Voice Of Ruin – Morning Wood


When a band’s bio starts with, “Voice of Ruin was born in 2008, driven by the common desire of five Swiss farmers who dreamt of leaving the family farm and becoming rock stars. Hungry for success and recognition, the five strapping young lads abandoned their shovels and harvesters to take on a different type of instruments, with the goal of becoming icons of sex, alcohol and rock ’n’ roll (or horny famer metal),” you cannot help offering it highly intrigued attention whilst also making inevitable assumptions. As shown by their new album Morning Wood though, the band whether by design or just by natural instinct do not realise the complete tongue in cheek encounter imagined. Certainly lyrically the songs upon the release come with a humorous swagger and intent bred from their ‘background’ but musically what you get is highly accomplished and passionate, not forgetting inventive metal. Like a mix of Lamb Of God, Sylosis, and The Black Dahlia Murder with plenty of extra additives, sound and album captures senses and imagination from start to finish. Admittedly severely original moments are as scarce as udders on a bull but it cannot stop Voice Of Ruin from providing a rigorously enjoyable onslaught.

Plucking relevant info from their farmyard history, Voice Of Ruin first made a mark with their debut EP The Crash in 2009 to be followed to greater acclaim by their self-titled album two years later. Its success led to the band breaking out into Europe with album and their live presence, countries like France, Russia, and Ukraine overwhelmed as the band’s homeland by their ‘Horny Farmer Metal’. Going onto share stages with such bands as Caliban, The Black Dahlia Murder, Entombed, Textures, Tankard, Sylosis, God Dethroned, Benighted, Dew Scented, Sybreed, Do Or Die, Breakdown Of Sanity and many more, the Nyon hailing band now uncages Morning Wood to take another step in cornering the worlds metallic dairy market.

Welcome To The Stud Farm makes an intriguing and impressive entrance to the album, guitars casting a web of sonic enterprise and voice_of_ruin_morning_woodenticement around crisp rhythms and a throaty bass lure. Its presence and energy intensifies deepens into its minute and a half as it feeds the imagination a colourful and magnetic bait leading to the following Party Hard. The second track launches itself with a roar from Randy Bull exploding within rampant rhythms, a torrent of riffs, and another immediate weave of temping scorched melodic endeavour crafted by guitarists Nils Bag and Tony Cock. It is a fiery proposition, nothing startlingly dramatic but potently gripping and skilfully unleashed.

The strong beginning continues just as pungently through both Through The Eyes Of Machete and Day Of Rage, the first delivering a coarse battering of rhythms from drummer Oli Dick and antagonistic riffery veined by acidic grooves. The track almost spirals around the senses with its excellent guitar play whilst the bass of Erwin Van Fox stalks with a dark resonance. The encounter is another elevation in the release but it is the glorious unveiling of clean vocals cast by Van Fox within a more reserved passage which steals the strongest satisfaction and shows the potency of the songwriting and invention within the band. Its successor is a natural predator; from its first gnaw of riffs and the toxic breath which covers air and the varied squalling vocals a bestial yet resourcefully sculpted scavenger. It is an unrelenting incitement which ravages senses and emotions for another pleasing assault, the twisted grooves and the simple voracious urgency of the track irresistible.

The unbridled ferocity of The Rise Of Nothing consumes ears next, its intensive pressuring from the first second led by a superb carnivorous bass stalking and vindictive rhythms whilst its core canvas is a breeding ground for heavy metal colour and virulently tempting hues painted and sent soaring by the excellent guitar work. As mentioned earlier there are few times that the sound and songs throw you a curve ball in originality but it has to be said and epitomised by this track alone, that working its alchemy under the surface of songs is a bewitching flow of dramatic invention and contagious unpredictability, it is just you have to work to see it as openly as it deserves.

Both the title track and its successor Viols Désinvoltes provide thoughts and pleasure with further captivating adventures, the first at certain moments wrapping its uncompromising aggression and serpentine hostility with absorbing flumes of clean vocals which takes the track from a strong if expectations feeding level to something of a pinnacle on the album. It is not the vocals alone which make the difference though, piercing and technically thrilling invention equally effective as it spills out from the tempest to great success as the track leads into the second of the pair. The most anthemic track on the release, and the most hostile with its industrially kissed fury, the new song is pure sonic rancor framed by equally adverse rhythms and vocals; raw metal moonshine of the most toxic potency.

   The following Cock’n Bulls and the instrumental Today Will End descend with their own inhospitable bodies next, both belligerently intrusive and appealing. The first infusing a southern twang and groove to its admittedly increasing persuasive torrents and the second emerging from a black hearted storm with deliberate winds of sonic painting and reserved but still unstoppable intensity. In many ways neither matches earlier triumphs but do reveal more of the scope and skills of the songwriting and band whilst providing further variety to the almost pestilential attack overall of the album.

The trio of the salaciously jaundiced Sex For Free, the severely bruising Big Dick, and the closing creative storm that is Dirty bring the truculent album to a senses wasting close; the first of the three with its poisonous melodies and barbarous rhythms the most contagious and exciting of the closing stretch. Morning Wood is a thoroughly enjoyable ravaging even if one which keeps well within the walls of existing designs and when it does offer undoubted invention and mouthwatering ingenuity leaves it under a thick wash of almost uniformal surface rapaciousness. It means you have to work to discover the elements which set the band apart more than imagined but those rewards are full and impressive. So forget the image and gimmicks behind the sounds if new to the band just indulge in one very healthy and mischievous slab of bovine strong metal.

Morning Wood is available digitally and on CD now via Tenacity Music.




RingMaster 06/05/2014

Copyright RingMaster: MyFreeCopyright

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Out For Tomorrow – You’ll Find A Way


There seemed to be a rather healthy wave of anticipation for You’ll Find A Way, the debut album from UK alternative rockers Out For Tomorrow and now having had its collection of melodically bred encounters roaming around ears and imagination it is easy to understand why. Consisting of ten skilfully crafted and passionately delivered songs which manage to seduce and incite with resourceful enterprise and vivacious energy, the release provides a richly promising and impressively accomplished full introduction to the Bristol quintet. It is fair to say that the album does not light big fires in the passions at any point across its flowing adventure but it certainly captured the imagination and bred a keen appetite for itself and the band’s horizons.

Taking inspirations from You Me At Six and Taking Back Sunday into their own ideation, influences which make the most potent comparisons across the album also, Out For Tomorrow soon after forming had attentions turning their way with their feisty live performances which including sharing stages with the likes of Lower Than Atlantis and Deaf Havana and then their first EP World On Your Side last year. The release sparked a bigger spotlight across the country and was followed by Bring Me The Horizon guitarist Lee Malia getting in touch with the band, leading to them working on new material together alongside producer Phil Gornell of Steel City Studio. The result is the impressive You’ll Find A Way, an album which stirs up a sizeable impression for itself.

Opening track White Noise emerges with a ticking coaxing, its entrance a timed fuse to an evocative and emotionally intense premise OFT - Cover - Low Res #1which does not explode but offers a captivating and potent first caress with a magnetic initial lure of chipping stabs and melody soaked flames from guitarists Jack Isaacs and Ashley Scott. The thumping but restrained rhythms of drummer Ben Havercroft also make a strong bait for thoughts and appetite to seize hold of; it all combining for an appealing enticement prowled by the slightly covered but impacting bass of Lee McGarel. The song swells and flows engagingly around the senses but it is the impressive voice and soaring tones of Ben Lumber which seal the deal for a striking start, a beginning just as powerfully and enjoyable continued by Give Me A Reason which flows from within the first song. Holding a punkish breath and sinew to its body, the track like the first casts a potent impression and as it proceeds, it’s stretching arms of melodies and vocal harmonies within a cage of provocative textures only reinforcing the reactions. There is rich infectious air to the song too which persists even within the fiery intensive moments that consume ears.

Both the radiantly contagious Your Shining Star and the vigorously smouldering One Last Time inspire a stronger hunger for their sounds, the first a pop punk seeded croon which again is more than happy to strength its walls with a muscular frame entwined in inventive sonic charm whilst the second spreads from a sultry opening suasion into an emotive blaze which roars and simmers alternatively to tease out reflections. Both songs keep enjoyment high and the album under a firmly attentive gaze, and though originality is not as vivid as the sounds it’s lacking is impressively replaced by the craft and inventive endeavour of the band.

   Strike A Match is another song which arrives on a stirring train of intrigue and thrilling enterprise though unlike many others it holds onto its striking character and temptation once the heart bred melodies and harmonies blow hot and powerfully across the landscape of the track. Infusing an almost metallic incitement to its riveting body, the track is a virulent fire of contagiousness and expression which subsequently provides the pinnacle of the album.

The brief You Belong With Me makes for a mesmeric and enchanting interlude before the throaty triumph of If I Could Have You, with another unveiled impressive bass stroll matching the similarly colourful guitar hues, and the climactic You Are Your Own Enemy lie lingering persuasions upon thoughts and emotions. Again there are no major surprises but over time and numerous adventures with the album, unpredictable twists and underlying creative invention emerge to increase the weight and strength of the propositions.

The album closes with two more highly pleasing encounters in the immensely effective shapes of The Nicest Thing and Take My Place, the pair again carefully and passionately crafted songs which leaves the release as a memorable finale. With You’ll Find A Way, Out For Tomorrow has easily appeased any anticipation and expectations likely to have been awaiting its release and though it does not quite light a fire in the belly of voracious thrills it easily uncages the strength and potential of the band and like so many others for sure we will be watching them very closely.

The self-released You’ll Find A Way is available now @ https://itunes.apple.com/gb/album/youll-find-a-way/id868159995



RingMaster 06/05/2014

Copyright RingMaster: MyFreeCopyright


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