-released Nine Waves From The Shore was recorded across 2011 and 2012; the time and intense attention spent on its craft and realisation obvious in presence within the release and its perfect blend of two arguably opposing yet conducive genres. The seamless and instinctive merger of the venomous and uncompromising essences of black metal and the contagious and epic glory of folk metal is an impressively accomplished and sculpted weave, a balance which could be difficult and precarious for most achieved with skilled imagination here. Probably the release does not have the swagger of the best folk/pagan metal albums but the seriousness which comes from their obvious attention to detail and the potent shadows which line the vision inspiring tales, makes the release just as compelling.

As the building waves of intensity in opener The Landing: Amergin’s Conquest envelop the ear to make way for the fiery Celtachor-–-Nine-Waves-From-The-Shoreguitars and smouldering atmosphere thereafter there is an immediate immersion into the powerful presence of the song. The vocals of Stephen Roche are a rasping squall which storm from within the blanket of tempest sourced sounds whilst the glorious persuasions of the whistle and passion directing rhythms hold a firm and hypnotic grip. Epic, aggressive, and challenging in sound and within its tale, the track is a towering fortress of incendiary forces and primal instinct.

The following track, The Battle of Tailtin takes over from the ten minute colossus with a similarly driven assault, though only after igniting the senses with an excellent rhythmic intro which calls the body to arms ready for the bruising encounter. Again as the vocals spill their expressive spite the guitars of David Quinn and Fionn Staffort ignite the expanses of melodic enterprise and unrelenting brutality whilst the bass of Emile Quigley (who has since left the band to be replaced by Oliver Deegan) adds an irresistible darkness to the track which is as inviting as it is intimidating. Mid-way the riotous sounds recede to open up the vision of the battlefield framed by the continually impressive beats of Anaïs Chareyre and the fiery impassioned incitement of the whistle. Overall it is another full on expansive storm in intensity and length, the song a companion to its predecessor in more ways and one and leaves by its departing consumption of ravenous metal, an exhausted listener behind.

The acoustic beckoning of The Kingship Of Bodb Dearg with again stunning melodic caresses from the whistles instantly has one smouldering in pleasure and when the heavier yet enthused bassline and energising drums enter there is  an immediate submission before its majesty. Soon though the song unveils its sinews and stomps across the ear with an energetic muscular infectious whilst again the vocals of Roche skilfully removes the protective layers between his caustic delivery and the senses. The track is a varied and adventurous episode in the theme of the album with again a superbly crafted meld of dark and light in all aspects whilst the following Sorrow Of The Dagda again teases and kisses the ear with a delicious acoustic entrance before crushing the air and ear with a tremendous onslaught of rhythms and intense hostility. The track is a rampaging furnace of invention and passion which travels the lengths of sonic extremes with real craft. As impressive though it is it does find itself overshadowed by its successor the gorgeous instrumental Tar éis an Sidhe. A heated breeze of golden warm melodic shards and enrapturing beauty the song is a sublime and emotive glory.

The album closes by returning to the ferocity of before with the tribal mayhem of the excellent Conn Of The Hundred Battles and the equally combative Anann: Ermne’s Daughter. Both are heart pounding encounters which ignite the passions and with the moment of reflective peace before ensures that the album ends on its greatest plateau. Nine Waves From The Shore is a fully absorbing and thrilling release though not without a niggle, the vocals needing more clarity within the rich expanse of sound and possible a little diversity too, but it only inspires one to feel the band is destined for greatness. Do not wait until then though Celtachor deserves your recognition now.

http://www.celtachor.com/

RingMaster 29/01/2013

Copyright RingMaster: MyFreeCopyright

Nervochaos: To the Death

Nervochaos Photo 2

    Raw, ravenous, and potently aggressive with a maelstrom of insidious grooves which just tease and coax the passions into their version of an erection, To the Death is an album you just cannot avoid finding strong affection for. The new release from Brazilian metallers Nervochaos is not without flaws or maybe a sense of a lost opportunity but it also leaves one more than satisfied and willing to share precious time with the release on a regular basis.

Formed in 1996, Nervochaos has unleashed their underground acclaimed blend of death and thrash metal consistently through the years and over a series of well received releases. They do not offer the most angry or violent sound around and you will find other more intense and destructive encounters elsewhere for sure but as with this their fifth album, the band has a compelling presence and creativity which ticks enough of the right boxes to be a welcome and pleasing companion. The grooves unleashed within the death metal breath and thrash powered bruises posing as songs are of a devil spawn irresistibility and make the band one you cannot ignore. Released via Cogumelo Records, the new album follows their live album of 2011 and the previous full length release Battalions of Hate of the year before, both Tumba Records released. Gaining a cult status in the underground extreme metal scene the quartet of vocalist /guitarist Guiller, guitarist Quinho, bassist Felipe Freitas, and drummer Eduardo Lane, has equally impressed alongside the likes of Venom, Cannibal Corpse, Agnostic Front, Mayhem, The Exploited, Carcass, Divine Heresy, Ragnarok, and many more, the quartet continually adding to their strong reputation.

The album opens with the high energy Mark of the Beast, a fury of unforgiving rhythms and gnawing riffs shaped around a hungryNervochaos To The Death Cover persistent groove. It does not offer anything new or inventively breath-taking but like a sonic magnet has ears and attention locked into its unfettered energy. Ok it is relatively undemanding but still opens up the album with an accomplished and riveting presence which sets up the rest of the release perfectly.

Sheep Amongst Wolves with its gnarly bass and serpentine sonic flames stands tall next to continue the emerging compelling persuasion of the release. Again there is irresistibility to the flowing craft and intent of the song with another defined groove at mischievous play alongside further inviting melodic fire from the guitars. It does not quite live up to the opener but makes a more than decent bridge to the first of the highlights of the album in Your World’s Trend. This track opens almost identically to how its predecessor ended but soon opens up a variation to the sonic beckoning and pummelling rhythms it unleashes. It is the group vocal shouts alongside the persistently scarring scowls of Guiller which help raise the game further and lies impressively against the excellent erosive grind of the track.

Whilst the following likes of Gospel of Judas, The Exile, and Smoking Mortal Remains ensure one is gripped by a strong need to delve deeper into the album, the release saves its finest moments for a couple of tracks nestled within the trio. The title track opens with the snarling bass opening its deep cavernous throat with tight mesmeric grooves of the guitars soon joining the confrontation. Unrelenting rhythms soon entrap the senses within their merciless tempest whilst now into its stride, the track sets frees a deluge of eager synapse chewing riffs and a sonic whipping which leaves only bliss in its glorious wake. It is two and a half minutes of delicious enterprise and greedy contagion impossible to deny and heartily welcomed. To match the impressive attack of the first the following Hate piles on more infectious riffing and primal chuggery around instinctive rapture sparking twisting grooves.

Arguably the album never reaches the heights of this excellent pair elsewhere but still offers plenty to grab the imagination. To the Death does have a familiar uniformity across a lot of its creativity and sound which holds the release back reaching the depth of acclaim maybe it could have found but is still impressive and enjoyable enough to make the album one easy to recommend. As songs like Mind Under Siege, Destroyer of Worlds, and Warlords Unbound continue to make the encounter a pleasing one this is an album that is easy to continually return to and Nervochaos a band with some of the most agreeable grooves and riffing ability around.

www.facebook.com/NervoChaos.

RingMaster 29/01/2013

Copyright RingMaster: MyFreeCopyright

Horse In Transit: If I Were A God EP

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    It is funny how band names and titles can give the wrong impression. It is hard to say exactly the expectations musically bred by the name of UK band Horse In Transit but it certainly was not of the storm of back breaking flesh grazing hardcore which assaulted the ears with imagination and skilled violence from within their new release. The If I Were A God EP is a stirring slab of aggressive rock n roll fired with the antagonistic passion of punk, the barbed intensity of extreme metal, and the anthemic melodic fire of hard rock. It is bruising and continually surprising riot of heart borne noise which grows on the passions with each and everything confrontation.

The initial encounter with the EP was one of intrigue and the need to know more about its instigators but a few full blooded face to face encounters with the six track piece of brutality ensured its persuasion was absolute and the appreciation for its thrilling storm full. The Scarborough quintet drew strong responses to its 2012 demo Unobtainable Superhuman Dreams and though we missed out on it at the time if it was half as good as If I Were A God, it is not a shock the band earned the acclaim placed upon them. Their first release for independent UK label Mercurial Records who they signed with last year, the Dick Beetham of 360 Mastering (Sikth, Funeral for a Friend, Enter Shikari, Rise to Remain ) produced release spoils the ear with a varied and unrelenting brawl. Each track has its own identity within the maelstrom of fury the band retain as a constant and each song in varying degrees ignites a forceful rapture for their compelling invention.

The excellent Hollow makes the first engagement and takes no time in turning the release into one with an instant addictive pull. 391197660-1The reserved start grows in stature with a cage of compelling rhythms and a stoner riff which just lights the touch paper to pleasure. It is an engrossing start which opens up into an intense squall of coarse vocals, sonic fires, and rhythmic barbarity. It is a brief violation but one which never relinquishes its hold as it passes the already bruised senses onto Chicken Run. The towering presence of the second track stands large from its very first destructive note whilst the intensity of the vocals and overall sonic passion cascades over the listener with urgent and debilitating ease. Into its stride the scathing harsh vocal ambush of David Mitten evolves into an outstanding clean presentation backed with raucous anthemic power by the band, with the music also tempering its storm as the guitars of Adam Bulpitt and Chris McGreevy unveil some delicious melodic flames alongside the rhythmic barrage from drummer Niall Thomas which finally shows some mercy. It is a powerful and satisfying anger of sound which increases the need to hear much more.

The vibrant bass of John White gives a shadowed depth to the following Lucky Strike, his pulsating notes snarling from within the abrasive breath of the track. With a heavy metallic hunger and ravenous gait to its sprawling energy, the song towers over the senses with an intense spite and uncompromising stance. It is a furnace of hardcore aggression veined with synapse slicing metal destruction and grooved sonic seductive. At this point in the release the song stands to grab best track honours but is soon barged out of the way by the outstanding pair of sonic brilliance that are Two and I Am.

The first of the pair is short and just irresistible. It is a tempest of sonic fretting and rampant insatiable grooves smothered in vocal anger and aural malevolence. The tight manipulative spearing of noise throughout ignites a primal greed whilst the hellacious overbearing rhythms turn limbs into a defenceless puppet to its voracious rampage. The song is one of those which once heard the only outcome is to be smitten with its exacting which also for different reasons can be applied to I Am. The track is a ‘lighter’ aggressor with its feisty rock persuasion under the again pleasingly damaging vocal treachery and the mesmeric deep throated teasing mid-way, a sensational accomplice for the heart whilst the melodic charm of the guitar solo is delicious icing on the cake.

Completed by the absorbing metal/ rock n roll creativity of Survival Plan, the EP is an immense adversary sparking the deepest satisfaction and ardour. Arguably comparable in sound to Every Time I Die, Periphery, Lamb of God, and Gallows, the unique Horse In Transit is a band destined to great things and their If I Were A God EP the next stunning step in their rise.

http://www.facebook.com/horseintransit

RingMaster 28/01/2013

Copyright RingMaster: MyFreeCopyright