Canaya – Sealed Within The Walls

canaya pic

    Like being caught between the eyes with a sledgehammer and then brought back to consciousness with a voraciously brutal seduction, the Sealed Within The Walls EP from British metallers Canaya is a real beast of a proposition. It is a merciless and compelling slab of ferocious confrontation infused with a riveting and absorbing wealth of inspiring riffs and potent grooves, a towering heavy weighted triumph from one of the UK’s most impressive if still ‘undiscovered’ metal bands.

     Featuring ex-members of Tangaroa, Executive Distraction Tasks, Hot Prophecy and Nerve Engine, Canaya was formed in 2010 and soon drew acclaim and eager attention with debut EP Alignment Of Dying Planets that same year. Live the Leeds quartet of vocalist Simon Wright, guitarist/vocalist Owen Wilson, bassist/vocalist Chris Wilson, and drummer Andy Richards have also wasted audiences, performances amongst a great many including Damnation Festival, Brew Records, Big Spaceship, Brainwash, and British Wildlife and with bands such as Narrows, Keelhaul, Knut, Coliseum, Humanfly, Melt Banana, Hawk Eyes, Brontide, and Lavotchkin, all increasing and reinforcing the powerful emergence of the band. The video of the single Dios Muerto found heavy viewing and support on YouTube, leading to the attention of Ginger from The Wildhearts who invited Wright to provide guest vocals on his album Mutation. The Hyde & Seek released Sealed Within The Walls is the next thunderous incitement from Canaya and possibly the trigger to the widest recognition, it is hard to imagine any other outcome.

     Opening track Levitating Casket, the new single from the release, instantly storms the ears and senses with a concentrated 1797464_581774275248163_604048507_nand intensive barrage of punches from the drums and broad sonic swipes of guitar. Each has a fearsome weight and intent in their power which the bass only empowers with its imposing predacious intensity. It is a striking start which spreads into a sonic causticity with animosity drenched vocal squalls from Wright supported by the two Wilsons. Continually twisting its attack with grooves and hooks flailing the senses amidst the infernal rampage of riffs and energy, the track is a tempestuous and mouthwatering onslaught, and as contagious as it is disturbingly venomous, the song soon has attention and imagination sealed within its corrosive embrace, both eager to fall deeper into the roaring invention and malevolence.

     The unpredictability and imagination of the first song is replicated by next up Award Winning Bastard, a distinct character with more sonic voracity than its predecessor but equally as captivating and incendiary upon the senses. You almost feel synapses and emotions withering within the tracks scorching sonic persuasion and rhythmic pummelling, but with another irresistible distraction from the band’s adventure and ingenuity only instinctive hunger prevails under the avalanche of sound. For something so vicious and brutal it is hard to believe the contagion of the songs is so virulent but it is and just as impressively repeated in the following Monarch Of Sin. Standing tall and muscular from its first seconds of rhythmic provocation and corruptive riffery, the song takes a less forceful approach in comparison to previous tracks but is just as dramatic in its enticement. A smouldering melodically fuelled acidic casting is aligned to a cleaner vocal delivery, the union almost Killing Joke like at times, and sandwiched between a heavily weighted predatory stalking brought by the bruising intensity and ravenous metal ferocity. The song is a savage and ruinous yet bewitching encounter, a temptation elevated by the Converge like fury of group vocals at the song’s finale; it and track a glorious tempest.

    Committed rages next and features John Sutcliffe from Humanfly within its scintillating exploits. From the first rapacious swagger and torrent of guitar invention the track secures greedy attention which it’s subsequent rampant riffing and transfixing rhythmic antagonism, not forgetting brawling vocal combination. The song swings and lurches from one explosive and thrilling point to another, infection and toxic animosity unrelentingly igniting it’s too brief but outstanding presence. The best track on the release, amongst only major triumphs, the song gives a big test for the closing Audio Porn to live up to. Raw and abrasive within an evocative melodic crafted enterprise, the song easily rises to the challenge providing release and listener with another individually startling expanse of inventive vehemence and exhausting adventure. It is a mighty intrusive end to a severe and masterful incitement for ears and passions. Influences for the band are cited as bands such as Black Sabbath, Metallica, Pantera, Mastodon, and Gojira , a list you suspect the name Canaya will eventually be added to as an inspiration for others. They and Sealed Within The Walls are right now collisions you simply need to stand in front of to bend and bask within.

www.facebook.com/canayauk

www.canaya.bandcamp.com

9/10

Ringmaster 15/02/2014

 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

Def-Con-One – II

 

      Def-Con-One

    Bawling inventively in the face whilst being driven by a constant fury which simply exhausts and exhilarates the senses, II the new album from UK metallers Def-Con-One, is one of those riveting muscular scourges you just cannot get enough of. It is fair to say that the band employs well ingrained flavours and styles across its riotous body but with a flair and imagination which sets them and the release apart from most. It is a thrilling adventure which rarely leaves you wishing for more in any particular song and constantly has the emotions beaming broadly under the creative onslaught.

     Hailing from Newcastle, the quartet of vocalist Davey Meikle, guitarist Johnny Hunter, bassist Steve Miller, and drummer Antton Lant (ex- Venom and Mpire Of Evil and the brother of Venom frontman Conrad Lant) brew up a sound which merges thrash and groove metal to name just two of their rich spices, into a maelstrom of ferocious enterprise and fierce imagination. II follows the critically acclaimed Warface of 2012, a release which thrust the band into a certain hungry spotlight not found by the band’s 2008 self-released Blood Soaks the Floor, a release which has been seemingly passed over with II described as the bands second full-length. The new provocation reinforces the success of its predecessor whilst unleashing a greater maturity and invention to its striding predation. The band has been described by the organizers of renowned Bloodstock Open Air festival as ‘a bar fight between Machine Head, Slayer and Pantera’ and in many ways that still fits except that the inventiveness and tempest of styles driving the new album has increased and expanded to bounteous new depths.

   The Scarlet Records, who the band signed with before Warface, released rage instantly unleashes its full strength and animositySC 235-2 DEF-CON-ONE the moment the first full breath of H8 Ball hits the ears. Jagged riffs and thumping rhythms are soon splintering cartilage in the opener, a djent savagery riling up the senses whilst the vocals of Meikle switch between clean rock and squalling antagonism in the midst of the continually evolving sonic rabidity. By the halfway point the song has teased thoughts with essences of American Head Charge, Alice In Chains, and Meshuggah, though all merely loud winds in a storm all Def-Con-One. It is a scintillating beginning to the album which immediately slams it up another gear with Broke. An unavoidable Pantera comparison wraps the opening seconds of the song remaining across the whole of its mouthwatering stretch, grooves and rhythmic battering as contagious and magnetic as the expressive vocals and sinew parading riffs equally inciting the juices. As the track, like many on the album, rummages in thoughts and emotions you do feel you know the provocation before it spreads each moment of its narrative but are left satisfaction drenched as everything comes in a uniquely different guise to any waiting expectation.

    The following Soul Possessed is the next on the continuing ascent of the release, its opening melodic caress aligned to clean vocals an appealing but deceptive invitation refusing to hint at the ferocious tsunami of imagination and intensity to follow. The invention of the song comes with an electrified voracity, it’s twisting through straight on corrosive metal into nu and groove lit thrash vivacity irresistible. The track throughout its inventive carnage never settles into more than a few moments of any one direction resulting in a persistently intriguing rampage with imaginative flexibility in its sound and stylish enterprise.

    Both Scarred For Life and Debt To Society were destined to slip below the new plateau set by the previous song but only just miss its lip with the first a breath-taking adrenaline fired torrent of thrash and heavy metal whilst its successor wires veins of southern metal into a ravenous brawl of groove fed heavy metal . The pair feed the already greedy hunger for the album with a full meal of craft and aggressive passion whilst the next up Skinhead Shaped Dent swerves and seduces the listener with a caustic fire of grunge inspired punk aligned to a commanding web of rapacious grooves to raise the stakes. At this point the album can and does no wrong, and whilst that familiarity to other things is never far away it only enlivens the irresistible toxicity of the band’s enterprise.

     The pair of Need A Reason  and Die Again provide the first undulation in the course of the release, the first an intoxicating ear devouring stomp of contagious and at times venomously sonic rabidity whilst the second is a slow meandering slice of classically spawned metal which fails to rise to previous heights. It is to be honest a well-crafted and satisfying piece of songwriting but just does not ferment in the imagination and passions anywhere like the potency of the previous songs. That slight dip though is soon addressed by Damned Disgrace where the already carnivorous bass sound of Miller is at its most primal, and the closing Drag Me To Hell, a rhythmic agitation of pure infection and bestial riffery which leaves the senses sore and blissful. The final track concludes the album as impressively as it started; a lingering last intrusive splinter of ravaging to ignite the passions.

   To be over critical you could accuse II of not being unique enough in many ways to other bands, though there are few fusing as many facets of metal as inventively and successfully as Def-Con-One does. The truth is that when the album emerges as one of the most enjoyable favourites so far this year, certainly for us, giving the strongest fattest satisfaction, who really cares?

http://def-con-one.tripod.com/

9/10

RingMaster 16/02/2014

 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

Woland – Hyperion

group4

    There is a depth and presence to Hyperion, the debut album from Finnish post black metallers Woland which just cannot be conveyed through words and description, a mental and physical magnetism which simply enthrals and immerses the imagination in a creative and thought provoking journey. Consisting of eight progressively intensive and thickly evocative explorations with more warmth and sun lit imagination than any other recent black metal proposition, post or not, the album is a captivation which steals every aspect of the listener in its maze of sound.

      The quartet from Helsinki state in their bio that their ‘music and lyrics are not tied to any specific events or follow any single dogma, they are heavily influenced by some of the modern world’s most prominent philosophers and writers as well as inspired by mythology with its gods and heroes.’ It is an intent or heart which expands compellingly into the diversity of their invention, no boundaries set and no limitations entertained within its strikingly varied flavouring and bold, highly successful fusions of textures and sounds. Formed in 2010 the band drew strong attention with their double single made up of the tracks Conquer All and Live Forever in the following year. The eagerly consumed songs bred high anticipation in a great many for the band’s first full-length and without doubt the Indie Recordings released Hyperion feeds and goes beyond expectations and hopes lying in wait for it.

    Conquer All brings the album into view, a sonic breath soaking pores and senses initially as hungry rhythms, caustic riffs, and Woland_Hyperion_Covera melodic entwining of sonic temptation close in on the imagination. Heavy dark rasping vocals unveil the lyrical narrative to appealing effect, their appearance first skirted by an impressive and virulently alluring groove before being immersed in a drama wrapped shadow of keys and guitar. The continual switching of the two is a magnetic incitement but only half the picture as band and track rigorously twist into further imagination fuelled ventures to leave the listener and their thoughts bewitched by unpredictable fluid invention. The song merges dark climates and warmth soaked adventures emotionally as strikingly as its duelling sounds, the track a scintillating entrance into the creative landscape of Woland.

    The following Art of Ascension is equally as riveting in sound and ingenuity, the blackened prose of the sonic beckoning ripe with heated radiance and contagious temptation. As its predecessor, the track never settles in gait or tone, its wonderful almost agitated blaze of contrast littered design a mouthwatering and close to being bewildering, but persistently successful inspiration to thoughts and emotions. Equally like the first, the song is a provocative ‘dance’ which intimidates and seduces to extremes, something its successor Living Water replicates though seemingly favouring the darkest climes. A stalking provoking of the senses with a swagger and addiction feeding groove to enlist instant submission into its heavy coaxing, the song soon fully commands attention. Once in that position the rug of assumption is ripped from under the feet, an elegant expanse of melody sculpted calm with an emotive flamenco colouring leading to a powerful sonic narration for the imagination. The original intensive endeavour seems even more imposing and voracious with its return to conclude the track, a proposition which without challenging the previous song and one to follow provides strong bait for its recipient.

    None comes in next to take best track honours and confirm the album as a real challenger for classic status. A true artistic predator from the opening notes, the song preys upon and pushes the senses to their fearful limits but all the time is weaving grooves and sonic laces of infectious invention around the intrusive provocation to entice and unerringly tempt the imagination. It is a glorious and ingenious mesh of flavours and startling brilliance which defies any real labelling, something sure to frustrate those who need to do such thing. Technically and emotively the track is aural alchemy, a tsunami of original and fertile ingeniousness as good as matched by Extacy and Rapture, the next song unveiling greater antagonism in its metal bred sinews and potency in its sonic lassos of virulence. As the last song, it provides variations in sound, texture, and structure to invite the strongest appetite from any heavy and groove metal to black and progressive metal enthusiast, Woland breeding their own unique soundscape once again.

    The brief instrumental Honey in The Lion, a piece with a piano solo performed by guest Risto Tiihonen, gives a breather to the listener, a calm before the storm of Live Forever which is another ravenous and extensive foraging of thoughts and emotions not forgetting senses. Like the closing Elevated Existence, the track does not inflame the passions as powerfully as the earlier tracks, something indefinable missing but both still seduce thoughts and imagination with unreserved success. The pair provides exhaustive landscapes of unrelenting and inflammatory invention, neither allowing time to settle and digest any moment before thrusting the listener into another impacting and evocative twist, both protagonists impressing more and more with every lengthy declaration.

    Hyperion is an outstanding and unique encounter from a band which is destined to become a major force. To be honest though the album, complete with additional guest appearances from artists like Geir Bratland (Dimmu Borgir), Mathias Lillmåns (Finntroll), and Janica Lönn (Black Sun Aeon), suggests that Woland is already there.

Upcoming Woland Tour dates:

22.02.14 NOR Bergen @ Blasfest

10.04.14 FIN Helsinki @ On The Rocks

06.-08.06.14 HRV (Croatia) Zadar @ Underwall Festival

www.wolandmusic.com

9/10

RingMaster 16/02/2014

 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

Sisteray – She Likes The Drama

sisteray

     Since forming in 2012, British rock band Sisteray has been building a rather potent fan base and appreciation through  their live performances and releases, an eagerly followed presence which their new EP She Likes The Drama gives plenty of evidence to the reason why. The four track release is an engaging proposition which from making an initially decent if unsure persuasion emerges as a magnetically appealing enjoyment. It is fair to say the EP does not quite reach in to ignite a flame in these particular passions but from the sure satisfaction definitely found you can easily see that it will be a different proposition for a great many others.

    Hailing from London and consisting of Niall Rowan (lead vocals/rhythm guitar), the Connolly brothers Daniel (lead guitar/vocals) and Ryan (drums), and Michael Hanrahan (bass), Sisteray take influences from the likes of The Kinks, The Beatles and The Who but equally from 70’s Mod Revival bands such as The Jam and Blues bands such as Dr. Feelgood, The Yardbirds, and The Rolling Stones. Those spices are open in the Sisteray sound as are also inspirations from more recent bands like The Stone Roses, The Arctic Monkeys, and Oasis. It is a striking mix which despite that rich soak of inciting flavours, does find a voice distinct to Sisteray as loudly evident on She Likes The Drama.

    The title track kicks things off, a single guitar tempting luring in attention and imagination before being joined by a nice dark 1536716_554607001299650_1249032493_nbassline and melodically sculpted riff strokes. It is a clean and precise persuasion of sixties blues kissed rock ‘n’ roll with a seventies garage rock breath and nineties indie endeavour. The song never explodes into the fire it hints at, especially around the chorus, but it is as infectious and compelling as you could wish for and undeniably makes a pleasing impact. The vocals of Rowan like the song are expressive with a strong buoyant tone whilst the prime hook of the song is irresistibly potent and with the other enticing elements of the song it all adds up to make the track an increasingly enticing offering over time.

      The following Rollin’ Over also offers a highly coaxing entrance into the song, a lone throaty and slowly parading bassline beckoning ears before the subsequent flame of melodic guitars and crisp rhythms joins the tempting. There is a stronger blues aroma to the song right away which the group vocals around the chorus accentuate into a quite inflammatory suasion. Again the band never erupts into the assumed and hoped to come unleashing of anthemic energy within the track, which does disappoint slightly, but there is plenty in the swagger and voice of the song to draw in appetite for and enjoyment in the encounter.

      I’m Free emerges on a fuzz ball of sonic intrigue increasing further the blues fire which smoulders and burns in each song, whilst a certain Oasis bred croon equally impacts on the ears. Not as tantalising and ultimately impressing as the other songs, it still captures the imagination especially with the constant almost brawling blaze of sonic scowling which cores the musical narrative. Providing the heaviest rock ‘n’ roll moment of She Likes The Drama, the track keeps momentum and strength of the release strong and engaging before making way for the closing Coming Up.

     The song ensures the release ends on the same high as it started, actually an even greater success with the track the best on the EP. It takes a mere second before the irresistible hook of the song steals the imagination, its call switching with a more sobering but inviting swipe of riffs. Into its stride the song is soon urging feet and emotions to partake in its revelry, its presence a mix of the mod power pop of Purple Hearts, the raw punk simplicity of The Fall, and the addictive nature of Arctic Monkeys. It is a masterful and wholly contagious thrill which alone confirms that Sisteray is definitely a choice emerging force in UK rock.

     As previously stated She Likes The Drama fails to spark up the strongest emotions in our personal reactions, well until the excellent final song anyway, but it is impossible not to hear the potential and already toxic strengths of the band which has captured so many hearts already, with plenty more to follow you can only suspect. A release if any of the previously mentioned comparisons take your fancy, to give a big slice of attention to.

http://www.sisteray.com/

7.5/10

RingMaster 15/02/2014

 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

UK rockers Circle Of Reason announce new UK tour

circle of reason

CIRCLE OF REASON – Announce ‘Whatever’s Clever’ March UK Tour

Having stormed into 2014 with the release of their video single Themes Amongst Thieves, Southampton’s alternative rock sculpters Circle Of Reason announce live dates for their forthcoming Whatever’s Clever Tour.

With further UK tours and festival appearances still to be announced for this summer, Circle Of Reason will be bringing their rock show to northern England and Scotland this March. Frequently compared to musical giants such as QOTSA, Biffy Clyro, The Smashing Pumpkins, Coheed and Cambria and Deftones, Circle Of Reason’s prog-tinged hard rock riffs, intricate song dynamics and melodic vocals are gaining the band loyal followers world-wide. Building upon their reputation as one of Britain’s most exciting emerging new rock acts, Circle Of Reason have garnered early support from the likes of Kerrang! TV, Scuzz TV, Power Play & Big Cheese Magazine. With numerous UK Festivals and tours already under their belt, the South West UK quartet have previously earned their place on stage supporting the likes of InMe, Feed The Rhino, Landscapes, Neck Deep and many more

Catch them live at … Mon March 17th – Mink Rocks, Middlesbrough Tues March 18th – South Sea Live, Sheffield Thurs 20th March – Grand Central, Manchester Fri 21st March – The Black Bull, Castleford Sat 22nd March – Vintage Rock Bar, Doncaster Sun 23rd March – The Towler, Bury Wed 26th March – Bannerman’s, Edinburgh Fri 28th March – Monty’s Bar, Dunfermline Sat 29th March – The Box, Glasgow

Taken from the 2013 EP release ‘These Hands & This Mind’- check out their video single for ‘Themes Amongst Thieves’ http://www.youtube.com/watch?v=KX82tM24wDE

Connect with Circle Of Reason at www.facebook.com/circleofreason and www.twitter.com/circleofreason

These Hands & This Mind EP available to buy at https://itunes.apple.com/gb/album/these-hands-and-this-mind-ep/id669577645

1624658_474917612614292_1339022378_n