Forgery Lit – Onamacritus

Forgery Lit pic

Listening to Onamacritus, the new EP from UK band Forgery Lit, the overriding feeling is that tingle you get when you feel like you are in on the beginning of something rather special, an awareness which not many others have had the taste of yet, though it would be a real shock if the trio from Bristol were not echoing around the senses of a great many in the very near future. Their four track release is simply scintillating, an inspired and imaginative temptation bred from distinct invention and unique aural mischief. Sounding like the tantalising offspring from an orgy between Blood Red Shoes, Breeders, and Penetration with the Au Pairs and Spinnerette offering their juices, and yet sounding something completely different, Forgery Lit is a fire waiting to happen, and their new release we suggest the irresistible spark.

Consisting of Ami Amp (vocals/drums), Gareth Jones (bass/backing vocals), and Niko Mar (guitar, backing vocals), the three friends from three different parts of the world (Greece, South east and South west of England), take inspirations from the likes of Juliette and the Licks, Mogwai, No Doubt, Nirvana and more, spicing up a sound which defies tagging and stands loudly distinctive to the band. As shown by the EP, it is a fusion of indie and rock which employs breaths from many other ventures for one new thrilling experience.

As soon as Dirty Life throws a mesh of sonic dust at the ear senses are opened up and appetite wide eyed in anticipation. It is a 27934_607200582626200_832823740_nbrief scrub soon replaced by a teasing groove and strolling rhythms hand in hand with a swagger lit bassline. The vocals of Amp confidently coax and seduce with slight menace and total persuasion adding to the provocative temptation which subsequently reacts to the listener’s submission with a sonic crescendo of squalling greedy energy before going through the whole incendiary lure again to cement the deal. The drift into blues soaked tempting within a bedlamic ambience makes for an unexpected and exciting aside whilst the returning earnest tempest confirms the already incited ardour. The lead track/video from the release it makes a potent introduction to the band.

She Said has a reggae whispering walk to its opening embrace with the vocals and rhythmic enticement of Amp waving a beckoning finger at the ear before bass and guitar light up the scenic embrace with feisty passion and evocative colour. A more gentle engagement than the previous song it still grabs thoughts and emotions by the scruff of the neck and leads them into an excitable dance of discord teasing melodic blistering crafted with a post punk enterprise. It has an uncompromising invention which is hypnotic in its invigorating ingenuity but is never afraid to drench it in a surge of heart sculpted energy bleeding ferocity.

With just two songs the EP has won its case but with the remaining pair of Bicycle and Fairweather, there is nothing less than more eclectic weaves and rapture igniting quality to devour and drive those thoughts and expectations that Forgery Lit is poised to become a new force in UK rock. The first of the two stands eye to eye with the senses, a riff guided groove searing the synapses to enslave their focus before beats cage their escape and Amp lays out her narrative with a seductive wantonness.  It is with the expulsion of sky bound sonic flames with acidic melodic fuel and a deliciously broody bass assistance that the track finds another plateau of excellence. X-Ray Spex meets Karn8, it is a sizzling and beguiling confrontation and the best track on the EP, a creative devilment which says as much about the immense invention as the other three songs together.

The closing Fairweather is a slowly smouldering caress which is as gentle as it is caustic in its predatory surges, a final piece of passionate and expansive excellence setting the band up as one of the most exciting and promising bands of recent years. Recorded at AudioBeach Studios with Forbes Coleman, Onamacritus is one release all need to invite into their ears, your hearts it will find by itself soon after.

https://www.facebook.com/forgerylit

9/10

RingMaster 28/05/2013

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Grenouer – Blood On The Face

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Russian metallers Grenouer have been regularly featured and devoured on our podcast The Bone Orchard at www.audioburger.com over the past couple of years so the news and chance to review their new album offered a rapacious hunger to the excitement. The band has left a striking presence with their evolving sound across the years and Blood On The Face continues that accomplished course with ease whilst opening up further suggestions of distinct explorations ahead. The sound is familiar to their fans, their melodic potency and sonic sculpting at its pinnacle, but equally it is a continuation of their now established intent and tempting with an invention and imagination which blends varied flavours and adventure for a deeply impressive encounter.

Released through Mausoleum Records, Blood On The Face combines the five tracks which made up previous acclaimed EP 251139 - Grenouer - CoverComputer Crimes with six new songs and a cover. Initial thoughts were that filling almost half the release with a previous one will disappoint fans but such the strength of those tracks with their new ‘revisited’ arrangements and more so the new compositions, it will be surely merely a passing niggle for most and for newcomers makes the perfect introduction. Produced by the team of Dualized & Eddy Cavazza (Mnemic), Anssi Kippo (Children Of Bodom), and Joonas Koto, the album is an absorbing and enthralling landscape of distinctive melodic metal. At times thoughts of other bands as inspirations make suggestions but Grenouer have a sound which is theirs alone and Blood On The Face a thrilling vehicle to share it through. Formed in 1992 by vocalist Andrey Ind and guitarist Alexander Motor, the Saint Petersburg based quintet have moved far on from their extreme metal origins, the years and releases since then drawing in and embracing a rich and passionate melodic heart to the precisely and inventively crafted songs. This their seventh album, has the opportunity to make a full declaration to the world of their might thanks to the new link up with Mausoleum, and one suspects their rewards will be just as plentiful.

A brooding intro opens up the release, Thunder Phase a dawning of a warm and provocative ambience filled with drifting vocal calls, before merging into the waiting title track. Thick riffs and sonic flames immediately erupt around the ear whilst the rhythms of drummer Michael Coroner cage it all with punch and strength. The ever impressive vocals of Ind unveil their distinct and impressive flames, his unique melodic and at times soaring range just as pleasingly supported by the backing tones of Motor and fellow guitarist Igor Buzzy. It is an intriguing and riveting blend which envelopes senses and thoughts whilst the throaty bass of Dmitry Daemon persistently adds the shadows and menacing depths which lurk and prowl the hot climate crafted elsewhere. The track is a restrained yet imposing start which opens up the album perfectly if without, in hindsight, reaching the subsequent plateaus breached later.

Both Sands of Silence and Midday Show induce greater involvement from the passions, the first with its plaintive yet seductive breath and vocals wrapped in fiery arms of melodic adventure and atmospheric emotion and the second of the two through vigorous and snarling riffs from bass and guitar which stalk and incite the ear around the again intense and emotive call of the song. It is like its predecessor a masterful expanse of imagination and enterprise with only the rapping insert later on into its persuasion taking a while to convince, the excellent song emerging as a mix of Absolace and Clawfinger.

The impressive quality and enjoyment continues and grows with each temptation masked as songs, the compelling Golden Years and the explosive Rejected igniting further lustful obedience before their creative and adventurous lures, whilst Fix Your Life/A Few Miles from Paradise finds a mix of the familiar and new which is honed into a fascination that is lingering and provocative, the keys exploring deeper invention and textured ambiences.

The most thrilling highlights in nothing but, come with firstly the predatory Brain Fever, one of those truly dangerous hunters which deceitfully lay out a welcome of melodic beauty and seduction before gnawing on senses and thoughts with corrosive riffs and crisp splintering rhythms. It is an outstanding song instantly matched by See No Sun and Last Stop. The first of the pair is a smouldering caress of a song, hazy atmospheres veined by a melodic beauty and sculpting which sways and kisses with every second of its sirenesque grandeur though it holds a carnivorous surprise too whilst the second is a reserved but forceful riot of rippling sinews and ferocious enterprise, simply an irresistible contagion.

Completed by a cover of the Stone Temple Pilots song All in the Suit That You Wear, this should be the album to bring Grenouer the recognition long deserved. Blood On The Face is an outstanding album full of refreshing invention, time for the world to wake up to the band.

http://www.grenouer.com/

9/10

RingMaster 28/05/2013

Copyright RingMaster: MyFreeCopyright

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Lower Lands – Eat The Rich

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     Lower Lands is an alternative rock band from Lincoln in the UK, a quartet which has already earned good acclaim and interest but with the first single taken from their upcoming new EP Canvas, it is hard to imagine anything less than a surge of recognition and awareness soaking their presence, but then again music and its deserved rewards have never followed sense so we will see. Eat The Rich is a thrilling slice of punk spiced rock, a song with more than a sense of Reuben and Max Raptor to its persuasion and a melodic prowess combined within a track as impressive as it is infectious.

Released as a free download and accompanied by an excellent video, the song has already garnered strong praise and attention whilst raising the appetite for the June 10th released EP. It follows their previous Growing Pains EP which like the single was released through I Am Mighty Records. It was a release which earned approving reactions but if Eat The rich is any indication, Canvas will soon lift the band to new potent heights within UK rock.

A striking call lone guitar opens up the song’s beckoning though when the bass and drums enter, and with no fault of theirs, there is a a2812758904_2muddy breath which flattens the already in place intrigue. Thankfully it is for mere seconds as the song explodes into a fury of energy and caustic intensity. Into its stride the track settles into a delicious stroll of impressive vocals from Benji Inkley courted by a mix of infectious riffs and a teasing groove from Inkley and Paul Howells with the bass of Jacob Jarvis prowling moodily across their stance. Framed by the excellent rhythms of drummer Rob Purkiss and a blaze of great vocal harmonies, the song is virulently contagious, the snarling elements of the track in league with the tightly melodic and inventively hooked temptation elsewhere to seduce and secure full ardour for its exciting imagination.

If there is any niggle it is at times the song does not bite viciously enough, only teases that it will, but that is being as petty as saying your cup of coffee is one degree too cool on arrival. It is an outstanding song which only makes the wait for the EP impatient. If the likes of Reuben, Max Raptor, and Hundred Reasons make you tingle than Lower Lands and Eat The Rich will make you drool just as blissfully.

Get the single @ http://lowerlands.bandcamp.com/album/eat-the-rich-single

https://www.facebook.com/lowerlands

9/10

RingMaster 28/05/2013

Copyright RingMaster: MyFreeCopyright

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Seneron – Order Restored EP

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Northern Ireland band Seneron is a confrontation which brawls with the ear, their attack loaded with honest and raw rock ‘n’ roll that only goes to make for a richly satisfying and energetic encounter. Their new EP Order Restored consists of four songs which stand face to face with the listener and treat them to a riot of big rhythms, caustic riffing, and melodic flaming. Though not without flaws, it is a release which marks the card for a band which is ripe with promise and accomplished enterprise.

From Derry, the quartet made a strong impact on the local underground scene with debut EP Well Driven, the release helping to ignite an eager and, though small, potent fan base for the band. Order Restored has the armoury and feisty charm to take that awareness to greater levels and already the release has caught the attention of US radio in Cleveland and Ohio. Recently signed to GlobMetal Promotions for a worldwide management deal, Seneron is poised to take their fusion of metal, rock, and punk to stronger recognition across 2013 as the release and tours around the UK and Ireland, as well as festivals, provokes more to succumb to their eventful fury.

Opening song Please Me is a deceptive beast initially, a teasing riff and bass probing wrapped in a rhythmic ticking leaving a sense artworks-000037125684-j76vvd-cropof confident safety before the massive beats and hungry riffs open up their rampage and put the record straight. It is a fire coursing riot, punk hooks and barbs lining the contagious hooks whilst the vocals of John Shields assisted by bassist Ivor Ferris rile up the senses along with the rapacious riffs. It is a song soaked in virulent infectiousness and inventive enterprise which whilst holding no surprises leaves appetite and passions exhausted with big grins on their greedy faces.

The following Stand Your Ground opens up with the vocals of Shields against a lone guitar, their union luring in the ear with a distinct if not for personal tastes a potent invitation. Vocally the guitarist takes a little getting used to and never really persuades though as on the opener in the height of an octane driven confrontation he has the perfect gruff abrasiveness for that style of attack. Here though his range and craft is limiting though as the song with exceptional guitar play from he and Chris Towe opens up a further furnace of energetic passion, his vocals find a healthier and rewarding home later into the track. The song itself musically is a riveting slice of grunge tinged metal, a hard rock ease adding to the appeal of the offering.

    Dead Stare offers a similar start to its predecessor but is soon elevating its energy and intensity to gripping levels with crisp rhythms from drummer John Hamilton guiding the again impressive guitars and prowling bass into a formidable venture. The vocals again are fluctuating in their success but never scar or deflate the power of the song, its harsh and vigorous meld of rock and metal impossible to avoid finding great satisfaction in.

The closing Just A Kid is another which comes with strong familiarity and though it is fair to say there is nothing on the EP which has not been unearthed before, like the EP it is an insatiable storm of impressive craft and contagious enterprise. Across the release there is also a similarity to the songs and their construction though all equally have enough to be distinct in each other’s company whilst lighting up the ear with strong songwriting and subsequent stylish realisation.

The Order Restored EP is not going to set the rock world ablaze but should take Seneron to a stronger deserved recognition and hopefully opportunities to expand their promising sound even further.

http://www.seneron.com/

7/10

RingMaster 28/05/2013

Copyright RingMaster: MyFreeCopyright

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Eldkraft – Shaman

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    Shaman, the debut album from Swedish metallers Eldkraft, is not an album to make judgements over on just one listening. It is a release which unveils more depths which each venture into its heart whilst making a continually stronger persuasion too as understanding of its imagination becomes more apparent. Whether it will eventually light your fires and capture the imagination is not given but certainly the album finds a stronger welcome after being given time to state its declaration.

Shamen fluctuates between outstaying its welcome and thrilling the senses, when it hits pinnacles it is an impressive and enthralling beast but just as often even with that given time to make its case, it loses or evades the ability to spark anything other than passing acknowledgement of the skilled craft and atmospheric adventure at work. It walks the line between good and great but at times with equal ease provokes the upper limits of so-so. Released via Metal Blade Records it is still an encounter deserving of at least one in depth exploration of its epic/pagan metal seeded expanse though and individuals will find more to exalt upon than others for sure.

Formed in 2011 by J. Sandin (vocals/keys), H. Carlsson (guitar/bass), and N. Fjellström (drums), the three having reached the end of the line with previous projects and bands coming together to embark on a different creative path, Eldkraft soon fused a foundation of epic metal with influences from ancestral musical traditions of the North and spiritual guidance of its hermetic crafts. Their experimental invention bore demo recordings which came to the attention of Metal Blade who signed them up for their first album. Consisting of ten big powerful songs, Shamen is a striking confrontation, which despite offering a challenge across its presence is one you cannot ignore when face to face with its muscular and intensive atmospheric narrative.

The opening chant and call of Gammal Krigare engages and invites ear and thoughts immediately, the following fire borne guitar Eldkraft - Shamanaiding the sonic and epic sculpting as the song emerges from the heated atmosphere with firm rhythms and potent melodies flaming the skies. Into its more than decent stride the vocals of Sandin unleash their operatic teased growl and instantly pulls up the song from its appeal whilst becoming accustomed to his distinct tones is a priority. His voice is not one which personally we will claim to have won us over but like the release it finds its place in the scheme of things on the album and it has to be said at times drives the release to stronger heights.

From the satisfying start the following Undrets Tid raises things with stirring intensity and invention. The initial charge of distant vocal harmonies, rampaging rhythms from Fjellström, and acidic sonic temptation from the guitars makes a heady initiation into its potent enterprise and energy. The rhythmic persuasion of the track is riveting and ensures greater focus on an otherwise enjoyable but unnecessarily reserved journey through emotive and haunting scenery which is something again which can be said about next up Fate’s Door. Less urgent but no more restrained in its fevered passion and sonic maelstrom of intensity, the song continues the strong if underwhelming start, though throughout as with most songs there are elements at play which you urge to grab the reins and steer the song into a more dramatic and forceful horizon.

There is a raw and caustic wash to the guitar across the album which makes an appetising feel throughout especially in the Swedish sung songs where the natural guttural coaxing of the language find a union with the coarse touch of the guitar such as in Moder Liv Till Grav and Ursprungskällan. Both songs graze and enflame the senses with acidic guitar craft which is skilfully impressive whilst the vocals and heavy melodic elements paint the rhythmic canvas with rich sonic colours across their individual gaits. The second of the two is a slower emotive sinew clad embrace which sparks deeper interest if not passion, though both aspects are treated with their successor Patterns. From an acoustic invitation which already has infectiousness to it lacking anywhere before, the song is a vibrant mix of incendiary guitar imagination and ear teasing beats driven by a return to English spoken lyrical expression and equally decretive vocals. With a slight blackened breath to its folk carved might it is a scintillating endeavour with strings and keys adding  another exhausting and thoroughly pleasing wash of epic grandeur.

Once the black metal coated Gränslös Gräns leaves its slow crawling intensity over the listener the album brings out its greatest moment in the outstanding shape of Grey Man. With bruising riffs from bassist Carlsson opening up the intrigue, arguably the first time we truly hear and feel his presence normally sheltered in the brawling intensity crowding the ear, the song through imaginative adventure and thrillingly structured invention creates a tale of invigorating and stimulating colour. It is an exceptional song where everything connects with craft and clarity to ignite a fire inside for its originality. Equally it blatantly shows up what some of the other songs lack too such as the closing pair of Dödens Famn and Rimthurs which feel a little uninspired in the wake of the song, though the haunting meditative chanting of the final track does trigger potent visions.

Shamen is a very decent album but fails to make the impression and light the passions which at times it suggests it was capable of. Well worth a journey through though if only for the triumph of a handful of its songs.

https://www.facebook.com/Eldkraftband

7/10

RingMaster 28/05/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com