Morass Of Molasses – Ashtabula

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Following the success of their debut single Rotten Teeth, its equally devoured video, and an acclaimed BBC Introducing headline slot at The Oakford Social in Reading, UK riff sculptors Morass of Molasses unleash their second single Ashtabula. The track shows another side to the Reading based trio, exploring a livelier swagger and expressive energy, not forgetting sonic intrigue compared to the heavy predatory weight and stance of its predecessor. The song also equals the potent temptation and impressive creativity of the first single before taking it to new infectious levels easily showing why the track has become a fan favourite in the band’s live shows.

Approaching the end of its first year of existence, Morass of Molasses has become one of the most highly anticipated and intensively imposing rock bands to emerge in the UK, their sludge fuelled, stoner coloured dirty rock ‘n’ roll garnering praise and fevered attention from fans and the critical media alike. The threesome of baritone guitarist/vocalist Bones, guitarist Phil, and drummer Chris, have become an eagerly sought after focus for a growing horde of passions which the new single can only fuel further. As mentioned it offers a distinct new character to their sound; band founder Bones commenting on the track recently saying, “This song has seen many evolutions, but now rests as a firm favourite with the crowd during our live set “, also revealing that “For those who like to delve deeper we will be releasing a studio-shot video to accompany this very soon

Ashtabula initially lays down a sonic mist where from within firstly the guitar of Phil begins casting a precise and intriguing design soon joined by the crisp rhythms of Chris and the dark throaty tones of Bones’ strings. It is an imposing and engaging start which the band, with the same unpredictability which marks their first single, takes into a magnetically unexpected stance of expressive vocals over a restrained and earthy ambience. A mighty stab of drums sparks intensively weighted riffing to show their persuasion, speared and entwined by delicious and skilfully sculpted sonic flames. Yet again it is only one movement in the journey of the song, searing melodic toxicity and sonic rapaciousness spellbinding senses and imagination subsequently whilst the expressive growls of Bones push the dark lyrical shadows and investigation deeper.

The track is a scintillating fire with contagious sinews and addictively grooved temptation, another aspect to the face of the band’s songwriting and invention and a leap forward in sound and craft from their outstanding debut.

Available as a ‘Pay what you want’ Download from http://morassofmolasses.bandcamp.com/track/ashtabula the single is the next mighty and striking step in the rise of Morass Of Molasses, a band with the potential to bring British heavy rock dramatic and new inspirational adventures.

Upcoming gig dates for Morass Of Molasses

Wednesday 9th April – The Boileroom, Guildford

Saturday 12th April – Upstairs At The Garage, London

Sunday 13th April – The Facebar, Reading

Thursday 1st May – The Registry, Portsmouth Friday

http://www.facebook.com/morassofmolasses

9/10

RingMaster 03/04/2014

Copyright RingMaster: MyFreeCopyright

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In Progress – North Atlantic Echoes

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Bracing, seductive, and thoroughly captivating, the sound of US progressive/experimental rock band In Progress is an absorbing evocation which works on the imagination just as potently as ears and emotions. It is a proposition impossible to pin down but easy to embrace as proven by the band’s sophomore album North Atlantic Echoes. Consisting of seven tracks which combine cinematic adventures with emotively driven moods and sultry climactic landscapes, the band’s new release leads senses and thoughts into evocative embraces, enveloping them in atmospheric caresses and imposing yet welcoming ambiences. The closest comparison which comes to mind is Scottish band North Atlantic Oscillation, an encounter the title of the album points at whether intentionally or by coincidence, though ultimately In progress crafts a presence which is distinct to them.

The New York/Los Angeles based band consists of John Dillon (vocals, guitar, bass, programming, and additional keyboards) and Jake Rosenberg (keyboards and additional programming), who take inspirations from artists such as Nine Inch Nails, Tool, Devin Townsend, Faith No More, Thrice, Ulver, Chroma Key, and OSI into their inventive explorations. Their debut album Signal Failure of 2011, which featured drummer Mark Zonder (Warlord, Fates Warning, Slavior), drew good responses from fans and media which with its release a couple of weeks ago, North Atlantic Echoes andits own special guests, most notably keyboardist Kevin Moore (ex-Dream Theater, co-founder of OSI, Chroma Key) and even more experimental and expressive designs has already started emulating.

The warm touch of Tones From a Twisting Verse opens up the immersive embrace of the album, its poetic musical tones immediately caressing senses and thoughts. Keys cast a reflective ambience around the ears, their orchestral grace and smouldering shadows an emotive colour enhanced by the vocal harmonies in flight within. Its scenery unveils within a piano narrative soon joined by the slightly monotone yet warm and melodic delivery of Dillon. The song envelops and leads the imagination into a melancholic and enchanting evocation darkly coloured by the emotional prowess of the duo and their mesmeric sound.

The following Thunderstorms is similarly dark in feel and shadows with a bright bewitching core which glows like a beacon of hope with reflective flames; it a look back to inspirational moments seemingly lost in the drifts of time. As maudlin as its predecessor in many ways, it is also a livelier lucent hug for the imagination; the excellent mellower vocals as transfixing as the inciting words it delivers and the shimmering sounds around them. The song merges dark and light with poise and glorious temptation, becoming a richer potent persuasion with each taking of its provocative account.

The intriguing nintendo-esque rhythmic coaxing of next up Chasing Ghosts, which opens up the track and persists with its kinetic smile throughout, pleasingly leaves expectations lost for words. The track is an evolving drama but an inventively reserved premise for vocals and lyrics to colour with stimulating endeavour. As its predecessors and the album as a whole, the song again grows melancholic seeds into a sonically luminous blossom, its shading and smouldering fire stoked by the additional craft of Moore, the song the first of the trio he joins the band on. Cloudburst straight after is the second. The track has a portentous air to its emergence, epically throated electro expulsions clouding the sky with imposing textures as keys flit through its mass with shards of light and mystery. Dillon is joined vocally by the sirenesque voice of Hwei Ling Ng, their vocal extremes a compelling enticement within an equally captivating climate of sound. With an additional mystique to its melodic waltz and emotional fascination, the track absorbs senses and passions with rhapsodic beauty, its presence urging thoughts at times of Nine Inch Nails and Ministry in their very early synth pop days.

Both North Atlantic and Thorn Yard engulf body and mind in glistering textures and melodic kisses, the first initially glancing across the senses with glimpses of the soon to evolve ambient pop enterprise. It is a firm first touch but feeling more of a caress as the heavier yet and equally celestial embrace of the song takes hold. Graced by the angelic harmonies of Lauren Edwards above and around Dillon and a potent sense of loss which soaks sound and lyrics, this theme common across the release in many personal and easy to relate to guises, the song is another enchantment to drift from reality within. Its climactic build to a somber last hug draws in thoughts and memories ready for its successor whose opening piano and vocal union with a rosy dramatic air to their union sparks thoughts of eighties artists Black, and though its fails to rise to the same heights of earlier songs, the unpredictable flames of effects and fiery crescendos simply enthral.

North Atlantic Echoes is an album which certainly makes a strong suasion in its first encounter but grows into something immensely epic and irresistible over time, final song Graveyard Snowfall with guest touches from again Moore and Edwards, bringing evocative hues to an already spellbinding romance of shadows and lost loves, closing up the tremendous adventure potently. As mentioned the album needs as much time as you can give to reveal the extent of its passions infecting potency but rewards with creative experimentation and emotive emprise which is quite beautiful.

You can stream the album or name your own price for the download at the following link: http://inprogressofficial.bandcamp.com/

 

https://www.facebook.com/inprogressofficial

9/10

RingMaster 03/04/2014

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Kill Ritual – The Eyes Of Medusa

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Having been thrilled and impressed by their debut album The Serpentine Ritual in 2012 and more than intrigued by the single Harder Than Stone earlier than this year, anticipation was high for the sophomore full-length from US metallers Kill Ritual. Though it probably took longer than its predecessor to fully convince, needing a more intensive attention and time discovering all of its twists and compelling turns, The Eyes Of Medusa easily feeds expectations and hopes with its inventive and diverse flavouring. The album is one which continues the band’s skilled fusion of thrash and heavy metal with a wealth of fiery additives as shown by their debut but pushes a wider imaginative adventure upon this potent canvas. There are moments where success ebbs and flows a little within the release but it is an unrelenting captivation which even in its less potent moments is never far away from igniting the imagination and a very healthy appetite.

Kill Ritual was formed in 2010 by Imagika guitarist Steve Rice and drummer Wayne DeVecchi, who continued their union to explore and push on the music they were already working on before the demise of the band. The line-up was soon completed by the addition of former Eldritch guitarist Roberto Proietti, former Dark Angel bassist Danyael Williams, and vocalist Josh Gibson. Released through Scarlet Records, the band’s brew of progressive and classic essences with a thrash driven core caught immediate attention through The Serpentine Ritual, a release which was unpredictable and compelling from start to finish. Unleashed by now a quartet of drummer Gee Anzalone (Brain Damage) alongside, Rice, Gibson, and Williams, The Eyes Of Medusa is much the same; whether an acceleration of its predecessor’s triumph is still in debate but certainly it is a release which stands by its side in quality, surprises, and enjoyment.

Mastering by Rice and Andy LaRocque (King Diamond, Hammerfall, InFlames), and produced by Rice, the GoldenCore Records/ZYX Music kill_ritual_The_Eyes_Of_Medusareleased album steals the passions instantly through its opening title track, the entrance of the song through a wonderfully nagging lure of jagged repetitious riffs immediate magnetism especially with the subsequent fall of heavy rhythms and dark throated bass strikes. The additional emerging web of melodic temptation only steals a richer intrigue before the proposition unleashes a charge of thrash bred voracity. The track surges with sinews flailing air and intent ravaging senses whilst vocally Gibson parades a strong and varied display which matches the equally eventful and resourceful narrative of the song. It is an impressive invitation into the album, guitars a fluid colour of imagination and craft across a canvas of hungry rhythms and riffing which highlights further the eloquence, raw power, and striking invention of the offering.

The following Hair Trigger struggles to match the stunning start though it still leaves a satisfaction which keeps attention and appetite fully locked into the release’s grip. A classic/power metal spine thrusts the track urgently through the ear, its thrash intent similarly loud and enveloping but the spark of ingenuity which veined the first is less vocal thus feeding expectations more. Despite that with another great vocal diversity to his presence Gibson alongside the guitar of Rice light the senses and emotions to please with a more than accomplished slab of muscle bound rock ‘n’ roll. Its successor Never Get Me is much the same, a very decent and engaging slice of metallic persuasion presented with the expected craft and enterprise of Kill Ritual but lacking that essence of originality and ingenuity which ignited the album’s start and much more of its body to come.

Ride Into The Night is prime heavy metal and like the previous pair satisfies but fails to light any fire in the belly of itself and the passions before The Eyes Of Medusa launches into a greater inventive turn to return to its earlier glory. Weight Of The World slams headfirst into ears with a storm of thumping rhythms, snarling riffs, and an intensive breath. Grooves entwine their infectious tempting around a reawakened hunger, lacing the ears with addictive bait matched in success by the again impressive range of vocal styles, the spoken dark tones irresistible, and a sonic enticement which sends sparks across air and senses. Virulently contagious the track has the pulse rate racing ready for the equally rapacious Writing On The Wall, a track which stands tall with vivacious rhythms framing sonic flames and rich melodic hues. It is a thoroughly captivating rampancy which throws an enthralling curve ball as the song flirts with gothic shadows and progressive textures whilst exploring its roaring imagination.

The seeming power ballad premise of Just Another Sin reinforces the wide songwriting skills of the band with its emerging predatory sound and carnivorous energy before My Little Sister provides the album with another pinnacle. A tempest of raw and dirty rock ‘n’ roll fed with an antagonistic metallic rabidity, the track stomps and seduces with old school breath and thrash voracity tempered and enhanced by melodic metal temptation. Veined by inescapable hooks and a barbed rhythmic slavery, it is a masterful capture showing the band as capable of rock pop as unbridled thrash consumption.

The album ends with another couple of triumphs to make it a must investigation of 2014, the first Unleashed employing the mix of darkly spoken vocals and scorched clean delivery again to great effect and persuasion within a similarly convincing antagonism of hard rock and heavy metal filtered by the aggressive skill which makes Kill Ritual a constantly rewarding protagonist. As the album, the guitar skill and enterprise of Rice seduces as does the impressive vocal variety and strength whilst rhythmically Anzalone and Williams makes an irrepressible cage. Final song Agenda 21 is our favourite, its sinister presence and continually changing character of sound scintillating. From a mix of Anthrax and ArcticFlame, the track turns into a bestial demon before another twist sees a funked up blaze with essences of Suicidal Tendencies to it, at times a more Infectious Grooves infestation thrilling. It is a glorious stomp with grinning mischief and insatiable ingenuity running riot across its creative and riveting body.

    The Eyes Of Medusa is another tremendous exploit from Kill Ritual which warrants close attention to its plentiful bounty as it provides a sizeable treat.

http://www.facebook.com/KillRitual

http://www.killritual.com

8/1o

RingMaster 04/04/2014

Copyright RingMaster: MyFreeCopyright

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Delain -The Human Contradiction

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The release of The Human Contradiction cements a long held thought here that Dutch symphonic metallers Delain is one of if not the most exciting and refreshing band in the genre and melodic metal. The band’s fourth album is a spellbinding fire of seductive vocals, inescapable virulent hooks, and a carnivorous metallic enterprise which never dulls its impact and success no matter how many times the songs prey upon ears and passions. Their most ravenously inventive release so far, the nine track adventure shows a creatively bolder, broader, and potent Delain.

Their second release on Napalm Records, after last year’s more than decent Interlude, a release of new songs, covers, and live tracks, The Human Contradiction is a dramatic follow-up to their acclaimed and impressive third album We Are The Others of 2012. It takes the established power and imagination of the band into a new incendiary journey where every aspect from aggressive incitement to melodic painting and vocal conjuring creates a ricer canvas and palette for thoughts and emotions to paint vast evocative narratives with. Once again sculpted from the expansive songwriting of band founder and keyboardist Martijn Westerholt, singer Charlotte Wessels, and long-time musical partner Guus Eikens, the Fredrik Nordström and Henrik Udd mixed album with mastering by Grammy Award winner Ted Jensen, is arguably the band’s most complete work, bringing the darker tones and expression of their earlier albums with the sultry melodic grace and richness with was loudly hinted at on the last releases. It results in a confrontation which serenades and embraces the senses whilst chewing up the ground beneath them.

Looking at humanity’s ‘them and us syndrome’ and how it relates to those perceived as ‘different’; the ‘otherness’ first approached upon We 535_Delain_RGBAre The Others, and taking its title from the post-apocalypse trilogy Lilith’s Brood by Octavia E. Butlers, The Human Contradiction instantly engulfs imagination and passions with its opener. Here Come The Vultures is a quite sensational welcome into the album using a simple union of the constantly impressing voice of Wessels, soothing vocal harmonies, and a music box like enticement. It is an evocative coaxing which embraces thoughts as the keys of Westerholt adds some dramatic shading before the explosion of predatory riffs from guitarist Timo Somers, the dark hearted basslines of Otto Schimmelpenninck van der Oije, and the fearsome swings of drummer Sander Zoer. The track intimidates and excites instantly, smothering the senses in an intense and towering persuasion cored by the siren tones of Wessels. Not for the last time on the album there is something familiar to the proposition, a rewarding and powerful enchantment which captures an instant allegiance from mind and heart.

From the huge passions foraging exploits and ingenuity of its predecessor, Your Body Is A Battleground presents its own suspenseful and masterfully magnetic tale. Again a gentle invitation makes way for a climactic adventure within a heady cage of composing riffs and rapacious rhythms lit by glorious horns of melodic fire. As you would expect the band and album welcomes guest contributions and the second track sees the returning vocal force of Marco Hietala (Nightwish), his voice a caustic blaze alongside the temptress tones of Wessel as the track climbs all over the senses with another exhaustingly creative narrative. Fierce and elegant, the song takes the listener on a rigorous ride, danger and majesty washing every note and syllable.

The following Stardust steps from a shadowed rhythmic heartbeat with emotive vocals cupping ears in an expressive atmosphere which at first courts the passionate angst of the lyrical call before flaring up with torrid hues of fire bred melodies and invasive intensity. The song is toxic in its drama and passion drenched suasion, and quite irresistible as is its successor My Masquerade, a hypnotic fusion of dark realms and rock pop virulence which seduces and overwhelms at every turn. The shadows provided by the bass and the noir lit ambience of the keys crowd the senses as the mystique of the emerging tale strokes the imagination, again the merger of bordering of metallic hostility and heart enlivening harmonies artistic alchemy and the venue to soaring pop bred choruses, though they too are prowled by deep dwelling vocal tones.

Tell Me, Mechanist steps up next and takes little encouragement to begin savaging ears with an excellent furnace of djent inspired rhythmic antagonism and similarly destructive riffing though as always Wessels and keys keep a rein on it all to create a masterful and compelling balance. The grievous side of the song finds a protagonist in the guest guttural intrusions of George Oosthoek (Celestial Season-vocals, Doghouse Gallows-drums), another highly successful vocal confrontation and union with Wessel explored.

In many ways the latter end of the album takes longer to win over the passions then the first though it is more down to the incredible impact the first few songs make than any failing of tracks like Sing To Me and Army Of Dolls. The first of the two sees the excellent re-appearance of Hietala in the passionate melancholic waltz of the song whilst the second expands an electro theme to its expressive premise though it is soon immersed in a not exactly solemn but certainly a sobering raw exploration. The track again captivates with ease saving its finest enticement for the electronic /vocal stomp building to a quite exceptional exotic breath before its heated finale.

The album is completed by the bewitching Lullaby and its beauteous melodic grace within a raptorial aggression and The Tragedy Of The Commons which features Alissa White-Gluz (ex- The Agonist). The track has an epic feel to its imperious shadows and dark depths which both Wessel and White-Gluz bring alive stealing the show from the rest of the band. Though lacking the same strength of previous tracks it is a fine end to a new masterpiece from Delain. For personal tastes there are few as adept and skilled at recruiting an immediate hunger and connection with their ever fluid and drama clad sounds, or as mouth-wateringly inventive and unpredictable within symphonic metal. With the outstanding The Human Contradiction the band has taken it to another contagiously unique level, and you still feel they have only begun tapping into their full potential which is just exciting.

http://www.delain.nl/

9/10

RingMaster 04/04/2014

Copyright RingMaster: MyFreeCopyright

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Jargon Party – Self Titled

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The debut album from US band Jargon Party is an encounter which equally tests and tempts the senses, a proposition which concerns and spellbinds simultaneously. It is a release which maybe will not find a welcome with everybody though at its heart there is a seductive revelry and potency which refuses to relinquish its magnetic hold. The solo project and release of Zach Lewis, the album challenges and stimulates from start to finish, its sound heavily influenced by The Beatles and sixties pop whilst fusing plenty of invention and tasty flavours from indie to punk, surf to garage rock. Its biggest lure is the wonderful continuous drift of discord which soaks every aspect of the songs but its main and really only issue are the vocals of Lewis. Though successful at times his voice struggles with notes or vice versa, to defuse enough of the undoubted qualities of the songwriting and the generally thrilling sounds, something you can see putting many off before giving the release a chance. As it stands the album is an engaging and imagination feeding satisfaction but with a more accomplished singer it is easy to suggest the release would be stirring up passions and being talked about loudly.

Originally from Brooklyn and recently based on an Island off of Portland, Maine to record his new album, Lewis creates a lo-fi, garage feel to his sound which easily grabs ears and an healthy appetite. Jargon Party began around two years ago after Lewis moved to New York City aged 22 after years of playing in different live bands in Richmond, Virginia. The band was initially a six strong proposition before other projects and personal interests saw members leaving and the band dwindled down to a duo and subsequently just Lewis. A multi-instrumentalist, having learnt as many instruments as he could since a child, Lewis recorded his debut in his apartment and that of drummer Dave Charboneau who contributes to the album also. Released last year but still drawing in attention, as ours, the album parades openly the inspirations of the man, the likes of The Kinks, Arctic Monkeys, Of Montreal, Radiohead, Wolf Parade, and David Bowie adding to the loudest soak of the previously mentioned Liverpudlians.

Exploring ‘the ups and downs of life and love’, the album opens with Isabella a masterful romp of garage rock; sultry guitars entwining fab four like vocals whilst rhythms romp with a lively smile and mischievous suasion. The sixties lilt to the melodic stroll of the song and psyche teasing revelry to its touch makes an absorbing and exciting  start to the album, like a feisty mix of The Kingsmen, Thee Headcoats, and The Youth. Everything about the song is a contagious incitement bridging nostalgia and modern imagination to set the release and anticipation off in fine style. That heady expectation is soon well fed by the intriguing Internal Clock. The bass and guitar coax thoughts and emotions from the first second whilst delicious washes of discord providing unpredictable bait to devour eagerly. The effected wrapped vocals also add to the lure of the song, their touch shading the first signs that the vocals may be a weakness on the release. The wrong footing twang of the sonic designs continues to ignite a hunger towards the release, its confident and carefree provocation on ears and assumptions a very pleasing toxicity. With guest keys from Lydia Velichkovski adding to the mesmeric mayhem, Jargon Party keeps its initial grip firmly in place.

The following Lucy Melanie unveils a fifties rock ‘n’ roll swagger to its romp, vocals again cloaked in effects for the sixties pop bred dance though their hold on notes and harmonies begin to show signs of wear. Like the opener, the track slips easily through the ear musically offering garage rock seeded pop to breed very willing participation whilst the twists of discord and direction succeed with thoughts and satisfaction. The lo-fi, DIY touch of the production and recording also adds to the potency of this and all songs, its rawness hiding some of the sins and accentuating the nostalgia spawned voice of songs.

The smouldering croon of I Want to so Much embraces with appealing tempting, especially with the celestial twinkling of the keys though Lewis gives it too much to overcome with his delivery to match the previous tracks; it much the same with Surf Rock Anthem 7 though its opening provocation of dark moody basslines, crisp rhythms and punk guitar sets up an infectious incitement which persists across the whole of the undiluted garage punk dance.

The slow psychedelic pop of Giraffe fails to capture any real hold on the emotions, mainly because of those vocals again, though it takes corners and flavoursome turns which again shows the strong promise of Lewis and the project, whilst next up Under the Sun with its bluesy guitar flames and thick climactic melodic heat proves the enjoyable variety to the sounds bred in the album.

The release is completed by Will You Space Tonight and Sky Pilot, two tracks distinctly different to the others with further spatial investigation within psychedelically toned atmospheres and dream pop embraces. The first of the two is a decent enough flight whilst its successor thrills more with its evolving landscape which takes in scenery from progressive and psychedelic pop through to noise rock and eighties indie rock. It is a great end to a release which ultimately captivates with its excitable invention.

Vocally Lewis should reassess his options for greater success but musically Jargon Party, project and album, shows plenty to warrant being given proper attention.

https://www.facebook.com/JargonParty

http://jargonparty.bandcamp.com/album/jargon-party

7/10

RingMaster 04/04/2014

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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