Halfling’s Leaf – High Time

Halfling's Leaf

All those of an addictive personality look away now for we are about to expose the newest curse set to consume and manipulate the youth of today, Halfling’s Leaf. A band from Stockport in the UK, this is a four man noise conjuring machine which can be best described as having a sound which teases like a mix of Melvins, Rage Against The Machine, The Fall Of Troy, At The Drive In, and Primus. To be honest they are impossible to pin down, their unique toxin of punk n funk an irresistible and irrepressible contagion released under the mask of latest EP, High Time.  Their second release following the equally impressive Ain’t No Candy EP of last year, the six track tempest is sonic and rhythmic devilment which will ignite the deepest passions for all who have a reticence to entertain normality, regular time signatures, and passionless monotony.

Formed in 2011 and consisting of vocalist Matt Franklin, guitarist/vocalist Mayo, bassist/vocalist Chid Seisay, and drummer/vocalist Andy Preece, Halfling’s Leaf teases, torments, and virulently dances with the senses through a hybrid of flavours soaked in instinctive mischief and skilled sonic anarchy. High Times is made up of a sextet of noise sculpted miscreants which simply call out to like-minded hearts and thoughts like an insidious siren, their lure and temptation insatiable but carrying an epidemic of rewards to thrill and excite let alone ignite the passions. Produced by the band alongside Dan Buxton, who also mixed and mastered the tempestuous taunt, the EP has everything and more that you could wish for in soul corruption.

Opening track Your Welcome… immediately riots on the ear with squalling vocals from Franklin and band alongside energetic High Time Coverand infectious riffs. It is an instantaneous temptress which continues its wantonness through the evolving bass croon of Seisay and fiery grooves of Mayo and equally salacious hooks. Unbridled in attitude and breath sapping enterprise the song lifts the emotions into a mutual stomp but just as you are flinging limbs in tandem it slips easily into a sultry stroll of provocative sonic sex. The rhythms of Preece chip away at the ear whilst the bass plays within with devious craft to its persuasion, the song brewing up another rampage though this time driven by persistently shifting stances and sonic slights of hand before unleashing one final punk spitting climax.

The outstanding start is continued through the following Goon Hammer, the track opening up its throat with again compelling bass bait to lure in the appetite and the excellent vocal exploits of Franklin. His jagged delivery at the beginning of the song picks and pokes at the listener with an almost Marilyn Manson like irreverence whilst the guitar matches his plotting with similarly spiky melodic incitement. With a gait which crawls and explores every inch of the psyche, the track stomps with predatory and maniacal intent unleashing a RATM grooved like entrapment before scooting and scrambling rhythmically and sonically with avant-garde bedlam. It is another enthralling and stunning rummage through one’s mind for the purest pleasure.

Scopplers waltzes through a funk spiced stroll of near discordant majesty aligned to a sonic palette of vibrant and searing colours whilst another expertly bred groove entrances the ear, this time with a stoner like breath, latched onto agitated rhythms and a raw expressive energy. As well as the quality of the release the song pushes the diversity out further as does the following pair of Hej and Hit It and Quit It. The first of the twin strikes of aural mania leaps at and quicksteps across and through the ear with a funk clad romp which comes with the swagger of Red Hot Chili Peppers and the irresistible heat of Pigbag before evolving into a punk speared roister of intensive rhythmic disorientation, guitar and bass snarling, and vocal scathing. It is another infection which would be outlawed in any other recreational past time, a tempestuous virus which could be described as System Of A Down meets Pere Ubu in the arms of the Cardiacs, and quite ingenious.

The second of this pair is different in voice but similar in unhinged construction, and arguably the one which without losing its creative psychotic charm offers a more straightforward canvas for less adventurous people to feast upon. To be fair though with a drift into a warm yet deranged ambience whilst St. Vitus dance rhythms frame the detour, it is never offering anything merely to satisfy expectations and stay at home appetites.

S.N.C. closes up the psycho party with one final torrent of rhythmic destruction, sonic scorching, and vocal scathing, a punk/noise rock exploitation which has the incendiary insistence of a pissed off hornet and the creative corrosive might of a tsunami. It is a brilliant certifiable conclusion for a magnificent release which easily sits amongst the best of 2013.

High Time is a release everyone should at least dip their sanity into before losing their mental strength to the delicious toxicity that is Halfling’s Leaf.

https://www.facebook.com/halflingsleaf

10/10

RingMaster 06/06/2013

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Welcome The Howling Tones – Eyes To Hypnotise / Broken Man

Welcome the Howling Tones

Make way for another band, on the evidence of their debut single, that will be lighting up British rock and stretching its boundaries and appeal to new irresistible plateaus in the future. The band is Welcome The Howling Tones, a quartet from Farnborough, who employ contagious riffs, heavily plated grooves, and blues lined soul bred enterprise to stoke up a distinctive fire which smoulders and burns with insatiable hunger. The double A-sided Eyes To Hypnotise / Broken Man is their first introduction to the nation and world, and an entrance which within moments of its tempting tantalising of the ear and emotions you know it is just the appetiser for greater incendiary things to come…no pressure lads.

It seems the seeds of the band started with rhythm guitarist Pauly T who regularly jammed with drummer Lawrence Arnold and numerous local musicians including bassist Chris Gilday. One session led to Gilday trying out guitar who consequently was persuaded to take that role in the emerging band such his prowess. This led to a search for a replacement four string exponent who arrived in the shape of bassist/vocalist Iain “Cat Scratch” Turner. Pulling on a passion for blues, rock, metal, funk and much more, Welcome the Howling Tones stepped forth fully last year and have not looked back since one suspects. Just completing an April tour with Godsized on top of their own shows, the band has earned strong and eager whispers which surely will turn to loud acclaim as the recently released single reaches more and more willing ears.

     Eyes to Hypnotise sizes up the ear with a distant guitar riff before leaping into clarity framed by drum slaps and bass growls. It is a1484196761_2the beginning of a compelling and scintillating cruise of voracious energy and thrilling enterprise. The bass and drums are soon commanding the ears, taking them and the senses on a ride of formidable and slightly intimidating mastery whilst laying the canvas for the guitars to imprint their colour rich sonic endeavour and imagination. With vocals which dance across the track with swagger and vibrant expression, and an irresistible groove which ebbs and flows but never leaves the passions alone to take a breath, the song is as virulent as it is impressively crafted and layered with melodic and inventive flames. A mix of Red Fang, Eagles Of Death Metal, and Wildhearts with a breath of classic metal, it is a sizzling voyage of excellence.

Companion song Broken Man starts off with the best moment on a nothing but impressive release, its blues/noise combo rife with discord and blistering sonic temptation, and the tap to lustful ardour. Into its stride the song coaxes thoughts and emotions with a weave of stoner and desert rock that erupts into spires of intensity and captivating imagination. It is pure seduction which licks at the heart and will certainly incite the most instinctive enamour of all rock fans. Again riffs and the excellent rhythmic enticement provided by Turner and Arnold sculpt the perfect landscape for the vocals and ever evolving melodies plus varied guitar blazes to invent further vibrant voices.

Both tracks are nothing less than blazing triumphs and the start of a very fruitful and rewarding future for Welcome The Howling Tones and thus us. Do not wait though, make this single the time to join their certain rise, you will not regret it.

https://www.facebook.com/WelcometheHowlingTones

10/10

RingMaster 06/06/2013

 

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The Goddamn Electric – Snake Bite

The Goddamn Electric pic

Whether rioting in the ear or slowly burning off the hairs on wilting flesh with smouldering intensity, Snake Bite the debut album from UK rock band The Goddamn Electric, is a thrilling and strikingly crafted release. It takes just one listen to the ten tracks to know that British rock is in safe accomplished hands with bands like the Manchester quartet, their mix of contagious and powerful riffs with equally potent rhythms and a whiskey soaked gravelly vocal delivery winding up the passions until they break out in mutual hunger and energy

Formed in 2010 and taking their name from a Pantera song, The Goddamn Electric combine influences from the likes of GnR, Life of Agony, Pantera, Metallica, Down, AC/DC, Biffy Clyro, Motorhead, Clutch, Red Fang, Orange Goblin, and many more into their own tempered sound. The rich inspirations certainly go to make an album which is not breaking down barriers of uniqueness but in exchange Snake Bite offers up an experience and craft which numerous other similarly sound clad bands would sell their grandmothers for. It is a snarling and passionate multi-flavoured rampage which inspires nothing less than deep satisfaction and enthusiastic involvement.

As soon as the first fiery riffs of opener Loyal To The Sinner open up their arms the weight of the album is apparent especially 34__400x320_image_12once the drums unleash their muscle and the bass begins its constant growl.  With vocals spilling passionate bear like quarrel from every syllable to add further texture and expression to the encounter, and the guitars sending shards of sonic craft and temptation across the southern infused sounds, the contagion of the start is irresistible and sets up a real appetite for what is to follow.

Morning Injection bounces around the ear with a blues temperament and energetic hunger to continue the strong start if not quite to the level of its predecessor whilst the next up Scarecrow and Jealous Contradiction take things to a new pasture of pleasure. The first takes the passions on a rampage of deviously addictive riffs and insatiable energy though it also makes pit stops from its charge into emotive and melodically swept breathers that keep things in check and intriguing. It is a virulently compelling piece of stoner and classic rock fusion that tempts limbs and voice into its anthemic persuasion rewarding with a blistering solo that sends a heat haze around the ear. It makes a challenge for its successor to live up to but that it does with a glorious southern twang to its slowly dawning melodic swagger. Like looking into a fire it dances before the senses and thoughts, inviting emotions and ideas to play with its whispering suggestions before sending explosive flames of sonic grandeur into the roof of its exceptional triumph. One of the pinnacles on what is a constantly impressive release it is a mighty signpost to the album.

The carnivorous bass temptation of Something More sets off another furnace of exhausting enterprise before passing over to another plateau of excellence in Revive And Survive. With a punk drive to its metallic voracity, the track expands its horizons with a blaze of instinct igniting rock ‘ n’ roll, it unleashing shards of sonic flames and anthemic group vocal recruitment whilst never losing its spine of rapacious energy, though the whole song is one to call to the passions.

The blues enriched title track smoulders and twists with traditional flavouring and breath; again it is hard to say there is anything new working on the ear but its lure and expression is riveting so there is never, like for the album, an issue when it provides such an invigorating time. Both Too Dirty and Holding Me send further wholly engaging and enterprising treats straight down the ear to the passions, the first with a sleaze rock mischief to its hard rock honesty and the other through a hazy atmosphere over a mouth drying desert walking adventure which explodes with shafts of blazing sun and fire across its enthralling narrative. It is a stunning finale to an outstanding album.

Well there is one more track on the album, San Francisco, but made up of part silence than instrumental which in length is barely over the minute mark combined, it seems a little…well pointless…though that was only until learning it is an outro/teaser to the opening track on the next album. Snake Bite is an excellent release, an album which places The Goddamn Electric alongside the likes of Godsized and Trucker Diablo, as the drivers of British rock.

http://www.thegde.co.uk/

8.5/10

RingMaster 06/06/2013

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The Break Out – New Barbarians EP

The Break Out Press Photo

What can we tell you about UK Hardcore band The Break Out…well not much really except they are a quintet from Bristol which formed in 2011 taking influences from the likes of The Bronx, The Ghost Of A Thousand, Propagandhi , The (International) Noise Conspiracy, and The Computers into their own intent, and most importantly recently released their second EP, the ferocious and uncompromising New Barbarians.

Bristol is a hot bed of talent right now, the wealth of diverse and impressive bands coming from there and surrounding areas never seeming to end, and you can add this bruising encounter of a band to the list. Following their self-titled EP of last year, New Barbarians is a brawl which though like most releases is not flawless it seeps potent promise and rich satisfaction from every track and confrontational sound. The five tracks making up the release take no prisoners especially in the vocal department but offer a fire of passion and invention which is impossible to pass over or not enthuse about.

The EP opens with the instantly abrasive Black Eyes, a fusion of punk and hardcore which grazes the senses through the vocals of Rich Thomas ably aided by another of the band. Around them though the guitars offer a restrained but potent groove within the acidic riffing, both Nath Fiction and Craig Wilkes taking little time to develop adventure to their attack and imagination to the off shooting flames they unveil. It is nevertheless a riot which demands and commands attention, the bass of Mikey Emson purring throatily from within the harsh energy and the rhythms of drummer Tom Vincer slapping the ear with the craft and spite of a middleweight. Across its length there is plenty to intrigue and keep attention enthralled even if it may take a few plays to discover all.

The following Beggars On A Golden Throne unloads a strong rock groove inspiring the slabs of riffs to join it before combining both for another appealing and accomplished rage of rock ‘n’ roll. As with the first it is fair to say there are no elements which call out with the most potent of persuasions but together combine to create a riveting and incendiary confrontation leaving no one short on satisfaction.

The title track rounds up the senses and emotions with a rally of beckoning drum instructions before the guitars and bass add their lures to the emerging tempest which is in no rush to show its full declaration, but when it does it is an excellent blues veined punk rampage. As on all songs there is never a moment where things are left without a drenching of imagination and aggressive energy ensuring the seeds of hunger for the band are sonically watered from start to finish again though their call is not always initially loud. The best track on the EP, it shows that though arguably The Break Out still have yet to define a unique voice in the genre they are not far away.

With You Wouldn’t Catch Han Solo In A Fucking Call Centre continuing the impressive presence of band and release there is to temper things just a touch of a yearning for some more variety to the vocals, especially with this song the only one to try and expand that area a little to show the others up in that area. Thomas squalls impressively but across all songs it is an exhausting wash without any diversity which for many could deflect from the creative enterprise going on musically. It is a small niggle though to be honest and this track alone triggers the unreserved intent to keep the EP on regular rotation.

The closing Good News For The Modern Man leaves things on a high if without finding the same heights as its predecessors, though once more the guitars bring a weave of adventurous and flaming rock before the ear. If looking for an emerging still evolving fresh voice to your hardcore needs, than the New Barbarians EP is well worth a visit. The Break Out is not there yet with an individual stance but our money is on that happening in the near future.

https://www.facebook.com/TheBreakOutOfficial

7.5/10

RingMaster 06/06/2013

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Colosso – Abrasive Peace

 cover

    Colosso in name and colossus in sound, the one man project is an immense and staggering confrontation of inventive and adventurous death metal as evidenced by debut album Abrasive Peace. Veined with flames of dramatic and varied genres inspired sounds and dynamism which leaves exhaustion as one of its potent legacies, the release is a thrilling and hungry destructive treat which marks this Portuguese band as a formidable contender, if not now undoubtedly in the future, in the ring graced by established death metal giants.

The Oporto based project is the solo invention of vocalist/multi-instrumentalist Max Tomé which he began in 2011 with the initial idea to write a death metal album where many other influences and soundscapes would fit in, something successfully achieved it has to be said with the album. In the March of that year Tomé invited Dirk Verbeuren (Soilwork, Scarve, Devin Townsend, Jeff Loomis) to play drums for the album which he agreed, the album itself going on to be mixed and mastered by Paulo Lopes. Originally a limited self-released encounter physically and as a download last year, the album has been picked up for another deserved wider venture into the world by Canadian underground label Mulligore Production. Also available with Peaceful Abrasiveness, an instrumental version of the release, the album is a stunning and invigorating bruising upon the senses with the fullest of rewards and satisfaction in tow.

The diverse flavour and enterprise of the album comes with the influence of, in Tomé’s words “Musically, this album is the sum of four of my favourite bands: Hate Eternal, Decapitated, Meshuggah and Devin Townsend” and “Lyrically, Abrasive Peace focuses on several themes, such as the butterfly effect, the search for perfection, or the inner need to disconnect from everything and just forget about the world.” The depths and textures of both aspects are as captivating as the sonic and brutal onslaught of intensity which swamps the ear and beyond into full and willing capitulation. It is a monstrous ravaging from start to finish but loaded with moments of almost tenderness and understanding restraint which seduces the passions further, though ultimately the predator instinct of the release and songs always has its sadistic way.

The starting electro caress of opener  Anthem To Chaos initially raise eyebrows but once joined by a tirade of rhythmic brilliance and rapacious riffing it becomes with the melodic call of the guitar sparking the atmosphere, a warm and intriguing temptation. The vocals of Tomé are savage and uncompromising yet like the corrosive breath of the attack elsewhere has a lure to its violence which falls into perfect place and persuasion alongside the ever evolving soundscape of the track. The unbridled snarl of his bass again captivates individually whilst combining with all elements for an unrelenting expanse of creative and absorbing aural animosity and evocative imagination.

Like across the whole release, the first song leads straight into the following might of Demolish To Rebuild, a furnace of a track raging with vocals and rhythmic malevolence wrapping in a wonderfully acidic and melodic narrative. From the initial fire the track is a deliciously seductive aural tale of skilfully crafted beauty and provocative ambience which transports the listener to a place of safety though with its own teasing shadows before a final blaze of aggressive vehemence ravages all.

Through the intensive and grievous Pattern Of Disconnection and The Epiphany, the single from the album, the release chews on the already set in wounds with fascination and enterprise, the first with a certain bestial intent but reined with a toxic groove which niggles yet ignites the purest ardour whilst the second of the two tracks unleashes a blistering technical havoc which Meshuggah would greedily accept as their own and a sonic lancing from the guitar which spreads and cages the senses like a steel web.

Track by track the album continues to hold the passions tightly in its invention and craft, In Turmoil and Thou Shall Never Be Benevolent feverishly gnawing at the senses and emotions with their own unique carnivorous appetites whilst Headless Endures uncages a rhythmic and murderous frenzy which leaves molten psyche bubbling with contentment.

The closing Unplugged From The World explores and exploits thoughts and emotions for a final triumphant tempest of imaginative evocation and severe inventive agitation. It is the perfect summing up for the album with the drumming of Verbeuren constantly jaw dropping and exciting whilst Tomé unveils a wealth of thought, craft, and originality in his songwriting and musicianship that you cannot help suspecting he and Colosso will go on to truly major things. Abrasive Peace is an album which takes time to reveal all its glories, making every encounter fresh and adventurous, but equally breeds a sure appetite from the first moment it venomously licks the ear, and simply is a must check out album.

www.colossometal.com

9/10

RingMaster 06/06/2013

 

Copyright RingMaster: MyFreeCopyright

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