G.R.I.M – Answers

GRIM

Having laid down their web of devilish temptation with the Sounds Like These EP, UK experimental rockers G.R.I.M return to increase the irresistible toxicity of their mouthwatering revelry with new single Answers. Again the Manchester hailing quartet twists the essences of numerous styles into their own unique and virulently compelling contagion as the single builds on their striking debut. Creating a stronger and more startling canvas of sound upon which the band sets free a riotous maelstrom of anthemic rhythms, imposing textures, and a psychotically charming inventive seductive, the track is a demon puppeteer to feet and psyche. It unleashes merciless bait throughout, a tempting which holds more unpredictable turns and deranged enterprise than to be found in the dark corridors of bedlam, a proposition which just inspires similarly raucous reactions

Formed in 2011 Great Riddims In Mind, better known as G.R.I.M, took little time in recruiting a fervour soaked local following with their fusion of styles such as dubstep, hip hop, dub, metal, and drum and bass to their sizzling noise rock core. To be fair any labelling is redundant when the foursome of vocalist Lance Hargreaves, guitarist James Glenn, bassist Nathan Larkin, and drummer Kyle Larkin cast their creative net of intensive rhythms, scorching guitar blazes, and vocal chants, and that is just simplifying their songwriting. With a serious reputation for thrilling live performances around their home city across renowned venues such as DryLive, Roadhouse, Sound Control, Antwerp Mansion, and Retrobar, the band certainly raised potent attention with their first release but it is in the outstanding Answers where you feel the trigger to wider recognition lies.

The single opens with a restrained stroking of guitar which is soon aligned to pumping beats and coaxing vocals. It is a skittish recruitment Answersof attention and appetite, sounding out the senses ready for the imminent expulsion of wantonly swinging grooves and wildly adventurous beats ridden by feistily enthused vocals. In full flight the track twists and flirts like a rapacious lap dancer as melodic toxins and hypnotic rhythms veining and puncturing the swerving rampancy. Playing like a meshuga planted by a union of Hadouken!, Lazy Habits, and Great Imitation with the extra relish of Swound!, the track soon has passions enslaved but it is only the start as it swoops into an atmospheric deviation, glorious orchestrated flames reaching to the sky as a Shrikes like disorientation and experimentation works on the senses. That exploration then evolves into a hip hop shaped lunacy, the song lifting its knees to its creative chin to wrong foot assumptions before moving once more into a delicious Mike Patton like invention.

The song continues to entwine those characters whilst adding new aural voices across its riveting climactic body, all the time sending waves of contagion and anthemic fuel into the passions. Seemingly increasing its thumping stride and urgency as it nears its conclusion, Answers is a predatory enticement with cracked intentions and irresistible weaponry which not only realises the promise suggested by the band’s last EP but uncages even greater potential for their sounds and an impending spotlight coated stature which you just know G.R.I.M will be exploiting ahead.

The single also comes with an equally dramatic and thrilling video directed by Joshua Leo Dorfman and produced by G.R.I.M and Fallout Productions. It brings its own enthralling premise and larger than life colour to the song, its story and cast as dynamic and energetically agitated as the thrilling song itself.

G.R.I.M is one of Britain’s most exhilarating and exhaustingly inventive secrets though Answers might just make that a soon to be well recognised mystery.

Check out the Answers video @ https://www.youtube.com/watch?v=k13smeVyrLw

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10/10

RingMaster 07/05/2014

Copyright RingMaster: MyFreeCopyright

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David J Caron – 9 Singles

DJC

Making a dramatic mark with his 2012 debut album, not only in size but its quality and infectious presence, multi-instrumentalist/ producer/composer David J Caron returns with new release 9 Singles, a release which as the name suggests is a collection of singles. Consisting of singles taken from not only the previous release but also his forth coming full-length, the album is obviously a leaner and most direct encounter compared to his twenty eight track epic Thru Ever Ending Black but also a magnetic entrance into and bridge between his past and future creativity. It also arguably makes for a more tempting lure with its more traditional size and that has to be a good thing as to miss out on the persistently compelling and thoroughly enjoyable eighties bred melodic rock from the man would be criminal.

A resident of Ireland, Caron merges a wealth of enticing flavours to his instinctive merger of classic and melodic rock. It makes his music as evidenced by the last album, a tasty proposition which appeals to fans of everything from those already mentioned styles to those of melodic metal, hard rock, classic metal, progressive rock, and more. There is certainly eighties power/pop metal feel to the songs which against our personal preferences makes for a very surprising but highly pleasing and appetite sparking pleasure. What the toxin is which makes us enthusiastically head its way is hard to say but like for so many others it is there and is virulently successful. Caron creates music which is simply contagious as well as impressively crafted and presented, but it is that infectiousness which steals thoughts and emotions where other similarly fuelled artists fall by the wayside. 9 Singles has all the proof needed to prove that point, each song an infestation of ears which in their varying degrees easily light senses and emotions.

The release starts with one of the new songs from Caron and it takes mere seconds for Claim Your Victory to lay down a tasty teaser for 9 singlesthe new album. Opening on a sonically shimmering glaze of keys with stabs of guitars and bass joining its coaxing, the song embraces ears with melodic ease as the vocals of Caron soon add to the warmth of its touch. It is rapidly into an eager catchy stride, resonating and pulsating with a masterful blend of sinewed rock and electro tempting recalling the success of the last album whilst offering something fresh. It is fair to say there is not a massive leap between the new tracks and the older ones but certainly a fuller and broader smile wraps every note and melody which engages the senses.

The following Sometimes Never Comes Soon is also a new encounter and immediately has ears soaked in a crystalline electronic breeze ridden by the ever appealing voice of its creator alongside a throaty bass enticement. The song is a less urgent incitement but as the first brings a blaze with golden winds of electronic suasion and entrancing melodies within a sturdy frame of rhythms and that appealing dark bass. There is also an anthemic potency to Caron’s songs which means this one alone is an easy capture of voice and feet just like Time Machine, which originated on Thru Ever Ending Black. The track brings a mellower though no less attention grabbing enticement which oozes infection from its opening canter to the developing rock pop evocation which brews its irresistible persuasion throughout. For all the great melodic and skilled craft Caron permeates every track with, the dark voice of the bass again brings that extra tinge of pleasure, its shadowed tones the perfect temper to the glowing melodies enveloping everything in sight.

The other new songs come next, the tantalising Do You Remember with its mesmeric casting of aural light and then the excellent Omniscient Flames. The first of the two is a radiant gallop of colour bred melodies and spatial hues which absorbs attention like a sponge whilst its successor shows a new twist of invention within the release and the evolving writing of Caron. Once again it is the bass which steals the passions first as it initially takes centre stage with its almost bestial call and invitation into the new encounter. Its industrial twang is pure magnetism providing an irresistible canvas for the flowing beauty of the keys and sonic colouring to bring to life. Those keys weave and swoon around the imagination like an innocent temptress, embracing the darker riches veining the now fully unveiled proposition. It is a show stealing moment which breeds certain anticipation for the new album.

Both the more intensively sinewed sculpted Comin’ to get you and the electronically woven Unbreakable take the listener on a soaring progressive flight of eighties rock induced melodic endeavour in their particular different but similarly engrossing ways whilst the closing pair of Escapin’ Back and This is Now, without inspiring the same levels of rapture, ensure the album signs off its impossibly alluring success with vivaciously pleasing and lingering propositions.

There is little which can be offered against 9 Singles to suggest any restraint in checking it out. Certainly if eighties melodic rock does not appeal then the album might not be an unqualified success but then that era was a dead end for us but Caron provides a new potent take on the scene with his music and definitely this ‘greatest hits’ like triumph that we cannot stay away from. There are no brand new courses for rock being sculpted by the release but for unbridled thrills and enjoyment this is a definite whole hearted recommendation.

9 Singles is available now @ http://davidjcaron.bandcamp.com/album/9-singles

http://davidjcaron.com

8.5/10

RingMaster 07/05/2014

Copyright RingMaster: MyFreeCopyright

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Battleroar – Blood of Legends

BATTLEROAR_PROMO1

The six very quiet years since the release of their third album To Death and Beyond… in 2008, has seen Battleroar deal with line-up changes which has seen half of their key personnel change. Whether it is merely that which has brought the lengthy absence we cannot say but certainly with the release of new album Blood of Legends shows that the Greek heavy metallers have not lost any of their passion and creative fervour. In fact it has been intensified in many ways with the new release proving to be the band’s most potent encounter yet. It is fair to say that the album is not quite an unbridled success offering moments which only simmer in attention and emotions but for its main Blood of Legends with its anthemic weaves of epic and power metal with undertones of folk evocation, leaves imagination and satisfaction alive.

Formed in 2000, Battleroar has become one of the most notable bands within the Greek metal scene, from their self-titled debut album in 2003, through its well-received successor Age of Chaos two years later and the acclaimed To Death and Beyond…, the Athens hailing sextet has forged a reputation and fanbase spreading far across Europe. Taking inspirations from bands such as Manilla Road, Cirith Ungol, Manowar, Jag Panzer, and Heavy Load into their own adventures, their sound has evolved and stretched to encompass richer flavours and depths across their releases, Blood of Legends providing the most expansive offering yet. As mentioned earlier changes in members occurred between releases; the loss of guitarist Manolis Karazeris and vocalist Marco Concoreggi hitting the band in 2009. Temporary replacements in Stelios Sovolos on guitar and John Papanikolaou (ex Innerwish) on vocals though filled the gaps alongside band founders Kostas Tzortzis (guitar) and Nick Papadopoulos (drums), and violinist Alex Papadiamantis. The following year saw guitarist Antreas Sotiropoulos permanently take over from Sovolos with bassist Stavros Aivaliotis and new vocalist Gerrit Mutz joining the band in 2011 and 2012 respectively. All the changing has not tempered or defused the rigour and invention of the band in songwriting, sound, and simple presence; as stated previously seemingly it has only put a fire in the belly of the beast which roars quite captivatingly across Blood of Legends.

Finding lyrical fuel from again Greek mythology, the album opens with the atmospheric scene setter Stormgiven. Opening within a cruz67_300dpibrewing tempest, the instrumental is a bewitching piece of acoustic endeavour and emotive ambience, guitar and violin graceful caresses which awaken attention within crowding shadows and awaiting intensity. The song immerses the imagination into the scenery of the impending adventure, cold and warm textures coaxing thoughts with an emotive enveloping cast by the riveting strings of the band. The track makes way for the immediately gripping The Swords Are Drawn, a feeling of passion and flexing sinews coring the riffs and rhythmic framing round the sonic call to arms. With an urgent canter and insatiable appetite to its epic breath the song seduces with ease, the vocals of Mutz backed forcibly by the band adding to the inescapable bait.

The uproar of the track is instantly tempered by the harsh and cold atmosphere of Poisoned Well, its touch portentous especially with the melancholic croon of the violin which joins the shadowed ambience. Once the heavy weight of rhythms, bass, and riffs slowly stroll around the landscape of the premise a merger of hope and intimidation converge provocatively on thoughts. The prowling intensive beats of Papadopoulos add stronger enticement to the rapacious presence and edge of the narrative but it is the bewitching flames bred by the violin which colours the inciting canvas most vividly. With flaming flights of sonic enterprise and contagious expression to the vocals, the track lays down an early pinnacle to the already impressing release.

The following title track brings a thick and healthy drama to proceedings though it fails to match the early successes in stirring up the passions. Once again though the infectious canter which the band spine their songs with its irresistible whilst the individual skills of the band conspire to weave a bold and muscular picture for mind and appetite to eagerly indulge in. From its incendiary finale the song makes a gentle farewell as next up Immortal Chariot dawns on another epic impression, horses and carriages of war driving across the entrance of the track before it surges with energy and emotion across blazing celestial skies. As its predecessor the track is an absorbing proposition which just fails to rouse a storm in the emotions though that is soon taken care of by both The Curse of Manea and Valkyries Above Us. The first of the pair unleashes a menace and danger to its rigid stride of riffs and intimidating percussive beckoning almost instantly; its pressure and imposing bearing a thrilling provocation and diversity within the album. The dark intent of the track though is perfectly veined by and blended into a sultry seduction of violin and the impressively descriptive vocal tones of Mutz whilst a mystical toxicity flirts with and enlivens the passions further. It is a glorious encounter which ensures the senses are treated to an antagonistic climax. An outstanding carnivorous bass growl and ravaging riffery punctuated by bone splintering rhythms assaults the ears for an ardour drenched reception befitting the best track on the album though it is soon rivalled by its melody washed successor and its soaring epic breath and equally towering sounds equipped with piercing sonic hooks and virulently infectious almost siren like melodic design.

In many ways the rest of the album lays in the shadow of those two songs though the battle hardened Chivalry provides an appealing clash of venomous shadows and scorching melodic light whilst the highly emotive and engrossingly layered Exile Eternal places thoughts into a cauldron of tantalising aural scenery. Neither sparks a major outburst but both ensure album and band retain an inspiring and lingering grip.

Closing with Relentless Waves, an instrumental epilogue to the emprise enjoyed, Blood of Legends is a powerfully magnetic encounter which draws you back into its venture time and time again with consummate ease. Battleroar has not returned with the true epic you just feel is there inside them but undeniable have provided a rich and compelling appetiser which pushes them further towards the summit of epic invention.

Blood of Legends is available via Cruz del Sur Music now!

http://www.battleroar.com

8/10

RingMaster 07/05/2014

Copyright RingMaster: MyFreeCopyright

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Vestal Claret – The Cult of Vestal Claret

JIM_7697

Brewing up a dark and increasingly compelling mix of heavy and doom metal with occult metal bred toxins, US death rock/metal project Vestal Claret unleash their first release since recently signing with Cruz del Sur Music. The Cult of Vestal Claret is a deviously addictive encounter which revisits older songs alongside new and leaves the imagination blissfully corrupted and appetite alive for the band’s subsequent conjurations.

The album brings recorded tracks from the band’s split with Ungod in 2012, a reworking epic encounter which made up the band’s split with The Kissing Flies in the same year, and four new songs including a Black Sabbath cover. It is a mixed bag but one which leaves appetite hungry and pleasure invigorated as the release casts its intensive and imposing weighty design over the senses. Released as a nine track CD or a six song vinyl, each offering one encounter exclusive to itself, The Cult of Vestal Claret is a potent entrance into the dark spawning of the band for newcomers and a pleasingly rewarding addition to the passions of existing fans.

Vestal Claret is the creation of vocalist Philip Swanson (Hour Of 13/Seamount) who met Simon Tuozzoli (bass, guitar, organ, vocals) CRUZ66_COVER_300DPI_RGBwhen recording his occult heavy metal ideas at the studio the latter ran; linking up the duo emerged as Vestal Claret. A couple of demos in 2007 led to a split with Atlantean Kodex the same year which itself was followed by a couple of EPs, Worship and Lost Loved Ones in 2008 and 2009 respectively. Debut album Bloodbath two years later drew stronger and eager attention the way of the band with its CD release last year raising extra appetite for this, Vestal Claret’s first offering since signing with their new label. As ever theming their songs with the dark side of the human psyche employing references to Occultism, Satanism and other uncompromising imagery, you would understandably suspect that The Cult of Vestal Claret coming with a multitude of old already released songs would have a disappointing edge to it but it is fair to say that the pair, with Michael Petrucci providing the drum work, infuse plenty of refreshing aspects to the songs to make them it a sizeable reward.

Looking at the CD version, the album opens with the immediately captivating Never Say No. Its initial touch is a drizzling melodic haze veined by distant whispers but is soon smothered by a rigorously coaxing wave of sinewed riffs, crisp rhythms, and enticing sonic endeavour. Into its feisty stride the vocals of Swanson bring appealing expression to the emerging narrative, the restrained chorus with both artists united in voice, especially potent anthemic bait. The track is a nagging proposition across the bulk of its magnetic body with irresistible grooves and flares of melodic enterprise infesting ears and thoughts for a thoroughly contagious start to the album. One of the new songs on the album it alone reveals the potential and maturing invention of the band ensuring future horizons are as keenly anticipated as this release was.

The following Three and Three Are Six is a touch of an anti-climax, though the great throaty bass tones and seductively gifted hooks soon have emotions on board with the infectiousness of the track. The song continues to swagger and stomp purposefully with its metallic lures and muscular intent but the dramatic spark which lit its predecessor is a more dormant fuse within the cloudier presence of the track. All the same it is an excellently crafted and catchy blaze of intensive metal endeavour leaving a hunger for more, which the title track next tries to offer. The Cult of the Vestal has a raw and darker essence to its rapacious prowling of the senses, lyrically and musically reaping malevolence for its invasive premise. Again there is a niggling repetition to the focus of the track which only increases its temptation though it is the heavily breathing intensity which awakes the imagination with its provocative smothering most forcibly.

The exclusive song to the CD comes next and steals the honours within the release. Great Goat God is a thrilling incitement with a reined in rampancy which threatens to slip its chain throughout and a bewitching venomous coating to grooves and deeply scything hooks which insidiously worm under the skin. From the excellent vocals to the stalking riffs skirted by antagonistic beats, the track seduces and enslaves the passions; its blues soaked imagination flirting with the inventive sculpting of the guitar whilst adding to the insatiable and impossible to refuse toxicity of the song. It is the pinnacle of the album and almost alone the reason to grab the album.

Both The Demon and the Deceiver and Piece of Meat which were originally on the previously mentioned EP with Ungod, keep ears and appetite contented though neither can step up to the same plateau as the previous track. The dramatic air and emotive shadows in the first of the two makes for a mouthwatering proposition which leads the imagination into exploring its depths to the excellent acoustic accompaniment of the guitars within a threatening squall of ambience. The track is a real grower and really benefits from the fresh brushing up for the album whilst the second of the pair rampages with addictive jagged grooves and fiery sonics as it spreads a heavy metal fuelled smog over ears. Again it is a song which takes time to fully grip but with the great incessant groove which cores its flare it was never really in doubt, especially with the distant but alluring keys adding extra tempting.

The sixteen minute plus Black Priest is masterful and epic journey through the skills, songwriting, and creative vision of the band. The track is an intensive journey in itself, a perpetual evolution through dramatic sceneries amidst sonically coloured landscapes with psychedelically kissed melodies and stirring intensive hues hinting at intimidation and danger. The track is simply enthralling, if a little too long so that intrigue for the following songs before their time shows its face at times, and just adds more depth to the promises of richer things ahead.

The closing pair of Who Are You, that Black Sabbath track and new song The Stranger are decent enough but to be honest after the last epic encounter and the other impressive moments of the release are a bit of a damp if enjoyable squib. That may be a touch harsh but certainly they lack the wares to light up the room and emotions as shown on other tracks though still give the album a skilfully presented and appealing conclusion.

The Cult of Vestal Claret is a very solid and at times scintillating encounter which can only drew a new hungry crowd into the arms of the band’s potent sound.

The Cult of Vestal Claret is available via Cruz del Sur Music now!

Vinyl album listing

Never Say No Again

Three and Three Are Six

The Cult of the Vestal

The Stranger

So Mote it Be

Black Priest

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8/10

RingMaster 07/05/2014

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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