Ender – Descolada EP


Hailing out of New Jersey, Ender is a new proposition to us but one on the suggestion of their new EP Descolada thatis sure to have an eager following in their homeland. Consisting of four tracks which are as voraciously intensive as they are aggressively magnetic, the release is an attention grabbing encounter which soon has imagination and passions enlisted to its annihilatory provocation. Fusing metal with a healthy spite of hardcore, plenty of other loud whispers of styles engaged too, the release presents sound and songs which are not exactly openly original but do have a vein of ingenuity and imagination which instantly pulls a spotlight upon the band.

Formed in the May of 2009, Ender took little time in recording a debut demo before unleashing their live presence on their DIY three week The Bootyshorts And V-Necks Tour. In no time they were growing a potent fanbase around their home state, which the Bergen County quintet gave an extra spark to after a slight line-up change with their first EP. Released via Florida-based Eulogy Recordings, This Is Revenge made a sizeable mark with its release in 2010, an unleashing further supported by headlining tours either side of its release where the band shared stages with the likes of Float Face Down, Of Salt And Swine, Timelines, and Above All Fallen. The past few years has seen Ender strike further across the US, touring with bands such as Destruction Of A King, Catalepsy, Demolisher, and Legion. The new release sees the return of vocalist Joe Benducci, who left the band for a couple of years, alongside guitarists Sal Latrenta and Casey Conlon, bassist Mark Costa, and drummer Danny Lavarco. It is a formidable and gripping antagonist, a proposition rippling with the potential that could and should see Ender become a noted name well away from their country’s borders.

The self-released EP opens with Stunner and instantly coats ears and thoughts with an intrigue of guitar, its singular strain of almost DescoladaFrontmelancholic coaxing winding respectfully around the senses. Its lure is soon swamped by a weighty intensity steered by hellacious rhythms, savage riffs, and equally ferocious and compelling vocals. It is a staggering confrontation lyrically and aurally, enough for knees to buckle before its savage breath but a tempest which infuses a bewitching sonic enterprise within the storm. The band list Meshuggah and Korn in their likes and a union of the two in many way best describes the impressive opener.

The following Neuralyzer gives no respite, immediately seizing the now tenderised senses and treating them to a concentrated tsunami of barbarous rhythms and predacious riffery. Like its predecessor the track is an uncompromising and unrelenting corrosion but also like the first it pierces the intensive examination with fiery grooves, abrasing vocal variation, and sonic twists which never leaves a second as merely a savagely single minded persuasion. Though less immediate then the first track, it weaves and flirts with an addictive invention which only ignites the imagination further, its atmospheric and evocative textures colouring the thought provoking insurgency of word and sound.

Buhguul permeates ears and synapses next, its sonic irritancy a beguiling lead into the caustic passion of the song and its matching destructively honed sound. The guitars stir up air and anthemic bait with their twisted grooves and virulent riffs, both designs stalked with primal intent by the dark tones of bass and horde like rhythms. The vocals as ever come with their own malicious defiance and accusation, Benducci an imposing instigator of threat and intimidation able to command proceedings whether the song is in unbridled rage or as to the climax of the third song laying an uncluttered web of emotive manipulation. Lyrically song and release also show no restraint in their anger, each track violently honing in on personal or the widest targets with no mercy or olive branch offered, truth and reality the overriding intent.

The closing Pieces Of Silver is monstrous, the most brutal predator of the release, every flex of muscle, each twist of sonic ideation, and all warped vindictive grooves nasty and virulently riveting. The track brawls and bruises relentlessly, suffering its instinctive drive but again the band surprise and engross with swipes of striking unpredictability and fascinating imagination within the torturous incitement, though it is much more subtler than in the previous trio of songs.

Descolada is a thrilling and powerful encounter from a band ready to break out into the widest world of metal. Certainly their sound is poised and though there are many bands sculpting similar furies, Ender has a prowess and invention which promises to truly set them apart in a crowded world if given the chance.

The self-released Descolada is available @ http://endermetalnj.bandcamp.com/album/descolada now!



RingMaster 30/04/2014

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Pray For Locust – In the Shadow of the Colossus

Photo by Hilda Arneback

Photo by Hilda Arneback

Like a venomously disgruntled nest of vindictive hornets, In the Shadow of the Colossus the new album from Swedish metallers Pray For Locust swarms over senses and imagination with hordes of vitriolic grooves, ravenous sonics, and most of all an inventive viciousness which is predatory in its more restrained moments alone. The second full-length from the Stockholm quintet is simply magnificent, a gripping maliciousness which stands amongst many in fusing metal and hardcore but alone in sound and enterprise.

Formed in 2009, Pray for locust has earned a more than decent reputation and loyal following with their live performances and debut album Swarm of 2010. It is safe to say though that the successor to the album and well-received Into the Ocean EP of two years ago is the band’s finest moment and the realisation of their place to the fore of raw, creatively antagonistic metal. Self-produced and mastered by Ronnie Björnström (Aeon, Live Elephant, Hate Ammo), the Discouraged Records released ravager is an exceptional beast with the potential to inspire.

The album seizes total attention right away as opener Bat Country wraps a sonic squall around ears before the band erupts into an PrayForLocust-InTheShadowOfTheColossusintensive persuasion of savage riffery and similarly destructive rhythms. It swipes the cobwebs away from thoughts and emotions immediately, the heavyweight metallic voracity of the track a potent co-conspirator with its hardcore roar. Vocalist Tintin Andersen drives the encounter to a new causticity upon the entrance of his uncompromising lyrical brawls and passion drenched tones, adding to the consuming immensity of the fury caging the listener. It is a masterful concoction, brief sonic hooks and longer lingering grooves superbly littering the muscular rage sculpted magnetically by guitarists Jerry Engström and Stefan Schyberg whilst the inventive rhythmic assault of Simon Corner cages and bewitches with another soaking of cruelty.

The towering start is just a warm up though as This Blackened Sky digs deeper and thrusts further into the passions with its contagious brilliance. Swirling sonic laces entangle the imagination initially, rhythms and vocals courting the intrigue with vengeful rapaciousness before the track settles into a darker and restrained parading of its animosity and imposing narrative. It is not long though before the urgency returns with uncompromising intent but it is happy to share time and space with the ‘gentler’ intrusiveness whilst also inviting a raw and infection driven swagger to help launch the chorus. The variation of vocals is also as incendiary and welcome as the revolving invention in sound and gait, it all ensuring every second, each twist of the track is irresistibly toxic.

Both Dead Mans Curse and Reap What You Sow provide rich fuel to the fire for the release ignited in the passions, the first cored by a understated but potent throaty bass suasion from Kvasi, a prowling agonist with a death metal scented malignancy. The bass provides a great snarl and depth to this, and to all songs to be fair but often elsewhere it is immersed in the mix too much for personal tastes but certainly here makes an open impact. The second of the pair of songs seems to take inspiration from the loftily soaring hostile flames and emotive enticements of its predecessor and spills a resourcefully dramatic provocation to its implacable body and invigorating body. Grooves writhe and seduce throughout the tempest, encouraging and tempering the anger of sound and vocals simultaneously in another excitingly shifting savaging. It is not as concerned with atmosphere and melodies as the previous songs but employs the same unpredictable and extensive ingenuity within its ferocity.

Talking of ferocious, the word hardly does justice to the wrath of Ten Thousand Dead, its heart bred from the purest punk hatred and structured with a multi-flavoured metal furore and endeavour which bands like Meshuggah, Lamb Of God, and Cancer Bats would devour. The following Our Last Breath continues in similar vein after emerging from provocative shadows clad in waiting predation. That fierce rabidity needs little waiting time though to charge as sinews and intensity overpowers the senses. Its rampage is additionally coloured by addictive sonic spirals and a rhythmic buffeting which splinters with resonating malice upon collision with ears. Twisting and flirting at times with blistering imagination, the bruising storm re-confirms the strength of the album and startling craft of the band.

 God of the Underworld flies for the throat with metalcore tendencies aligned to melodic poison next, vocals again an impressively varied enticement enriching the hues of the unrelentingly ingenious battle, whilst the following Statement spits and rages with merciless intensity, hardcore and metal merging for a raucous malevolence which enslaves thoughts and emotions brutally and completely. Though neither song quite lives up to earlier tracks, it is the excellence of songs before which is the difference and not any lack of invention and potent lures within the pair.

The album concludes with the ravenous and exhaustive virulence of Bad Blood and lastly Heroin Eyes, the first a glorious imaginative corrosion which rips the throat from emotions. The final song is a thrilling barbarous pillaging not quite matching the last song but bringing In the Shadow of the Colossus to a tremendous if not as memorable finale. Overall the album is a scorching agitator, one scintillating in sound and craft whilst providing an encounter which leaves psyche and senses basking in an enterprise rarely heard in the majority of hardcore bred releases. There is no need to watch out for Pray For Locust as after the album hits the world it will be impossible to avoid their storming presence we suspect.

In the Shadow of the Colossus is available via Discouraged Records now!



RingMaster 30/04/2014

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Cokegoat – Vessel


If an easy journey with scenic gentleness is the purpose of your musical intent then steering well away from Vessel, the debut album from Chicago sextet Cokegoat is advice to be heeded. The eight track release is a tsunami of imposing yet empowering sounds and invention; a tempest of stoner, sludge, and progressive metal which merges into a dramatically brawling and rigorously rewarding incitement. Riffs spew animosity and rhythms provoke with an even greater antagonism whilst vocals roar with eclectic venom across the consumption. It is a brutal and seductive onslaught, but one with equally ferocious veins of creativity and imagination which ensures every track ignites far more than just ears. The album is demanding from start to finish, often a punishing encounter, but mostly a tremendous debut roaring aloud the might and potential of these new provocateurs.

Consisting of Jeff Wojtysiak (vocals/guitar), Ed Nudd (guitarist/vocals), Rebekah Brown (keys/vocals), Chase Bentley (guitar), Tim Baldwin (bass), and Jordan Schultz (drums), Cokegoat has built a formidable reputation with their live performances alone which has seen the band sharing stages with the likes of Church of Misery, The Skull, Early Graves, Electric Hawk, Order of the Owl, Jucifer, Indian, Mount Salem and many more. Vessel though is set to ignite the widest and probably wildest attention with eagerly accompanying acclaim you can only expect such its intensive proposition. Recorded with Andy Nelson of Weekend Nachos and mastered by Carl Saff (Unsane, Red Fang, Earthless), the impressive album may not end up heading best of lists come December but it is a release which is intensely impacting and unforgettable.

As mentioned earlier the album is primarily bred in a mesh of sludge and stoner metal but the eclectic textures and sound of the release CGvesselcover1600_1600are just as potent and instantly on show as opener Fear the Followers rages against the ears. Launching a sonic rabidity matched by vocal squalls and punching rhythms, the track is a furious brew seeded in punk and hardcore. It takes the senses and expectations immediately by surprise and once wrong footing their assumptions, unfurls infectious grooves and a melodic acidity seducing appetite and imagination. Twisting and swerving with almost vitriolic endeavour, the song evolves into a riveting landscape of warm climes and intimidating shadows as a doom kissed weight lies eagerly upon the forceful roars and senses entwining sonic hues. It is a compelling introduction explored to greater heights by the following pair of songs.

Buried in the City entangles the listener in a web of sonic design and predatory rhythms straight away, the guitars winding tight evocative sirens of sound round thoughts whilst coarse vocal abrasing works on emotions, their graze tempered superbly by the underlying clean vocals which coax just as potently. The ambience of the song is erosive from the start but brews and accelerates its intense malevolence and rapaciousness to trap and enslave before the outstanding destructive crescendo of a finale gets involved.

The following Dogs is a predatory treat, its dark throaty bass opening a wonderful distorted lure which seduces the senses ready for the annihilatory prowl and disorientating psychedelic manipulating brought by guitars and keys respectively. It is an alluring entrance which only increases in contagion as the track settles into a sinew driven stroll with a captivating mix of clean male and female vocals encased in carnivorous riffing and caustic hooks. It is a bewitching suasion, one which never loses its strength of bait even when a fiery energy and urgency washes through the heart of the song, vocals returning to grizzled scowls and riffs to their contentious enticement. A truly mesmeric encounter which is evolving its presence and narrative right to the closing seconds, the track takes top honours on the album though it’s persistently challenged by tracks like the two parts of End of Your Life. Part 1 is a venomous almost bestial challenge but a provocation which makes for riveting submission, its primal riffery and rhythmic angst perfectly aligned to mystical keys and subsequently roving, virtually rampaging melodic invention. Its slow to grip start is a raging infection by its climax, something Part 2, tries to replicate, it also beginning with a fully immersive and restrained opening. To be fair restraint to Cokegoat is still a raw abrasion which strips senses mercilessly and scores emotions permanently. The track does not match its partner in persuasion or the earlier tracks, but easily continues the invigorating ravaging provided by Vessel.

Fly by Night, Pt. 2 is pure aural pestilence, its opening second the cue for a corrosive swamp of guitar and bass to beleaguer the senses whilst rhythms lash the body with cyclonic intensity, a metallic punk voracity again coursing through sound and band. That hunger and animosity is held tight as sonic adventure with progressive insight spills across the distressed canvas of the song. It results in another thoroughly engrossing and intensive examination, one contrasted pleasingly by Fly by Daylight. Whereas the hostile climate of the previous track devoured, the mellower seducing of melodies and warm enterprise here soothes the wounds, though a mix of charming and abrasing vocals continue to stand and at times scream face to face as keys bring a celestial spattering to the strenuous soundscape.

The track swallows the imagination with ease, a success matched by the closing Glorious Dead. The song is spellbinding, a sirenesque envelopment aligning to another barbarous though more respectful intensity which unveils and expands a weave of sonic adventure and melody kissed enterprise. It is a towering end to the album, alone unleashing all the might and riches of the band in songwriting, passion, and experimentation.

Vessel is not without minor issues, primarily the lack of variety to the predominate abrasing vocals, though that is more to do with personal taste, and at times a lack of toxins to make some songs a lingering venom away from the release. They are small nags though and cannot stop album and Cokegoat providing an impressive and exciting debut.

Vessel is now available digitally from http://cokegoat.bandcamp.com/ and on red vinyl from The Path Less Traveled Records



RingMaster 30/04/2014

Copyright RingMaster: MyFreeCopyright

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Trioxin Cherry – Let’s Take Off And Nuke The Site From Space

TC Photo by Holly Monroe

The excellent Hell To Pay EP in 2012 more than suggested that its creators had the potential to make a big mark on the UK punk scene but Trioxin Cherry go far beyond making a mere potent impression with their debut album, unleashing one of the real treats of the year so far. Let’s Take Off And Nuke The Site From Space is a virulent contagion of rock ‘n’ roll, a brew of garage and horror punk which sculpts its own identity whilst insatiably working on senses and passions. Carrying hooks like a gunslinger and grooves like a nocturnal temptress, the release is punk at its riotous inventive best.

The Nottingham bred trio as mentioned made their first sizeable impression with their Hell To Pay EP, a raw and magnetic five track release which stirred up eager attention and support for the line-up of guitarist/vocalist Rebecca Campbell, bassist/vocalist Pete Grady, and Ryan Murphy on drums. Their two song contribution to the Chainsaw Ballads split with Thirteen Shots and Razing Hell only cemented their promise and an eager appetite for their presence and sound. The releases certainly hinted at the possibility of big things ahead from the band but may be not to the extent offered by Let’s Take Off And Nuke The Site From Space or certainly as soon as its release. Since the recording of the album Murphy has departed the band to be replaced by Nathan Hart but he has left being part of a massive breakthrough and step for Trioxin Cherry.

The raw energy and intent of the previous releases has been retained in the new album but honed into a concentrated and clear proposition TC cover which simply ignites ears through to passions from first track to last. After a Japanese spoken intro, opener Baka Manko thrills and catches the imagination by surprise. Also sung in the oriental language, the song bursts into view like a robust caped crusader, muscles flexing and energy brewing for a riot. Riffs stride purposefully and rhythms stomp with crisp sinews but not for the last time it is the bass adding the danger to the character of the song. It has a grizzled throat to its prowl, a gnarly air which is infectiously toxic alongside the similarly virulent riffs and soon to charge vocal declarations. As to what the song is about who knows, but it matters not as the romp is irresistible and an open call to feet and imagination to climb on board with the awaiting rampage.

The brilliant Fly, Bill Murray! steps up next, riding on a rigid spine of grooves from bass and guitar punctured by again firm rhythms. It is a composed yet hungry stroll of rock with nostrils flaring in its intensity and inventive chorus. The song sees the band just as keen to twists vocals and harmonies as they are their sound, but never taking its foot off of its anthemic potency as it roars and badgers as a fiery climax comes into view before making way for the equally voracious Psycho Killer. Campbell takes little time to unleash a masterful howl as the new track establishes a predacious stalking of the senses, guitars climbing over ears with hungry riffs as the bass again bringing a bestial growl to the scenery. Caged by a similarly intimidating stroke from the drums, the song crowds and pressures the senses until submission is inevitable, wiry hooks and that grizzled bass temptation only adding to the addictive lure with Campbell’s vocals the icing on the bloody cake.

It is a massive start to the album which only builds and seduces the further you go, Good Day To Die the next triumph in line to steal the passions. Campbell brings her Fay Fife like tones out for the song, backed by some great vocal shadows from the band. The track is a real predator, lurching and glaring with withering riffs beside antagonistic rhythms, but it is the glorious twisted surf rock toxicity of the emerging groove which is the most venomous and scintillating temptation and helps send the track to the top of the pile.

Both the melodically sinister Wrong Turn and Let’s Take Off continue the slavery of thoughts and emotions, the first a blaze of discord kissed sonics and pacey beats lorded over by the ever fine tones of Campbell and plays like the result of a demonic act between The Rezillos and The Duel. The second of the pair launches from another deliciously primal bass sound, guitars soon replicating its lure in their own colours. The song swings and saunters belligerently as it gives the kiss of death to the world below, adding its rapacious stomp to the dust.

A reworked version of the acclaimed title track from the band’s EP comes next, Hell To Pay crafted into an even stronger and irresistible enticement than before. Cored by a sultry groove which worms under the skin within seconds, the bass again providing its own addictive dark poison, the song manages to brew richer hues and darker corners to it’s just as epidemically contagious incitement, a success matched by another revisit to a track from the previous release, Hit Me. This track again develops new toxins and depths to its original premise but also an even greater aggression to its defiant spite and avenging intrigue. With another groove which simply winds so tight around the passions that lust bleeds from pores, the track is quite magnificent and with the previously mentioned song makes the atmosphere tough for the song splitting the two to contend with. Not that the old school punk bred Ratbiter notices as it rampages with relish, riffs and rhythms abrasing with contentious brawls and badgering as ridiculously catchy hooks and another bass exploit provide something more to drool over. It is the storming chorus though that clinches the deal, its venom and enterprise sensational.

You Belong To Me is the most adventurous song on the release but also pleasing ‘messy’. Like a fog of intense sonic squalls and thickly clouded aural animosity, the song is the soundtrack to hell, a caustic hymn to the outbreak of ravenous cemeteries and waiting devastation. It’s a noisy maelstrom which works a treat and shows more of the adventure of the band and further hints of how strong the band is yet going to become.

The album is completed by the excellent Rebellion, a storming ode to the renowned UK festival. Starting with an acoustic caress of Campbell and guitar, the track explodes into one last stomp of punk rock. It is the perfect anthem to close the release, like a mix of Holly and the Italians and Flogging Molly. Do remember to hang on after its conclusion too, as a great acoustic version of the same track is hiding in the silence.

Let’s Take Off And Nuke The Site From Space is a massive festival of punk rock, multi-flavoured and diversely sculpted and proving that punk is always an essential proposition and Trioxin Cherry one of its new masters.

Let’s Take Off And Nuke The Site From Space is now available on STP Records (www.stprecords.co.uk) and @ http://trioxincherry.bandcamp.com/album/lets-take-off-and-nuke-the-site-from-space



RingMaster 29/04/2014

Copyright RingMaster: MyFreeCopyright

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Mars Red Sky – Stranded In Arcadia

mars red sky

When the worst you can say about a release is that some of its tracks are merely outstanding it is fair to assume you are in the presence of something special, as in Stranded In Arcadia, the new album from French band Mars Red Sky. The release is a glorious mesmeric adventure casting smouldering and melodically sultry landscapes brewed from stoner and psychedelic rock/pop with a healthy breed of doom seeded shadow to its depths. Even that description does not exactly colour the enthralling and spellbinding encounter, the eight tracks an immersion casting more evocative hues than a hazy summer sunset.

Consisting of vocalist/guitarist Julien Pras, bassist Jimmy Kinast, and drummer Matgaz, Mars Red Sky made their first acclaimed impact with their self-titled album in 2011. It put the band in a certain spotlight which led them to share stages with the likes of Kyuss Lives!, Dinosaur Jr, and Sleep around Europe and light up numerous festivals such as Eurockéennes de Belfort, Roadburn, SXSW, and Desertfests in London and Berlin. A spilt release in 2012 with Year Of No Light only added to their swiftly accelerating rise, an ascent cemented by their Be My Guide EP last year as well as a tour across Europe and shows in Latin America. Stranded In Arcadia though makes all that seem like mere appetisers for its glorious unveiling and If the band was busy and renowned before its release it can expect a tsunami of attention from now on.

A lone guitar caresses ears first, its distant presence an instant coaxing leading towards a senses plundering leviathan built by the bass and mars red sky coverheavy slow rhythms. It is an imposing proposition but one soon tempered by the soaring vocals harmonies which paint the song’s sky. The Light Beyond provides an enthralling start to the album, intrigue and sonic mystique enveloping the imagination whilst the drums conjure rhythms with invention and adventure. The voice of Pras brings another smouldering texture to the developing scenery, his smooth flowing syllables sparking fiery guitar enterprise amid greater intensity as the weight of the track bears sizeably down around the stalking bass predation within the constantly evolving terrain of the song.

It is a bewitching proposition challenging and seducing with skill and dramatic poise and swiftly matched in stature by Hovering Satellites. An immediately more rapacious encounter in riffs and intent, the song stomps with a voracious energy aligned to an infectious festivity. It leads the listener into dark intimidating avenues but with a vivacious smile to its melodies, vocals, and atmosphere which shields from the dark realms of the premise. It is a thrilling encounter but soon left looking paler by the following Holy Mondays. It is sheer majesty straight from its opening jazz lent guitar temptation courted by lean rhythms and percussive coaxing. The sultry but subdued start is soon strolling boldly with contagious riffs and an addictive groove before levelling out its gait for a warm caress of vocals and psyche driven guitar. It is a mesmeric treat but still waiting to unleash its strongest lure, a sirenesque chorus of psychedelic pop with glam rock essences swinging their hips within its compelling flame. More anthemic than a gun to the head, the song becomes a virulence which is inescapable, a lingering seducing which has you smiling broadly as you anticipate its return as a slower beauteous fire plays with the imagination. That stomp does leave another dose of aural manna, seizing even greater control of feet and passions to shape another plateau for the album.

The dark almost antagonistic entrance of Join the Race pushes the diversity and walls of the album further still, its slightly funereal gait retaining a small swagger to its devilment as vocals and melodies tease its stubbornness. To the united contrasts the band weaves expressive designs to embrace and lace thoughts, leading the imagination into a new world of spatial heights and cavernous depths. The band’s skill at interweaving light and dark, peace and danger is exceptional and even more impressive ins their ability to entwine it around a rhythmic frame which never feeds expectations.

The celestial spice of the song is spread more intensively with Arcadia, an instrumental sculpting a psychedelically lit passage of exploration through sizzling sonic expression and dark stalking reflections, guitar and bass an evocative merger haunting and soothing thoughts and visions like puppeteers. All tracks have the same potency, but in particular this provides an episode to mentally and emotionally investigate with fresh rewards through every flight of its journey.

Circles explodes and infects the psyche next, its blues scented sonic phrasing an absorbing narrative alone but graced by the soft smooching of vocals and the dazzling rhythmic conjuration, the song is a melodic hymn for body and soul. It is an irresistible tantalising but soon left in the wake of the quite brilliant Seen a Ghost. The strongest stoner essences welcomes its opening gambit, guitars crooning teasingly as rhythms shuffle rigorously and adventurously through the continually growing canvas of the track. Already an ardour is awakened but it is the cultured stroll and punchy rhythms clad in a breath-taking melodic infection which ignites their full allegiance. Interlocked with expressively ambient bred passages, twisted stoner enticements, and melody seeded ravages, the chorus provides climatic yet calm crescendos which simply set the track into a new ferocity of ingenuity. Not only is it the best track on the album, it is the best song heard this year so far and leaves a touch of frustration when it transforms into the closing track Beyond the Light, a rich and sonically distorted instrumental which washes the senses with its tempestuous finale to the album.

     Stranded In Arcadia is sensational, a giant of an album in sound, songwriting, and presence. Whether psychedelic/stoner/heavy rock has ever sounded this good is a question which Mars Red Sky now has us asking.

Stranded In Arcadia is available via Mrs Red Sound / Listenable Records now!



RingMaster 29/04/2014

Copyright RingMaster: MyFreeCopyright

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Loudblast – Burial Ground


Acclaimed as the first French death metal band and just acclaimed across underground metal worldwide over the years since forming in 1985, Loudblast add another magnificent coal to that fire with new album Burial Ground. It is a beast of an album creatively and brutally; an inventive and explosive provocation which continues the band’s impressive evolution of sound. Merging resistance free grooves, barbed hooks, and a greater contagion into their old school genre seeded sound, the Lille quartet have sculpted their finest slab of imagination savaging incitement yet.

The bands career has seen many notable turns in their potent ascent since those far ago beginnings. Early albums such as Disincarnate and Sublime Dementia in 1991 and 1993 respectively making the first striking marks on a wider attention as did shows with bands such as Death and Coroner. The band has continued to evolve and in some ways reinvent their sound without losing the core and base which makes Loudblast such a potent antagonist. As mentioned Burial Ground is the band’s most diverse adventure yet, certainly across the album but even more so within the songs themselves, each pushing its boundaries and investigating new tendencies in their designs. It continues the impressing elements which made predecessor Frozen Moments Between Life And Death in 2011 stand out, just to stronger, deeper, and more imaginative levels. Parading a line-up of bassist Alex Lenormand (ex-Locus, Code, Sic), lead guitarist Drakhian (Griffar, ex-Taake, Black Dementia), drummer Hervé Coquerel, and vocalist/guitarist and founding member Stéphane Buriez, Loudblast have set a new benchmark not only for themselves with Burial Ground but potentially also European death metal.

A Bloody Oath sets things off, an enticing lone guitar inviting attention before the band descend with heavy weight and patience upon 1017035_10152064896733091_3717457620419097246_nthe senses. Riffs and rhythms build a formidable threat, both casting an intimidating web of further menace driven by the dark tones of bass and predatory vocals of Buriez. It is a slow stalking which eventually finds a trigger to charge rapaciously through ears with incendiary riffery and controlling rhythms, all again under the menacing guide of the vocals. The track continues to twist and turn in gait and attack, a delicious passage of bass temptation swiped by caustic blazes of guitar and roaring vocals sharing its spoils whilst winding its tempting across the walls of the song a sonic lure makes its own enticement before once the track with greater relish returns to its striding intent.

The song is a masterful and compelling start, employing grooves and classic metal flavouring but just the appetiser for greater things ahead though initially its impressive standard is simply matched by the forceful challenge of Darkness Will Abide. The song strolls with resourceful bait from guitars and drums courted by even darker bass probing. There is a thrash element to the album and certainly on the second track it brings an infectious urgency to an even paced but volatile tempered track. The song continues to entice and lure greater appetite for the encounter, feeding a brewing hunger for the full meal of Ascending Straight In Circle. A single guitar also makes the first coaxing for the song, its emotive strains a spark awakening the imagination ready for the voracious narrative and aural confrontation to follow. Rhythms pump their muscular intent straight away whilst riffs consume ears with similar passion, both building a trapping wall. Within this incendiary exploit riffs and malevolent climates soak and seduce thoughts and emotions, they and the slowly emerging and slightly demented grooves which come either in small spats or with unbridled toxicity, infectious bait. Fusing plenty of classic and groove metal vivacity to the charge of the song’s heart, it is an irresistible slice of invention driven maliciousness.

Assumptions that this was the pinnacle of the album are soon put in their place as Soothing Torments steps forward, its predacious entrance a stalking of the senses. It never moves away from this intent but colours the subsequent ravishment with more toxic and vicious grooves driven on by crippling rhythms and an intensity which grins gleefully as it smothers and consumes the senses. The flair of the guitars inflames the track further whilst its aural drama and hungry rabidity ignites a rapturous submission to the annihilatory pressure.

The melodic caress of From Dried Bones to a military rhythmic skirting takes its big slice of appetite next, especially when it slips into a rigorous canter with contagion spilling hooks swinging from intensive riffery. It is a mouthwatering start which as you are climbing on board, pulls the floor away and brings a hellish demonic breath and atmosphere over a doom clad weight and intensity. The two gaits of the track eventually merge for a storming conclusion to the enjoyable onslaught, followed right away by the dark cavernous depths and consumptive weight of The Void which suffocates ears and emotions. It is a demanding and exhaustive stealing of light and hope, a pestilential asphyxiation which tests the listener but provides just enough lifeline of accessibility to keep them engrossed in its taxing offering.

The closing stretch of the album is its most arduous but with just as many rewards and pleasing twists as the first part of the release, both Abstract God and I Reach The Sun unleashing a virulent causticity which accentuates the spite of rhythms and the voracity of the riffs. The first of the pair also lays down a captivating and alluring passage of carnivorous riffery speared by sonic prowess and spiky grooves whilst its successor toys and manipulates senses and psyche with an onerous yet invigorating weave of sonic and melodic seduction.

Closing track The Path is a towering protagonist, it’s epically honed intentions and sound a maelstrom of ravished emotions, rhythmic vitriol, and sonic cruelty but brought with a technical and artistic skill aligned to descriptive endeavour which paints an intrusive landscape for the imagination to immerse within. It is a monstrous finale to an excellent and intensive album proving that Loudblast just seem to get better and better; experience and maturity breeding greater invention and explorations within the band and constantly forging new highlights for metal.

Burial Ground is available via Listenable Records now @ https://www.facebook.com/listenablerecs



RingMaster 29/04/2014

Copyright RingMaster: MyFreeCopyright

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Full frontal rockin’: an interview with Harvs of Jackson Firebird




  If you are looking for undiluted, no thrills, but highly addictive rock ‘n’ roll then checking out Australian rockers Jackson Firebird and their debut album Cock Rockin’ is one of those essential things to do. A heavily flavoursome and voraciously passionate, not forgetting riotous, collection of songs, the Napalm Records released brawl is one of the treats of this and 2012 with its staggered release. We had the pleasure to explore the world of Jackson Firebird with guitarist/vocalist Brendan ‘Harvs’ Harvey, talking about the beginning of the band, the album of course, tour secrets and plenty more….

Hey Harvs, welcome to the site.

Can we start with the beginnings of the band? How and when did you and Dale (Hudak) meet?

Well we first met when we were a lot younger, it’s not really hard to cross paths in a small town if you’re a musician. So we first met in a small band that was started years and years ago way before Jackson Firebird.

Was there an instant inclination to work together beyond that first link-up?

Not really, it was that early on in the piece that we hadn’t even really thought about playing in other bands, it was just the band at the present time, although towards the end of that band’s demise you could say, we were the only two rocking up to practice each time so it was just the two of us from a really early stage.

You hail from Victoria; how rewarding a place for emerging bands and in particular rock and metal breathing propositions is it?

Well if you were hailing from further down south in Melbourne you might have had more around you but living in Mildura felt so isolated from the rest of the world, it’s a bit of a strange thing to be doing, very underground. No internet in the early days, just hot metal magazines and whatever records our parents had!

Did you find any obstacles to your uncompromising honest in the face rock ‘n’ roll in those early years or it was pretty much accepted with the same eagerness as now?

Ah it’s pretty much the same as it’s always been! We just like doing what we’ve done; it’s why we started doing it. We enjoyed having a few beers and playing some rock n roll and to venture out into pubs and to play it live, and the receptions been rad so we’ve always just rolled with it!

We do have to ask the boring question, how did the band name come about; any particular meaning or inspiration for it? Jackson Firebird 2

We always thought we were a bit of a bogan band starting out. One of my first guitars was a Jackson Firebird and we use to think that was probably the most bogan guitar you could have so it just rolled off the tongue and ended up sticking to it like shit on a blanket!

Your debut album Cock Rockin’ has just had its worldwide release with Napalm Records. Did you have any particular expectations or hopes with its unleashing on the basis of its successful persuasion of the Australian rock fans and scene in 2012?

We were excited to get it out into Europe; it got received well in Australia. We thought it would be great to see how Europe reacted to it as they do like their Rock n Roll over there! And so far it’s been really good! We’re stoked!

It is fair to say that there is a devilry to your sound which as the album title suggests has a straightforward unbridled thirst for fun and simply rocking its rocks off. Has this form of rock always been your main inspiration growing up and on your songwriting or is there a more eclectic taste also beavering away inside?

Our sound just comes from us wanting to have fun. If its sounds like fun in the jam room and we have fun playing it, well that’s the way we’re going to put it down regardless of what people think. Um, we’ve always listened to stuff that we’ve enjoyed obviously, but I think having that fun element of playing it, if it’s fun to play- it’s never going to get boring for us. We just like rockin’ out and having a good time! As far as influences go, we grew up on a lot of metal. Your Pantera right through to the Easy Beats…The Allman Brothers, Beastie Boys…Blues Explosion- all that kinda stuff, I think subconsciously that stuff just starts to come out into your song writing without meaning to, but I think that’s a good thing having those traits come out. Could be worse- you hear a lot of shit on the radio!

What would you say are your most potent influences then?

Mine personally would be the Easy Beats, Blues Explosion, Bog Log right back to your RL Burnside ya know with the blues ‘n’ all that. I think for Dale you’d have to say Pantera and the Allman Brothers….and Elvis.

How does the songwriting process pan out between you more often than not?

Ah a lot of the time we just come up with it in a good jam. We get the riffs goin’, then try and work a melody out as ya may notice in the tracks that the lyrics are pretty complicated! Ha! But um, quite often than not Dale will come in with a melody and we’ll take it from there and build something up around it. There’s no set structure to a Jackson Firebird song, it just comes out and if it’s enjoyable playin’, that’s the way it’s gonna go down. As you may notice there’s a lot of Mother Fuckers in there- we don’t plan for that but it just fits!

The album is a fiery and raw slab of raucous adventure which sounds as if it is live inside the ears. How did you record the songs in the studio?

Recorded the tracks all live to tape. It’s a thing we wanted to try and put across- the Jackson Firebird show is what we’re all about. As far as recording goes to capture that, we tried to take all the takes, drums and guitar, live down onto the tape and then build from there. Tracks like, Rock Solid are just one take. Vocals, the whole works…as you can hear Mick Wordly, the producer say at the start of one, “When ya’ll ready….”

524_jacksonfirebird_cmykDid any of the tracks take on a new character in the studio environment or is what we hear on the album more or less the riots we would find in your live shows?

Ah definitely. I think the live shows are heavier and louder. Also we did the album over a long period of time, just due to time restraints and just doing it off our own back in the early days, bit by bit, some of the songs probably evolved as you can probably hear with Sweet Elouise and Quang Dang um, a bit different to ya Cock Rockin’ but all in the same vain…Just stripped back down, Rock n Roll.

Tell us about that recording process for Cock Rockin’, the time taken and adventures had.

Cock Rockin originally no titled to be held on that…we had decided in our lifetime we wanted to put an album out, and just went off our own back, found a guy that we heard was really good with tape audio, um, we got a hold of him and locked down into is his studio and basically when we had the time started the record. We did it over a 14 month period. On the weekends we’d drive over 400kms from Mildura to Adelaide and do a day or 2 in the studio. I think overall, time on the album was about 12 days! It took a lot of time to make it but we weren’t in any hurry and we weren’t stressing to push it out to try and get labels or sell it…it was all about just achieving that goal of ours to make an album. I do recall putting the first 6 tracks down on the record and after having such a long period of time to listen back (back before heading into the studio) I think the next time in there, poor Mick, we told him we were gonna scrap the lot, we recorded them all again in only one session -thinking they sounded heaps better, then went back again about a month later and of course decided to go back to the fuckin’ originals!!!

Did anything come out of the recording which you have or will explore further in the next release?

I think it’s always gonna evolve. I think we definitely learned cool shit about tape. Sound wise, maybe this time we won’t go for such a live take…might try the more conventional way of just getting the drums down and building it up from there. We always jam live in the booth so after that take- if we get it we get it and if we don’t we’ll work on it from there. T’is gonna be bigger, badder ‘n’ better!

It is around two years between the Australian and this release of the album, is the feeling the same the second time around?

Is just as exciting coz it’s a totally different territory. We got to showcase our wears in another country that we’re not familiar with at all so it was just as exciting as the first time! Having already played the tracks for years we certainly honed in on ‘em and changed a few things here just to put a live spin on them and put on a better show.

Were you tempted to also tweak anything for this unleashing or had you already moved on to concentrating on your next endeavour in the period between releases?

I think once you record a record it pretty much captures that place you’re in at that time, I think to go back and tweak anything is a bit of a dick think to do. So we just left as is. That’s Jackson Firebird in that time, that’s how we sounded. We are certainly well underway into our second album and its sounding pretty huge so we’re looking forward to getting it out!!!

You have just finished a European tour, how did that go? Jackson Firebird

Tour was nuts! It’s still so fresh since coming back. Hopefully the memories will start coming back soon! But ah putting 19 shows down in 20 days was something we hadn’t really expected to do in the early days but it was damn good fun and we got to see 7 different countries! Crowd response was awesome, sold a lot of merch and yeah we had a killer time on stage and good parties with the other bands!

And any interesting stories to tell?

I think the beauty about being on the road, you never know what to expect…one night we stayed in the same room as ‘Horizont’ some kick ass rockers from Sweden and can remember the bass player vomiting on the ground next to the guitarist as he passed out, then supposedly the guitarist woke up in the middle of the night to the bass player pissing on his face!! Ha-ha always gonna remember that kinda shit and I’m just glad it wasn’t us hey!!!

What comes next for the band and for us from you?

Next for the band…we got a few weeks home them we’re off to Brazil to play some rad festivals over there, or down there, or wherever the hell it is! We’re certainly looking forward to getting another album out. We’re in the middle of recording that- we’ve recorded half of it in Austin, Texas and we’ve done quite a lot of demo work to finish the album off so really looking forward to getting stuck into that and getting a release date out…would be nice to get it out by the end of the year and then get our asses back to Europe!!!

Thanks for sharing your time with us.

Would you like to leave us with a final thought?

Like five wise men said…. Rock n Roll ain’t noise pollution!!!!

Thanks for your time. Harvs JF

Read the review for Cock Rockin’ @ https://ringmasterreviewintroduces.wordpress.com/2014/03/28/jackson-firebird-cock-rockin/


Pete RingMaster

The RingMaster Review 28/04/2014

Copyright RingMaster: MyFreeCopyright

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