Various – Sea Monsters 3

It was only a few decades ago that everywhere you turned there was a new compilation album of emerging talent, every city seemingly rife with bright fires on new invention and refreshing creativity from yet to be discovered bands and producing albums as proof. That seems to be a thing of the past now, or maybe just it is so much harder to draw them into the radar, but one series is definitely working hard to unveil the thriving local scene of Brighton and that is One Inch Badge’s Sea Monsters ‘Best of Brighton’ compilations. The late seventies/early eighties saw the excellent Vaultage compilations from the same city, a series of releases which brought to attention the likes of The Piranhas and Peter And The Test Tube Babies, and the Sea Monsters collections is bringing equally or potently even more impressive artists of today from out of the city into are eager ears. Volume 3 is the latest release and as full of quality and irresistible sounds as you could wish for.

Reviewing compilations, especially the size of the two CD/download Sea Monsters 3, is great but also difficult as it is impossible to highlight every deserving artist and on this twenty five track treat it is honest to say there is not one single lull in the depth and richness of tracks. It is an eclectic mix of sounds and artists too which would normally lead to times where you are looking forward but not with this album. We will bring to the fore favourite tracks on the album to fill this review but only on the assumption you accept that every track is worth your undivided attention, got that?

The first CD is opened by the quartet Kins and their song Top and Turn. The song is a busy and raw mix of electro and scuzzy whispering guitars around the excellent vocals of Queline Smith but there is elegance to its ambience which wraps tender arms around the quizzical tempest. It is a gripping start soon equalled and then surpassed by the brilliant sultry guitar crafted instrumental flame of Guiones de Escadrilla from trio Squadron Leaders. The song is a blaze of sixties toned psychedelic rock merged with even richer surf rock; imagine The Shadows starting out today with an indie intent to their craft and nostalgia in their heart and you get this scintillating track.

In close order both Traams and The Physics House Band light up the senses with the songs Peggy and Abraxical Solapse respectively. The first is a guitar crafted piece of garage pop and noise rock which sounds like The Strokes meets The Barracudas, the trio creating a catchy, compelling slice of punkish pop rock, whilst the second simply takes the imagination into a shadow lit piece of disorientating aura drama, the band twisting the song left right and centre and in on itself whilst creating a coherent experiment in sonic adventure. Again a trio (more than coincidence surely?), the band provides arguably the biggest highlight of the release though it is constantly challenged by the likes of Broker, yes another trio who carve out a hypnotic senses buffeting taunt of punk and post hardcore within a psyche punk confrontation with the song Pro Rata. It is a masterful encounter which lingers and teases long after the band’s departure. Coffee from Gnarwolves closes up the first disc with a caustic brawl of punk which maybe is not rife with open originality but suggests this is a band sure to find that unique voice and recognition ahead as it thrills ears and emotions with a battling intensity and persuasion … oh and need I say how many members there are?

The second disc also starts with a pinnacle in the excellent Rule Breaker from hip hop seductor Suave Debonair, not to be confused with the duo from Sacramento playing the same genre. Reminding of Honky, the track sways and swagger with attitude and intrigue, the sounds rippling with invention and the word juggling coming near to the craft and might of Dizraeli. The following Bar After Bar from Rum Committee also walks across the spitting provocation of hip hop, brewing up a swing, jazz, and dubstep chaser to its liquor lined narrative.

Stepping up soon after on the release Great Pagans with Teenage Sillouettes immediately followed by Plasticine and their song Hard Being Strange bring another feast of sound and imagination to feed the raging hunger already ignited by the release. The first band offers up a song filled with guitar led fuzzy warm pop filled within a scuzz littered rock surface, whilst the vocals lay another smouldering harmonic heat to add its glaze to proceedings. Its successor from Plasticine also takes rock music on a melodic ride though with a distinct character to its indie infection and the great slightly quirky vocals of guitarist Andrew. There is a familiarity to the track too but one which defies recognition and adds more to the pleasure.

The pop rock, slightly Green Day like, sound of Loose Lips and their track Dr Evil next bounces across the ear igniting passions and limbs into another thrilled exercise of contribution. It is an excellent piece of contagion which leaves you exhausted and with a needy urge to press play again, and for the record after a few four strong bands, the trios have returned.

The consecutive treats of Little Rope from Tigercub, a riveting stamp of grungy rock ‘n’ roll and virulent anthemic energy, and the soul romping Oh The Days from Almighty Planets stamp their exciting ingenuity permanently on thoughts and passions to demand and undoubtedly receive further investigation, though every artist on the release earns that.

Sea Monsters 3 is outstanding and just shows how much talent there is in one city alone awaiting your discovery. With the likes of 900 Spaces, Luo, Negative Pegasus, Thedealwasforthediamond, and Abi Wade adding their exciting promise and sounds to the equally intriguing offerings of DA-10 ft. Us Baby, Bear Bones, Phoria , Soccer96, Written In Waters, If Heroes Should Fail, Jacko Hooper, and Holy Vessels, this is one compilation only a fool would ignore. With something for everyone it is one of the best introductions to any band anywhere and there are twenty five of the buggers here, some not a trio too.

Stream the album @ https://soundcloud.com/oneinchbadge/sets/sea-monsters-3

Sea Monsters 3 track listing:

Top & Turn (Demo)         Kins

2. Red   Phoria

3. Fears                Luo

4. Aquarius         Soccer96

5. Guiones De Escadrilla                Squadron Leaders

6. Peggy               Traams

7. Natural Jazz   Negative Pegasus

8. Abraxical Solapse        Physics House Band

9. For My Sins    Thedealwasforthediamond

10. Ligeia              Written in Waters

11. Arras (ii)        If Heroes Should Fail

12. Pro Rata        Broker

13. Coffee           Gnarwolves

14. Rule Breaker               Suave Debonair

15. Bar After Bar               Rum Committee

16. Indigo            DA-10 featuring Us Baby Bear Bones

17. Teenage Silhouettes               Great Pagans

18. Hard Being Strange  Plasticine

19. Dr Evil             Loose Lips

20. Eleven Pairs of Wings    900 Spaces

21. Little Rope   Tigercub

22. Heavy Heart                Abi Wade

23. In Angers      Jacko Hooper

24. Fever             Holy Vessels

9/10

RingMaster 31/07/2013

Copyright RingMaster: MyFreeCopyright

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Death SS – Resurrection

    Resurrection the follow-up to the critically acclaimed previous album The Seventh Seal sees the return of Italian heavy metal band Death SS and their compelling tales and sounds of horror soaked devilry. Formed by vocalist Steve Sylvester with its first recordings as far back as 1988, the Pesaro band has been an ever potent presence within Italian heavy metal and to a lesser degree the world. Taking, one suspects a more than healthy influence from the likes of Alice Cooper, and possibly inspiring again on assumption the likes of current bands such as Houston! and Superhorrorfuck, Death SS create a blend of metal and drama inspired by horror movies and literature and apparently also this time around the Italian sexy-horror comics of the Seventies especially in the album art work. Resurrection is at times a riveting excursion through crimson red temptation but also has tracks where inspiration is lacking for song and listener, something which suggests that many of the bands they may have sparked life within have since surpassed their own creativity. Despite that for the main the album is a pleasing and easy to return to riot of familiar fun.

For the first half of the Lucifer Rising / Scarlet Records released album, Resurrection is a bit hit and miss, the alternating tracks bringing rides of horror rock and more straight forward heavy metal, and the former much more thrilling than the latter style. For the first time Sylvester produces a Death SS album and does a great if unspectacular job whilst alongside guitarist Al Denoble, keyboardist Freddy Delirio, bassist Glenn Strange, and Bozo Wolff on drums, he leads the stirring passions through a disjointed but appealing journey of rock ‘n’ roll. The album certainly gets better the further into its body you go too, finding a stronger consistency to the variation working its devilment.

Opening track Revived opens on a pulsating heartbeat with a sinister ambience soon emphasised by the vocals of Sylvester. This menace is accelerated by the joining throaty bass and wide rhythmic punches all scored by sonic guitar lashes. Into its thumping stride with a blanket of refreshing electro temptation, the song is a rampant stroll of horror rock which instantly brings thoughts of Wednesday 13, Frankenstein Drag Queens from Planet 13, and as mentioned earlier Superhorrorfuck. It is not bursting with originality but as the riffs and rhythms cast their contagious net around the senses and the vocals unleash their raucous grazing it is imagination capturing fun.

The following track The Crimson Shrine avails itself of a more classic heavy metal breath, riffs and drums a tower of sinews whilst the keys paint a symphonic picture upon the big boned canvas. The guitar work of Denoble is impressive and creates enthralling shards of melodic flames across the song whilst the additional female vocals temper things with grace and beauty, but the track is pale in potency against its predecessor and next up The Darkest Night. To be fair some of this is down to personal preference towards the two styles offered but it is an uneasy lie in many ways nevertheless. Its successor takes a mere breath before launching another muscular stomp of horror rock/power metal like persuasion. The electronic veins provided by the keys are like torches, lighting the thick shadows of the narrative which dance within the crushing frame of rhythms and hungry predatory riffs. Like the first song there is nothing unheard before but delivered in the accomplished and energetic style of Death SS leaves a very satisfied appetite.

The decent enough melodic charms of classic metal honed Dionysus lead into the rapacious growl and hold of Eaters, the track a bestial torrent of steely jawed riffs and mountainous rhythmic provocation driven by great vocal incitement, lyrically and in delivery. Again it is no coincidence that the song is a Cooperesque/Murderdolls like romp with lethal dangling weaponry disguised as guitars solo and bass lines to enslaved and tear the senses into bliss, and is the style exciting these ears.

The likes of the Ogre’s Lullaby, with its psychotic whispers and heavily laden vocal tempting, and the metallic swing/swagger of Santa Muerte both ignite thoughts and a little bit of greed for their sinew stretching and especially in the first, schizo charms, whilst The Devil’s Graal is a crawling provocative beast that leaves welcomingly entrenched sonic claws and dramatic teeth in the senses. As mentioned previously, Resurrection gets stronger and more perpetually appetising as it works nearer its climax, both the Manson like Precognition with its rhythmic juggling and carnivorous riffing and the bruising rock n’ n’ roller Bad Luck proof as they leave limbs and passions laying down an accompanying energetic escort. They make a thrilling conclusion to the album and compensates for the disappointment of songs such as the bland The Song of Adoration, certainly in comparison to this last pair. Wrapped in the great artwork of Emanuele Taglietti, an internationally renowned painter and author of all the covers of cult adult comics such as ‘Belzeba’, ‘Zora’, ‘Sukia’, ‘Cimiteria’, ‘La Poliziotta’ to name a few, Resurrection is a very enjoyable album even with songs which just do not ignite any heat for their presence included, and though there is nothing truly new here which has not been discovered and reaped elsewhere, it is hard not to like and want to return to.

http://www.deathss.com/

7.5/10

RingMaster 31/07/2013

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The Sun Explodes – We Build Mountains

At the time of the release of the excellent debut album Emergence, we suggested its only flaw was that there was too much going on within the release which constantly wrong footed the listener so they at times were not allowed to settle into a track and find and truly appreciate the glories within. It did not stop the record from being one of the brightest and most promising releases at that time. Well UK rockers The Sun Explodes have returned with its successor We Build Mountains and the same creative invention and imagination, but this time it works perfectly. Yes each song twists and turns like a sonic lap dancer but it is a seamless and fluid course of adventure which not only unveils each imaginative treat with clarity but brings the tracks into one singular sultry landscape of unpredictable scenery.

The Carlisle based quintet has also realised all that suggested promise too, the songwriting and music a massive leap forward and it was not exactly unimpressive to start with. This is a band with a sure maturity and though already availing our ears of a striking level of musicianship previously they have equally elevated that to remarkable craft and efficiency. Labelling their sounds is a waste of time as each song offers a new wealth and wash of distinct and enterprising flavours but let us just say the band seduce and snarl at the senses with scintillating effect and employ as many tastes of rock and at times metal you could dream of. Quite simply the union of vocalist/keyboardist Dave MacLachlan, guitarists/backing vocalists Alex Harris and Alex Adamson, bassist Mike Walker, and drummer Jamie Harris have sculpted and produced one of the biggest highlights of the year.

Opener Fear of Falling tempts our ears with a gentle tease of guitar and enthralling vocals from MacLachlan backed wonderfully by the two guitarists Harris and Adamson, this will not be the last time they all impress this way either. As the melodic tendrils of the song wrap tenderly around thoughts the rhythms of drummer Harris make crisp patterns within their breeze ensuring an energy is brewed and poise to explode in the subsequent metallic and bruising squall of sound and harsh/harmonic vocals. Throughout its narrative the song feels like it is setting something up whether the theme, atmosphere, intent of the album, possibly all but its emotive and heated impact is unquestionable in respect to potency and intrigue.

The strong start is soon left in the slipstream of the title track. It is a towering stomp of keen acidic riffs, snapping rhythms, and a melodic mystique that permeates sound and vocals. It is also irrepressibly contagious especially when it allows its sinews to barrack the senses within sonic sabre cuts of guitar. There is a familiarity to it which whispers throughout but a recognition which stems from previous songs like Honour Bound which is only welcome. As rife in their previous album, the song allows you to think you have the handle on its intent, its course, but no chance as suddenly The Sun Explodes juggles everything into a tirade of metalcore like spite. It is a riveting conclusion to an outstanding song and gives a tough ask of next up A Thousand Fires to emulate. The spread of beats leads in an electro like ambience lined with again rich colour fuelled guitar. Expanding to an emotively crafted sunset of reflective embraces entwined with picture painting melodic endeavour, the track is an enticing flame which burns stronger and more vibrantly the further into its almost turbulent depths you search whilst drawing a bigger impossible to refuse  persuasion each time you run its flume of passion.

The pair of Machines Pt.1 and Pt.2 provides another emotionally charged canvas, the first a short expressive lead of predominantly vocals and keys into the second rousing part. As guitars and again the vocals of MacLachlan cast their influential presence over thoughts and feelings the band build a spire of dramatic yet understated sentiment which flourishes within the rising heat and incendiary air of the track. The pair has to be taken together and is probably the least accessible moment on the album at first but incredibly rewarding when given time and attention.

SevenThreeOne launches itself at the ear with a tempest of discord seeping disruptive rhythmic rain egged on by an equally disorientating sonic burst. Reeling under its brilliant assault the ear is then taken through a maelstrom of eccentric diversions, metallic animosity, and experimental ingenious enterprise. It is a constant shift of gait and invention which only enthrals and incites limbs and passions to play alongside. It works because there is a constant core to the song which even though it also twists and turns to mesmerise and leave the listener unable to settle, it ensures they are pulled into the heart of it all. The best track on the album and there are a few contenders, it most of all shows how much the band has evolved on their earlier triumph.

After the brief near instrumental Lamia with a spoken sample walking its ambient shard of melodic suggestion the closing Serpentine explores thoughts and emotions further. Again it is best to see the tracks as one though whether that was the intent the band will have to be asked, and maybe it would have been better to just have Lamia as the intro to the final song as adrift it does seem a little out of place. The intensive wrap of the last song provokes senses and feelings into play yet again. Vocals and melodies dance with them in a slow waltz of contemplative elegance and inciting heat to create a delicious aural musing, a sunset of sonic earnestness and melodic hues which intoxicatingly brings the album to rest.

The Sun Explodes stand as one of the most important bands in UK rock and We Build Mountains the reason why we can make that declaration. If you thought this band was immense before than be prepared to be awe struck and if this is your first acquaintance with them, you have a real treat in store.

http://www.facebook.com/thesunexplodes

9/10

RingMaster 30/07/2013

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All Else Fails – Fucktropolis

As Canadian metallers All Else Fails escorts the passions on a hungry and richly satisfying trip through new EP Fucktropolis, you soon realise that the eclectic R.I.Y.L. in the promo for the record was not merely casting a wide net to pull people in but actually an accurate call on the diverse sounds parading their sinews upon the release. Listed are the likes of Killswitch Engage, In Flames, Cancer Bats, and Five Finger Death Punch, and in the EP all those essences can be heard as rich spices within something which is not exactly drenched in originality but offers an intensively riveting encounter setting thoughts and emotions aflame.

Hailing from Edmonton, Alberta, All Else Fails has carved out a big reputation certainly in North America for their constantly evolving and vibrant sound and live performances which has seen the band alongside the likes of Protest the Hero, Cancer Bats, Dayglo Abortions, 3 Inches of Blood, Fear Factory, Threat Signal, Decapitated, Suffocation, and many more as well as numerous festivals. Their previous releases, especially 2011 album The Oracle, What Was, Is And Could Have Been, have equally earned strong acclaim whilst the band itself has garnered nominations at the Edmonton Music Awards for the past two years. Now the quartet of vocalist/guitarist Barrett Klesko, bassist/backing vocals Seedy Mitchell, guitarist Mike Sands, and drummer Shane Tym, return with was is claimed to be their heaviest and most expansive release yet. The Suicidal Bride Records released Fucktropolis is a tremendous proposition, one which though not quite flawless leaves a determined hunger to keep band and their releases entrenched within future horizons, with some retrospective investigation too.

First track AntiMartyr emerges from behind a vocal sample wrapped in musical drama. It is not long before riffs and rhythms add their menace to spark a smothering rise in intensity and immediately enterprise and temptation grip thoughts and senses. Soon the track takes full hold as guitars carve out a weave of sonic manipulation and a fury of riffs driven by ravenous basslines and now fully imposing drum volleys take aim. The harsh vocals growl and scowl with excellent lure and expression, reaping the aggressive sounds for further intent. It is not all about ravaging the ear though as equally excellent clean vocals and acidic melodies spiral around the muscular hulk of the song to offer a full range of rich flavour and variety. The technical strikes of the guitars jar and crack on bone with riveting relentlessness locked in compelling craft whilst the array of vocal delivery keeps things moving and evolving within song and thoughts.

The following Better Left Undead unravels a precise groove from the off, additional melodic flames searing the surrounding air before holding sway as the gruff vocals graze the surface of the lyrical narrative, soon replaced by again accomplished clean persuasion. They are a moving target which never settles in to a singular gait, much like the music, and it all adds to a continually intriguing and appetising proposition. The song itself is strongest when its rage is lit but the mellower and sultry washes within still leave hunger greedy to immerse its teeth into the emotive meal. As the intensive face of the song returns with a Bloodsimple feel to its caustic breath the song leaves the flight of the release as potent and enthralling as its predecessor started it.

     La Demencia Violenta  with its sultry mystique swirling behind the again rigid framed rhythms and steely riffs is a provocative wash of metallic bite and sonic colour, the smouldering heat of the vocals initially swapped for a full fire of sizzling syllables and spite coated words. There is an underlying lure to the song which calls persistently even when the track savagely bites at the ear, imagine Palms meets Five Finger Death Punch, and though arguably it is in the shadow of the rest of the EP, the track burns and lingers perfectly, especially its jabbing compelling riffs.

The final two songs are simply the pinnacles of the release. Firstly Obedience At The Altar of Sacrifice steps up face to face with the listener, its passion brewing from behind a mesh of brightly hued guitar sculpting and rhythmic building. Limbs and neck are soon in eager union with its rapacious energy and torrential gait, though again melodies and harmonies as well as descriptive keys all have a defined place in the brawling storm. It is a scintillating blaze of heavy and corrosive, one which simultaneously scars and seduces with skilful majesty, but one instantly challenged by the following triumph A Most Unwanted Reprieve. The track is just anthemic metal at its very best, group calls roping in the passions as riffs and drums set addictive trap after trap in the unbridled charge of howling invention and sinew clad imagination. The best track on Fucktropolis with its almost schizophrenic avidity, it is the perfect end to an outstanding release. Actually it is not quite the finish as there is the hidden track The Deep Roads, but as it is just a brief schizo reprise of the opening to the previous song, it is not really something to be discussed, though it did raise a grin.

Fucktropolis is simply great, a release which has limbs, senses, and passions leaping in tandem with its metallic adventure. If this is the direction and future ahead of All Else Fails, there will be exciting times as the band places themselves on the front line of world metal.

http://allelsefails.ca/

9/10

RingMaster 30/07/2013

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Scordatura – Torment of the Weak

Let us cut to the chase and announce that quite simply Torment of the Weak, the new album from Scottish band Scordatura, is one of if not the most impressive death metal debuts of recent times. It is a monstrous declaration of an emerging potency which already consumes and ignites the senses like a veteran destroyer of souls. It is a bestial rage of unadulterated death metal which preys on, takes up the chase against, and devours its victims in one devious swoop. The band do not stretch existing boundaries it is fair to say upon the album but instead give the genre a fresh and invigorating passion wand enterprise which leaves the deepest, hungriest satisfaction.

Consisting of vocalist Daryl Boyce, guitarists Owen McKendrick and Dave Coia, drummer Tam Moran (all founding members), and bassist Mark Scobie (joined 2011), Scordatura  have built an intense reputation around their local scene and beyond. Since forming in 2007, the Glasgow quintet has wreaked their heavy toxicity across the UK supporting the likes of Cryptopsy, Misery Index, Aborted, Beneath The Massacre, Malevolant Creation, Fleshgod Apocalypse, and Condemned as well as also joining Cerebral Bore on tour in 2011 and making their own successful tours around Scotland before that. Earlier demos and the Open Skies EP as well as their live album Live in Edinburgh [Deadhaggis Deathfest] earned a building acclaim and presence for the band but Torment of the Weak should be the key to full nationwide recognition whilst taking the band to the fore of the extreme metal scene in the UK, and with the self-released album also having distribution throughout North America and Canada by Blasthead Records, maybe the world will be making their calls upon Scordatura very soon too.

Recorded in 2012 with Scott Fuller of Abysmal Dawn doing the mixing, the eight track Torment of the Weak scorches the senses immediately as opener Necromantic Disposition emerges from a sampled piece of cinematic blood soaked mayhem. Their songs are themed lyrically by serial killers and gore bought with an open black humour and the first track brings it all into devastating play. Once the rolling film and final dreg of live has been taken the track explodes into a savage assault of exhausting riffs, suffocating intensity, and crippling rhythms all ridden by the excellent guttural malevolence of Boyce. There is an instantly contagious pull which is impossible to resist within the carnally bred tempest and for all the predacious riffing and cage fighter beats from Moran, groove is king and twists around the spine of passions with intrusive majesty. This addiction causing weaponry is as lethal as the corrosive aspects of the songs and gives no respite from the merciless proceedings despite its impossibly tempting claws.

The following Visceral Disembowelment is bred from the same rapacious heart and also takes a mere moment to clamp its jaws around the ear and send snarling lashes of riffs through its defenceless throat whilst the bass of Scobies prowls in the wake escorted by the continuing to impress bone splintering rhythms of Moran. The track crawls and sizes up its recipient, crowding and provoking with compelling intimidation rather than going all out to ravage all life from the body. With again irresistible grooves littering its path to seduce whilst the rest of the song chews further into the psyche it continues the impressive start with riveting ease.

Both Neurotic Aberration and the title track bring their equally dramatic and distinct rabidity to work, the first with a jackhammer provocation merged with a thick oppressive intensity and its successor through a maelstrom of blood soaked textures and primal hunger brewed into an annihilatory tsunami of violence. As throughout the album the guitars of McKendrick and Coia have a craft and guile which leaves undiluted riffing as potent as the melodic and sonic imagination and they as ruinous as the insidious riffs.

Incestual Convulsions is sheer momentous filth, a sonic irreverence in league with an inexhaustible brutality that turns those toxic grooves into pure venom within the vicious storm. It is a glorious confrontation which uses the intense platform of its excellent predecessor Back to Crack, a song which softens up every aspect of the mind, to launch its merciless grievous tirade.

Completed by the scintillating disorientating pestilence of Sutured Flesh and finally the virulently poisonous jeopardy of From Chin To Hole, the immense Torment of the Weak leaves a blissful shattered wreck in its tumultuous wake. It is a staggering introduction to Scordatura, a band bringing the essences of the likes of Suffocation and Dying Fetus into something new and thrilling. With more tours throughout the UK and Europe ahead, including a tour with Fleshgod Apocalypse, and an appearance at The Northern Darkness Festival  in December alongside bands such as At The Gates, Decapitated, Napalm Death, Graveworm, and Hour Of Penance, 2013 looks like the year Scordatura will stake a claim to sit at the top table of death metal.

https://www.facebook.com/Scordaturaofficial

9.5/10

RingMaster 30/07/2013

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Perversion – Pillars of the Enlightened

Formed in 2006 and hailing from Dubai, United Arab Emirates, death metallers Perversion are now ready to wake up a greater awareness for their intensive sound with the help of Blast Head Records. Debut album Pillars of the Enlightened was first self-released last year and brought stronger attention on the trio but now with N. American poised to be consumed through the Canadian label, things are stirring for one of the few if only death metal act in the U.A.E.

Originally a quartet, Perversion goes for the jugular with unbridled and unpolluted death metal. It is a sound which holds no surprises yet has a devious intrigue which pulls you back into its clutches time and time again. The release of their first EP The Origins of Horror in 2008 made them a potent force in the local scene as did their live shows, if further afield they understandably were an undiscovered scourge. Consisting of founders Mahmud Gecekusu (ex – Nephelium) and Rhama Al Rhama alongside Alex Micklewright, the band is poised to welcome greater recognition and concerted focus with their powerful and deeply satisfying full length introduction as they build on successful appearances with the likes of Hate Eternal and Grave as well as at festivals alongside bands such as Suffocation, Vader, Origin and Exodus.

The short impressively executed intro/instrumental Through the Void begins the album’s aural tale, its dramatic and epically carved walls a potent beckoning into the heart of the album and next up Aging the Unbirthed. The second track makes a sure and forceful start if without showing its full strength and muscle. Soon into its stride though the band captures the imagination with a heavy blaze of intensive riffing from the guitar of Gecekusu and a barrage of predatory rhythms conjured and unleashed by Micklewright alongside vocals from bassist Rhama which hold an almost expected but accomplished guttural squall of malevolence,. It is a mighty start and if not ground breaking leaves an open appetite for more.

That hunger is soon appeased by The Great Deception and the title track, both continuing the intense stance and spite of the album in individual yet connected ways. The first offers tight expressive grooves and sonic flames within its stringent savagery to twist things a little further within Pillars of the Enlightened, whilst its successor just chews up the ear with carnally bred expanses of debilitating rhythms and carnivorous riffs. Already there is a similarity forming certainly across the surface of songs which the next up excellent Subconscious Mutation does little to dispute even in its glory, and if anything that is the biggest down on the release. That is not to say each track does not have its own facets and lures but a more determined delving into the depths of songs is often needed to find a memorable lingering mark distinct from the others.

Both Gates of the Multiverse and The Origins of Horror tease and taunt thoughts and senses with style and presence, the first through winding grinding grooves which work their way through to the psyche and wrap searing tendrils around their capture whilst its thrilling companion is deceptively insidious in its climb over and consumption of the senses, riffs and sonic weaves a tempest which shadow the lethal intent at work from bass and drums.

The pleasing Ones of the Beyond starts the closing of the album with a strong similarity to The Origins of Horror, though again a detailed watch reveals more than first assumed, and is then pushed aside by the thrash led rampage of Dementia (Of Devourment). Like a pack of ravenous wolves the song snarls and clamps its feisty jaws on the listener throwing and pulling them through an eventful fire of destructive and malicious intent.

It is an exciting end to a strong and pleasing album. Pillars of the Enlightened certainly is not attempting to set boundaries or reinvent anything within the genre but instead Perversion has created an album which feeds and satisfies all the wants you could have in a straight up death metal beast. Greater adventures you feel will come with the band ahead but right now they have laid down a very decent no frills slab of metal.

http://www.facebook.com/Perversion.band

8/10

RingMaster 30/07/2013

Copyright RingMaster: MyFreeCopyright

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Top Buzzer – The Sprollie EP

It has been two years since pop punksters Top Buzzer paraded their irresistible talents and mischievous sounds on debut album Outside Is a World, twenty four months or so full of impatience certainly in the past half a year waiting for more of their devilish goodness. Finally the London based quartet has returned to tease and rummage in our ears with a new energetic slice of punk rock devilment in The Sprollie EP. Consisting of four songs which in many ways continues where the album left off whilst bringing another fresh sail to their contagious flights of creative fancy, the release does not exactly surprise in any shape or form but as an encounter which leads the passions and body into a compelling dance of pleasure, it is one thrilling riot of enterprising infectiousness.

Hailing originally from Jersey and formed in 2011, the band has driven their own path from day one, creating their own label Back2Forward Records as they made their debut with The Hands Up EP and forging an impressive reputation for their live performances especially once they relocated to London. First single Remission and the aforementioned album took the band into the media awareness of everyone home and in the US from Kerrang, Rock Sound and Big Cheese in the written press, Kerrang, Q Radio, BBC Introducing, KROQ, and Marky Ramone’s Punk Rock Blitzkrieg show on the radio, and internet forging shows like Audioburger.com and The Bone Orchard. The new EP follows their stunning contribution to the 2012 Rebel On The Underground – A Tribute To X-Ray Spex compilation, a release in aid of the US charity Sweet Relief, and sees original members vocalist/bassist Dukey, guitarist/vocalist Becksi, and drummer/vocalist Welshy joined by newest member on guitar and vocals Soni.  Alongside the release of The Sprollie EP, Top Buzzer are currently playing European shows with Californian legends Face To Face and CH3 leading to their appearance at the Rebellion Festival. They have never been away really despite our opening line, with a wealth of gigs but something tangible in hands and ears for everyday use is what was yearned for and now satisfied by this delicious treat.

First to accost and light up the ears on the release is Mannish Girl, an irrepressible piece of pop punk with the distinctive Top Buzzer stamp of irritatingly addictive hooks and tongue in cheek intent, though that part of the song’s anatomy does wander to lick at and incite everything from ear and senses to thoughts and passions. From the opening flurry of riffs and rhythmic beckoning the song launches straight into its tempting chorus which lays its lures in two parts before Dukey begins the simple and irreverently appealing narrative. Flames of grooves and melodic barbs swing out from within the hungry drive of the song, the guitar sculpted persuasion reminding of The Vibrators whilst the vocal mix and melodic suasion offers a mix of Baddies and seventies band The Flys from within something wholly Top Buzzer.

The following Look At You initially gallops into view with hooks and riffs open before finding a canter of fiery imagination ridden by the ever boisterous delivery of Dukey vocally and on bass matched in eagerness by the rhythms of Welshy and the great group backing vocals. There feels something different to those to be honest, whether that is the presence of Soni adding his tones we will find out in due course , but there is a great variety behind the lead delivery which captures the imagination as much as the heated guitar play around them.

We Are Merely Filters has the sense of early Buzzcocks to its initial impression, the again virulently infectious call of the song leading energies on a rampant swagger of invention and rascality. Midway the song slips into a blues/ska smelling stroll which for personal tastes pulls the charge of the song up into a near stall though its creation and craft is excellent, but back into the romping pace and energy which set off the track it leaves only the strongest taste and pleasure in its feisty wake.

Final track Wet Pets is one minute of Dickies like shenanigans, a burst of punk roasting with the anthemic heights of a bunny girl. It is pure bliss and completes another scintillating release from one of Britain’s best punk rock bands. The Sprollie EP is a real joy and rock ‘n’ roll at its infectious best, and as the release plays in greedy ears whilst writing another thought comes to life…maybe in all the best senses of the description Top Buzzer is the twenty first century reincarnation of The Leyton Buzzards…just a thought.

http://www.topbuzzer.co.uk/

9/10

RingMaster 29/07/2013

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