Reapers Riddle – Drop

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There was a sense of excitement when Clayton Mitchell, the vocalist of Australian rockers Reapers Riddle got in touch with us to introduce the band’s new single. Though we were late discovering the band compared to many, previous EP A Touch Of Death grabbed us instantly and set the Perth quintet as one we would always have plenty of time for. The news of the single Drop immediately had our appetites slavering but such the strength of the EP and its multi-flavoured blend of heavy rock and hungry metal would the new song manage to rival its impact was the question. Not only does it match the earlier release the single is many steps ahead, the band and music leaping onto another scintillating plateau of quality, imagination, and craft.

Formed early 2009, Reapers Riddle has built a formidable reputation around their home city and into the rest of the country for not only 986723_10152055442963943_1658108318_nsound but their raucous and high octane live performances. A Touch Of Death touched on the world with its accomplished contagious charms, taking the presence of the band especially through the web into new happy to feed upon them places. With guitarists Michael Willis and Dan Bishop, bassist Jason Edwards, and drummer Wayne Frodyma alongside Mitchell, Reapers Riddle are ready to make that major step to full world awareness; whether it will happen you can never know such the world of music but Drop gives all the evidence needed to show this is a band bringing new breath and life to muscle clad rock ‘n’ roll.

Drop makes quite a reserved yet persuasive entrance, a single guitar crafting a weave of melodic beckoning before being joined by sinew rippling rhythms, another melodic caress from the other guitar, and a solitary vocal call. It is when the keys enter that flames start to lick at thoughts and feelings; that strong start suddenly drenched in emotive elegance and evocative air. As the intensity slowly rises and riffs cloud the clarity of the atmosphere pleasingly, Mitchell unveils his great ever expressive tones, the lyrical narrative courted by the still provoking keys. It is a superb merger of beauty and the riff driven beast, both given open space to give their calls whilst combining for a potent and riveting confrontation of hard rock and melodic metal. There is a sense of Disturbed to the track at times and a classic feel which only enhances its temptation and slightly anthemic lure.

It has to be said that as impressive and mighty that the earlier EP was Drop is another level for the band and easily the best thing they have graced our ears and appetites with.  The song is accompanied by bonus track Devils Fire, a new recording of one of their most popular songs which just stomps through the ear with all the contagion of a virus and fire of a furnace, prime metallic fuel inspiring the melodic flames and muscularly weighted riffs and rhythms providing the robust kindling.

You could say Reapers Riddle has come of age with Drop, but it was always something special just now the band has found the creative and mature skilled voice to make the rest of the world sit up and notice, roll on their debut album The Ballad of Tristan Daye.

Drop is released August 16th with its accompanying video.

http://www.reapersriddle.com/

9/10

RingMaster 02/08/2013

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Feud – G.U.S.H

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    Feud is a band you can never get tired of, a group of musicians that seem to pull out another gem with every new song and release they treat the ear to. New single G.U.S.H (Growing Up Seems Hard) is no exception and in fact is probably the best thing they have done yet, and with the potency and quality of the past trio of singles that is the mark of its height.

Founded by brothers Guy (drums/vocals) and Greg Combrinck (vocals/guitar), and a full on proposition when the pair moved to the UK from their home land of South African, Feud with Ian Harper (guitars/vocals) and Tom Syrett (bass/vocals) alongside the two has become one of the most vibrant and impressive rock bands in the country. Shows alongside the likes of Cancer Bats, Young Guns, Jettblack, and Days In December has earned their live performances strong acclaim whilst releases such as debut EP Out From The Inside, the album Waterdog, and the Singles EP has enslaved many hearts and their passions through the blend of alternative rock, grunge, and punk flavoured energy. G.U.S.H sets another bar for the High Wycombe based quartet, one that is not that adrift from previous releases in sound or invention but in maturity and craft exploits the promise already showed wonderfully.

Big bulging rhythms rattle the ear first whilst the moody deep throaty bass adds its cantankerous temptation to seal the deal between 128695-thumbhunger and song. As guitars flare up with sonic and melodic imagination, their flames spiralling through the sky of the track before settling into an almost pop punk swagger to court the excellent vocals of Greg, the song like so many of the band’s has a familiarity which comes with no obvious references, Feud accomplished in creating infectious and warmly inviting slices of honest and easily accessible rock ‘n’ roll. As it dances over the ear with its energetic romp thoughts of Bush and especially Everclear do come to mind but still the distinctive tones of the four stands to the fore.

As virulently addictive as watching Kelly Brook in Piranha 3D, go on try and claim you were not transfixed by her and it too I dare you, G.U.S.H is a riot of a single and yet one more reason why Feud should be on every one’s playlist. Accompanied by B-sides demos of Save Me and an acoustic version of I’ll Find You, the single and also all the bands previous releases are now available for FREE from http://www.feudmusic.com/musicdownloads

Why are you still here?

http://www.feudmusic.com

9/10

RingMaster 02/08/2013

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Chud – Ominous

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Ever had that feeling of impending doom, not a sense of coming mishap but a really dark unrelenting carving up of all you survive your lives safely by. Well whether yes or no, Australian metallers Chud bring you its soundtrack through their unbridled savagery that is debut album Ominous. It is a monster of a release, a collection of tracks and sounds with teeth that tear senses, emotions, and soul asunder whilst taunting them with insidious grooves and even at times melodies that are pure sonic acidity.

The metallic scavenging of one Whiskey Jones, who also leads the equally carnivorous industrial metal beast The DevilzWork, Chud is a confrontation that takes no prisoners but at the same time has an underlying seduction and simplicity of groove that is just irresistible. It is not always easy to find but throughout the release hooks and addiction forging aspects do make their deceptive play within the raw surface abrasion. Because of the guitar style and ferocious riffing of Jones there is a firm link between both of his bands, though they also stand distinctly apart, his other project having no time for anything other than primal filth clad temptation whereas Chud has a mellower heart, well maybe stalks with a slightly less predacious and more measured sonic tempting. Ominous is an inescapable storm but one you just want to be in the middle of, devouring all of its toxic animosity.

Opener Daemonic (Gnosis) tells you all you need to know about the album, the rhythmic torrent of crippling spite and the flesh chewing heavy riffs of guitar and bass a carnal consumption. Ridden by the caustic scowling vocals of Jones, his tones a senses stripping scourge, the track has its jaws firmly clasped around the mental throat from its first second and even the arrival of a slight swing and swagger to its suffocating body cannot lessen its staggering rabidity. It is a thrilling start immediately match by the similarly rapacious Choke and surpassed by the destructive Beast. The first of the two submits another artillery of rhythms within a sonic sandstorm, its prowling parade of lethal malevolence speared by harsh melodic flames from the guitar. It is close in presence to its predecessor but has enough to be a companion rather than an imitator whilst the second of the two is simply a crawling pestilence with the sinister seduction of Rob Zombie and contagion of Ministry. Whereas the earlier tracks were straight vicious metal that would find a mutual conspirator in a Devildriver or Brujeria, there is an industrial edge and melodic death metal stare to its voice.

Through the likes of the sonic abrasion Witchcraft and the envenomed despoiler Tyrant the album continues to isolate and scorch 537992_10151386920210873_553987901_nsynapses whilst flesh is torn from any resemblance of safety though the excellent Marilyn Mansion flavoured Gauss brings much needed respite through vibrant steel girded grooves and a permeating emotive malady. Like so many of the tracks there is a repetition throughout the riffs, grooves , and hooks that badger and persuade with virulently contagious success, their irrepressible cruelty enslaving the passions so perpetual returns to its violent mouth are an unavoidable given.

The barbarous Revenant leads to another infection fuelled rancor setting up the already enflamed hunger for another pinnacle of the album in the demonically sculpted Serpentine, a track which flicks at and licks the listener with a poison coated tongue and scornful persistence. It is another striding sonic defiler but one offering an eastern mystique to its intrigue and exotic vehemence. Split by the mordant Pronto, another major highlight appears in the tyrannical sonic enticement of Kill It. Holding again an industrial/horror rock lilt to its edacious metal bred ferocity, the track is like a pack of predators not seeing food for longer than bearable and just as wild in its onslaught.

The sonic carnivore is completed by firstly the lumbering weight of Gravedigger, yet again that Manson/Zombie essence gracing the heavily burdened riffs, thumping rhythms, and melodic whispering. Its impressive bulk is then followed by the instrumental The Gift Of Fire, a track which fuses blues and southern rock with another climate of Eastern breezes all through the impressive lone guitar of Jones within a waiting shadowed ambience, and finally Angelic (Gnosis), the bestial ruinous epilogue to it all.

Though there is a surface constant to the sound of the songs mainly through the distinct playing of Jones, a turn of extra concentrated work reveals the uniqueness of songs but you do have to make that extra effort. Ominous is a thrilling primitively tasting treat, and one which is sure to see Chud laying waste to many more unsuspecting victims.

https://www.facebook.com/chudmetal

8.5/10

RingMaster 02/08/2013

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Digicore – More Than Just An Ape

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UK industrial music in its varying shades and exploits has been a strong force for a long time if still arguably untapped by the media to send it deservedly deeper into the psyche of the world. Right now though there seems to be a pinnacle for the genre, a greater expanse of quality brewing within a wealth of releases over the past year parading talent and sounds that are irresistible. More Than Just An Ape, the new album from Digicore, is another adding its strength and invention to the growing plateau. It is an album which continues the band’s investigation of rock and industrial merged into a distinct confrontation veined with metal, electro, and punk , as well as one delving deeper into the modern world and its reliance on its god, technology, and its persuasion and effect on the human condition now and ahead. It is a brooding collection of songs, ones that inspire and challenge thought and emotion whilst equally inciting instinctive responses through sounds which are like an insatiable call to arms.

Formed in 2005 and consisting of Danny Carnage (vocals, guitars, programming), Matt Bastard (bass), and Cell (drums), the band spent two years crafting and creating More Than Just An Ape, the release stretching and taking the sound of the York band into new yet seamlessly evolved places and invention from previous album Without Freedom of 2011. Again released on Armalyte Industries, the eleven track album forges a sound and presence best described as Nine Inch Nails meets latter Pitchshifter with essences of Ghost In The Static, Gruntruck, and KMFDM placed in the mix. It is just a guide to a sound which at times feels familiar but with no evidence to why within its individual temptation. Fusing a wealth of other flavours into the compelling sonic narratives of the songs, More Than Just An Ape is one of those releases which deviously creep up on you simultaneously to offering an instant addictive persuasion, one which lingers long in the memory and psyche after its departure.

The opening In To Ruin emerges from a peaceful scene, church bells with an edge of discord drifting ambience slowly surrounded by an Digigorillaominous electro breath. An air of melancholy lays its touch into the brew especially with the introduction of the excellent vocals of Carnage, his tones clean, expressive, and throughout the album with a confrontational snarl. His appearance also sparks a more accelerated intensity bringing its intimidating presence though the track always has its rein gripped between its emotive sinews. It is an excellent starter and beckoning for the following You’re Not Like Me to unleash its thumping heart. Big boned beats frame the start before taking a step back for the caustic but restrained electro caresses to begin their impending scarring against the again strong vocals. Eventually the guitars sculpt their venomous presence whilst rhythms set a cage of menace and impact around the at times aggressive shift of the song. The song continues the impressive start set in motion whilst offering another of its potent aspects.

Both Disconnected and The Great Devourer provoke and expel vigorously imposing shadows, the first a carnivorous sonic expression that sucks air from lungs and hope from thoughts whilst its successor is a metallic predator where guitars and vocals which raised their growl and bite in the previous song now launch an intensive forceful stand against the ear, electro climbs offering underlying temptation to the almost Fear Factory like conspiracy. Both stand tall upon a release of nothing but peaks whilst next up I Will Not Be Afraid wraps warm melodic charm in coarse sonic washes with the vocals similarly composed to create another compelling danger.

     Hell On Earth is the best track on the release, a song which lays a dubstep/ebm dance canvas upon the ear for the sinew clad rhythmic juggling and corrosive metallic urgency to dance and rampage all over. Once more the band continually twist and evolve the gait and call of the song, creating a disorientating yet easily accessible intrigue and incitement to devour with rabid greed. It borders on bedlam and chaos but is superbly crafted and controlled to be one of the most forceful and anthemic riots heard this year.

Both the ferociously hearted Not One Of Us with its belligerent driving rhythms and the scintillating aurally toxic Don’t Belong Here leave pleasure and appetite full whilst Flesh is Weakness makes its challenge for best of honours with its emotionally charged and increasingly agitated presence. A climbing rage and sonic stimulus to mind and feelings, the song explores its and the listeners corners physically and emotionally, its challenging terms and riveting enticement just delicious.

Ending with the hellacious dance floor manipulator I Hate What I Have Become, which initially tears up the ease to which limbs can add their contribution evolving into another dramatic contemplation that wraps forcibly but enthrallingly around the body, and the brief epilogue of the title track, More Than Just An Ape is an outstanding album, one which leaves you short of breath and long in satisfaction. Offering an assessable first meeting but becoming much stronger and compelling when ridden over numerous courses, Digicore has reinforced not only their striking presence but that of industrial exploration within the UK. They stand side by side with the very best whilst holding their own distinct portion of the field. A must hear album.

http://www.digicoremusic.com/

8.5/10

RingMaster 02/08/2013

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Impiety – The Impious Crusade

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Hailing from Singapore, the blackened death leviathan that is Impiety has been consuming and antagonising senses and passions since 1990, grabbing plenty of acclaim for their unleashed mayhem over an avalanche of albums and singles. This month sees their debut release on Hells Headbangers Records, The Impious Crusade EP, a viciously twisted slice of extreme metal offering proof of that the trio has lost none of the guile and sonic toxicity which marked such albums as Paramount Evil, Dominator, and from last year Ravage & Conquer. The new five track release continues in similarly confrontational creativity but with a certain shift in its presentation, arguably offering no real surprises yet exhausting senses and thoughts with a virulent death metal scourge that keeps the band as a distinct proposition amongst most.

Consisting of vocalist/bassist Shyaithan, guitarist Nizam Aziz, and drummer Dizazter (the band becoming a quartet live with the addition of bassist Guh Lu), Impiety continue to use influences from the likes of Bathory, Sarcofago, Possessed, Morbid Angel, and Venom seemingly in their imagination, though as mentioned they have branded their own signature deep within the genre. A band who have successfully headlined tours and supported others across Europe, Asia, N. America, and many more areas of the world, they have marked the deal with their new label by a release which takes the listener on a demonic ride through hell’s deepest violations sound tracked by sounds which twist and turn on the senses with the primal and skilled predatory instinct of a bestial horde. It is not the most insidious and nasty encounter, or overall one which leaves the passions raging uncontrollably but it is an onslaught that sparks the appetite into impatience for the next full length from the band.

Opener Arrival of the Assassins is a brief track which is more than an intro but still only a swift fist through the heart, its sonic lancing ofalbumart[1]the ear lethal and direct whilst the cage of rhythmic disturbance leaves knees buckled. It sets up the release perfectly every aspect of the band afire and ready to assassinate peace within its recipient, whilst the track itself is an excellent portent of things to come and in many ways the best thing on the release despite its short stay.

The following Commanding Death & Destroy is an instant savage torrent of vitriolic spite and sonic mastery from guitarist Aziz, his fingers conjuring riffs and aural narratives not only here but across the EP that leave you whimpering and greedily immersed in individual caustic scenarios. Ably assisted by the rhythmic provocation of Dizazter and the scathing raw squalls of Shyaithan, the song is a tempest of almost schizophrenic rage and imagination, a storm of quizzing crippling intensity and inventive ferocity.

As next up Accelerate the Annihilation equally tears into senses and thoughts, the slight air of missing originality is evident yet not an issue within the almost suffocating presence of band and sound. The track stomps and prowls with primal rabidity through the ear, switching its attack to leave the listener nowhere to escape to, not that in the face of such a contagious and invigorating brutal ravishment you would seek such refuge. Again the guitar carves out a landscape of impacting persuasion whilst bass and drums enslave with the rapacity of a pack of hunger driven wolves.

The title track scorches air and senses with a sonic wash that is as malevolent as it is addictive whilst the rest of the song is a battering ram of unpredictable savagery created by a technical violence that is almost virulent in its appeal. As with all the tracks, it allows no second for the listener to settle, its disorientating expanse of scything aural discord and bedlam a tornado of adventure and malice.

A cover of the Sorcery track Lucifer’s Legions completes the release, the track a more than decent high octane thrash toned brawl. It concludes a great release and appetiser for what is to come from Impiety. It is a grower too and even whilst writing this piece and listening to The Impious Crusade EP simultaneously a few more times it increases its stature within thoughts and distinction. A release all death metallers should get their hands on.

www.mightyimpiety.com

8/10

RingMaster 02/08/2013

Copyright RingMaster: MyFreeCopyright

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

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