Godsized – Time

Godsized

    Time, the self–released debut album from UK rockers Godsized, quite simply slams the senses from pillar to post with massively chunky riffs and tight enslaving rhythms. It is a heavy handed storm of satisfaction veined with sonic enterprise and classic rock energy which admittedly does not rewrite the pages of rock music but does add an invigorating chapter.

Since its formation in 2009, the band has built an impressive reputation for their high octane sound and live performances with shows alongside bands such as Life of Agony and My Ruin included, as well as two extremely well received EPs, especially Brothers in Arms. That EP secured the London quartet the main support slot for Black Label Society on their 2011 tour, Zakk Wylde hearing and loving the release. Acclaimed appearances at festivals such as Bloodstock, Hammerfest, Bulldog Bash, Download Festival, and numerous other festivals across Europe have done their standing no harm either, the strength of all over the past years making the anticipation for their first full length release more than merely eager.

With a strong breath of southern rock riding their intense riffs and melodic tones, the band in Time has created an album which Time_Coverimmediately lights up the senses before working on the passions. Opener Soul Taker instantly makes its entrance upon a fire of inviting riffs and punchy rhythms before reinforcing it with further rhythmic sinews and muscular riffing. The vocals of Glen Korner are an easy persuasion upon the ear, his rich expressive swagger holding a snarl and equally potent cleanly delivered persuasion, whilst the guitar craft of he and Neil Fish chew and entrance the ear with sheer accomplishment and inventive intensity. The band has had comparisons to the likes of Black Sabbath, Led Zeppelin, Corrosion of Conformity, Down, Black Label Society, Clutch, and Alter Bridge, and this track instantly tells why. Admittedly it and subsequent tracks are not pushing existing boundaries but deeply satisfying riots of sound and pleasure they certainly are.

The following Through to You and latest single Heavy Load continue the strong start though for personal tastes their predecessor holds sway, both songs again soaked in addictive riffs whilst the bass of Gavin Kerrigan finds a growl, especially in the first of the pair, which sends tingles and intimidation ripping across the senses. A less intensive encounter but still bringing a towering stance to its pressing, the song is a flame of melodic strength and aggressive insistence whilst its successor is a cliff face of treacherous beats from drummer Dan Kavanagh, the attack restrained and controlled but with an edge which threatens to break out as upon other tracks. As mentioned it is the lead single from the release and it is easy to understand why the choice with the impressive sonic display within its heart but again it has a slightly less irresistible impact compared to the first song which would have been our choice.

As the likes of It’s a Hanging, a great track with a grunge lilt to its rock stance placing the song in the territory of Alice In Chains as much as say a Down area of sound, the stunning Mother, and the excellent Final Act, bring their varied and captivating presences the album continues to light the fuse to greater passion for itself. The second of the trio of songs is a continually shifting and unpredictable triumph; its slow stroll with rises of adrenaline powered enterprise is wholly magnetic with the guitars and vocals bewitching the ear upon the hungry prowl of the bass and punchy rhythms. It is also a song which slowly burns greater passion for its glory across each and every encounter, it is easily the most imaginative and impossible to predict track on Time. The latter of the three like the opener is a contagious brute of riveting riffing and melodic seduction, a song which plays with and recruits the listener into an infectious stomp of thoughtful yet unchained passion soaked rock n roll.

Around and between these songs the likes of No Reprieve with its heaving chest of muscular creative energy, the carnivorous Perfect Moment with its predatory intensity, and the equally intensive track The Bounty Hunter, inspire further submission to the cause. The songs fluctuate in their heights with none quite slapping the plateaus of the previously mentioned tracks, but neither do any leave anything but a pleasing lingering taste of expertise and rampant pleasure.

Ending on another forceful highlight in the cantankerous shape of Still Waiting, the album is a thoroughly satisfying brawl of rock n roll. The nagging thought that Godsized are on the brink of major things is rife upon Time and even if the album is not the trigger it is only a horizon away one suspects.

8/10

RingMaster 22/04/2013

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Lo! – Monstrorum Historia

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In 2011, Australian violators Lo! seized and exposed raw nerves within the senses with their debut album Look And Behold, at the same time they lit a furnace of passion towards their sonic creativity for a great many such as us. Monstrorum Historia sees the return of the Sydney quartet but would it have the same power and enslavement as its predecessor. The simple answer is yes and then some. The band once again forge their own distinct form of invasive metal through a merger of the most insidious strains of hardcore, black metal, and crushing sludge metal, but this time the resulting corrosive tempest is even more impressive and ferocious, and wonderfully exhausting.

Released via Pelagic Records, the new album unleashes a brawl of violent imagination and creative intensity which makes its predecessor’s vicious beauty seem almost lightweight in comparison. Their breeding of sonic antagonism and contagious invention has found stronger potent depths and the imagination of the band a greater open malevolence which leaves only undiluted sore pleasure and invigorated intrusive satisfaction in its caustic wash.

The opening track As Above is a slowly dawning menace, the dramatic keys marking its arrival suggesting danger soon lo_MH_cover_squareaccompanied with the same intent by the sonic commentary of the guitar. As thumping rhythms from drummer Adrian Griffin bring their intimidation to bear upon the brewing event, the bass of Adrian Shapiro unleashes a predatory prowl which only increases the stature of the compelling intimidation. It is an instrumental which taunts and plays with the fears and punctuated by accumulated crescendo of all elements, it is a stirring and impossibly strong hook to start off the release.

Its departure is barely a whisper past before the following Bloody Vultures swoops with its hungry ravaging. Persistent virulent riffs abrase the surface of the ear whilst vocalist Jamie-Leigh Smith adds his caustic squalls with equal intensity and spite to proceedings, the delivery and attack of the frontman also having taken a leap on in intensity, his malicious searing squalls as well as the control he exerts honed to reap their strongest effect. Snarling like a beast in heat, the song shifts its poise continually without losing any power in its attack but ultimately it’s intent to chew up the listener with crushing rhythms and carnally inspired riffing wins out.

Tracks such as the equally carnivorous Ghost Promenade and the sonically intrusive Caruncula work on the senses further, softening up their defences with enthralling invidious invention whilst the villainous temptation Haven, Beneath Weeping Willows takes the listener on a walk through a landscape of doom coated atmospheres and tantalising yet sinister dark avenues. The instrumental is a canvas for thoughts and emotions yet an open aural painting in sound which conjures an inescapable distrustful landscape expertly sculpted from the uncomplicated but inspired strokes of the guitar of Carl Whitbread and the bass of Shapiro.

Across its length Monstrorum Historia continues to impress and spark emotive hysteria towards its contents. Certainly it is an album which will not find a home with all but if its rapacious noise and intent makes that union it is instant ardour. Further songs such as Fallen Leaves with its suspicious dark atmospheres toying with the psyche, the fiery and brutal Lichtenberg Figures, and the deliciously hypnotic Palisades of Fire lay out further greedy grasping temptation for nothing less than full eager digestion in return, their continuance of the addictive sonic deviancy at large helping to provide as the only option by the end of the album, an instant irresistible return to its ferocious grip.

Monstrorum Historia is a barbed and spiky triumph with a ferocity and invention which leaves not only wounds and scars within its recipients but unbridled acclaim and passion. Lo! is one of the noise giants and just gets better and better.

www.lookandbehold.net

9.5/10

Pete RingMaster

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Rose Redd – Perfectly Useless

Rose Redd 1

A surprise and a treat, the debut single from UK singer songwriter Rose Redd is a song which manages to smoulder and romp upon the senses at the same time, its emotive elegance and gentle caress as potent and loud as the energy and eager heat driving it. Expectations were not filled with a pre-determined opinion before approaching Perfectly Useless but it is fair to say they were not biting with intrigue either. The eighteen year old songstress soon changed that with a voice and song which drew submission from thoughts and emotions.

Born in Eastbourne but within six months finding a home in the West Midlands with her family, the eighteen year on was brought up with the eclectic sounds of the likes of Ella Fitzgerald, Iron Maiden, and Kate Bush filling her welcoming ears. It was the discovery of the lyrics and songwriting of Martin Gore of Depeche Mode though which ignited her inner musical flame, the kindred spirit she found inspiring her to investigate her own songwriting and to approach the guitar for the first time. As her first single shows she has not looked back, the Gavin Monaghan (Editors, Scott Matthews, Robert Plant) produced song an impressive following to the extensive time she has had touring and playing shows to consistently growing success.

Perfectly Useless is a pop rock song which is a hybrid of styles and genres, a track holding a sultry mix of Evanescence, Depeche 547459_562153730496617_875716635_nMode, and March Violets in their pop rock time. It is a vibrant and compelling song as bright as a sun but is also equipped with pleasing shadows, the well-lit pop stroll veined with darker elements of gothic and symphonic rock. The simmering crystalline opening sparkles against the excellent tones of Redd, her voice a blend of Amy Lee and Alison Moyet, and the beginning a mesmeric charm upon the ear. Soon electro beats make their punchy entrance to offer a little uncertainty but it all blends into a tantalising expanse of heated melodic wash, every note and vocal touch wrapping tenderly yet firmly around the ear and beyond. Whether stepping into a reserve of passionate enterprise or a contagious dance of pure pop temptation, the artists and song offers a lingering thrilling embrace which is impossible to refuse.

Perfectly Useless is impressive, an exciting entrance by Rose Redd, a lady we surely will be hearing a lot more of ahead, her horizons destined to be wrapped in welcoming success.

http://www.roseredd.co.uk/

8.5/10

RingMaster 22/04/2013

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Ron McElroy – World At War

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Singer/songwriter/guitarist Ron McElroy has earned a wealth of experience from years playing with other artists such as Trouble Over Tokyo and Amber Bella Muse, as well as making notable collaborations with the likes of Juliette Lewis, and Isabella Summers (Florence & the Machine), and writing songs with people such as with Sian Evans (DJ Fresh, Kosheen). Now ahead of his debut album All Her Kisses which is set for an Autumn release, he unveils the first single from the forthcoming release, World At War. A more than capable rock song with the ability to easily satisfy, the track is an open invitation to the man and his sounds which without ripping up trees certainly ensures that attention for his full length is going to be very alert.

The London based musician steps into his own light having helped ignite that of so many others and it has to be said that the single certainly captures the imagination. It is a song which slowly persuades, its initial grabbing of nodding approval soon tempting the listener to add their dollar of effort for a pleasing and lingering union. As mentioned it does not ignite fires of passion with its melodic rock presence but undoubtedly sparks a continuing welcome for its catchy and honest presence.

Starting with big beats and a smokey blues kiss from the guitar, World At War is immediately a warm stroll with anthemic whispers just waiting to jump out. The vocals of McElroy are decent enough without being openly impressive but his skilled and engaging guitar craft certainly is a striking call from the heart of the track, his playing a richly appetising feature. Once the song hits a fiery sonic blaze of things take a further lift with the subsequent second strain of vocals making a better impression and filling the walls of the song with an infectious warm energy. Easy to join and enjoyable to the ear, the track is a fine teaser for the album, and though it is not without elements which do not quite work as well as others World At War makes the upcoming appearance of All Her Kisses an intriguing prospect.

http://www.ron-mcelroy.com/

7/10

RingMaster 22/04/2013

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