Rage of South – I See, I Say, I Hear


Unleashing their presence to a wider audience with the release of debut album I See, I Say, I Hear, Italian metallers Rage of South show themselves to be a highly enthralling proposition with the potential to make major inroads into the metal scene with their fiery creative sound. Merging the voracity of thrash metal with the inventive twists and nuances of nu-metal, with plenty more flavouring the brew, the Sciacca quartet captivate the imagination from the first minute of their full-length to its dramatic last. Arguably the band does not really create anything powerfully new for ears though their songs twist and challenge more often than not in a fresh and vigorously provocative way which sets band and certainly the album out from the crowd.

Formed in 2006, Rage of South consists of Tano (vocals/ guitar), Leo (guitar/chorus), Salas (drum), and Smoke (bass/ chorus) and emerged from the Read Only Memory project, a cover band in the early part of the last decade. Turning to work on their own original music alone, the members released their first EP South before changing their sound and intent into a new direction, the moment when Rage of South stepped forward. The release of I See, I Say, I Hear follows a successful year in 2013 which saw the band play the Rock Metal Fest in Taranto, chosen as one of five from 140 emerging bands across Europe. Signing with Red Cat Records for the release of their album, Rage of South looks like making this year just as potent and successful, the release’s strengths and exciting presence holding all the promise to break into a wider, stronger attention.

From the short provocative Intro, the band instantly takes a grip with Sheep as thumping rhythms, gruelling riffs, and antagonistic 632851d6a5e0ef80dc04b7c881d7730eenergy unleash their compelling suasion on the senses. Vocally too the song provokes and incites with craft and passion, their coaxing as impressive as the rigorous and aggressively inventive sounds around them. The song lurches and stomps from start to finish, sinews barracking and nostrils flaring as the intensively driven nu and groove metal fusion violates on a thrash bred urgency whilst sonic enterprise wraps its toxic tendrils excitingly around the whole things.

The immediately punchy Silence continues the impressive start, riffs and grooves again casting a contagious impacting mesh which rhythms and bass intimidate and darken respectively. As with the first song essences of bands like Korn whisper loudly within the tempestuous brawl of sound and animosity but with the rhythms rampaging at certain times with bestial intensity and guitars matching their predacious fury, the track is a constant exhilarating predator, an enthralling encounter matched by the following Prayer. Unveiling an acidic web of guitar to cage attention the song reveals itself a less forceful encounter, passing through captivating melodic scenery with similarly reflective and emotive vocals. It still involves rigid rhythms and rapacious colouring from the guitars and bass but with a pleasing sonic skill and imagination from Leo it is a different kind of an absorbing encounter.

Both Stay Down and That Fear About Me keep thoughts and appetite enslaved, the first though not as striking as the previous songs providing a constantly shifting and persuasive landscape of thought and creative incitement whilst the second almost preys on the listener, prowling and taunting ears and psyche with roving rhythms and entwining sonic endeavour within a caustic and pleasingly raw bluster. Again the song is in the shade of those first few songs but still adds more to the potency and promise of album and band, as does the harder lipped Reflection with its seemingly irritable rhythms and blazing riffery, complemented by just as assertive vocals. The song borders on belligerent as it holds ears and satisfaction in its rewarding hands, scolding and seducing with impressive design.

The wonderfully niggling groove and spite of The Falling Down brings the return of the very lofty heights of the album, the guitars sculpting a corrosive net of sonic animosity aligned to punishing rhythms to which the band’s imagination brings its own excitingly textured ideation. The song is a bewitching protagonist revealing more of the undeniable promise of the inventive band.

     Theme of Juliet provides a rigorous melodically bred slice of accomplished and vivacious multi-flavoured metal before the opening groaning riffery of Let Me Die takes over to forge another major pinnacle upon I See, I Say, I Hear. Instantly the guitars are grinding their toxicity into the senses, swiftly raising new hunger in the appetite as its narrative emerges whilst rhythms add their distinct weight to the persuasion alongside a heavy throated bass line. It is the nagging intrusive grooves though which steal the show, their toxins permeating every synapse and thought to ultimately seduce the passions for the best moment on the album.

Closing with the mutually outstanding Approved, another track scything through the senses with sharp infection soaked grooves and unpredictable invention, the album ends on a massive high equal to the way it started. Certainly there is more to come from and more for Rage of South to find to truly become a distinctly unique prospect but as proven by the immensely enjoyable I See, I Say, I Hear, they are well on the way.

I See, I Say, I Hear is available via Red Cat Records now!



RingMaster 17/05/2014

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Phono Emergency Tool – Get The Pet


If originality was high on your lists of wants then Italian rock band Phono Emergency Tool probably would not register too highly but if fun, contagiousness, and straight forward enterprise is the desire then their new album Get The Pet might just go down a treat. Comprised of twelve varied and easily accessible romps fusing, in varying degrees, alternative and indie rock with power pop vivacity, the album provides a pleasing and adventurous friendship; one with a definite already established familiarity but thoroughly enjoyable all the same.

Phono Emergency Tool began with guitarist/vocalist Andrea Sgarzi who provided a song for a compilation on Fridge Records in 2003 called Soniche Avventure VIII. From there the project took its first live steps as a full band in its home town of Bologna, Andrea joined by bassist Sandro Sgarzi and drummer Marco Lama. The trio fused together perfectly from that moment, going on to release two albums, a self-titled in 2005 and Get Lost four years later, as well as playing a wealth of shows across Italy and into the UK. Earlier this year saw the release of third album Get The Pet on Red Cat Records, an encounter which without any immensely striking dramas more often than not hits the sweet spot in pleasure and creative mischief.

The instantly urgent Floating so Fast launches at ears first, guitars releasing a great noise rock scrub of riffs before rhythms punch in their presence and the bass brings a throaty coaxing. Vocally too the song is an appealing proposition as it strolls with energy and a pop punk swagger into the imagination. The core hook of the song through those still slightly caustic guitar rubs has a slight Buzzcocks lilt to their bait whilst in full flow the song leans on a definite eighties power pop breath which only helps the song become a heavily catchy entrance to the release.

The following Five in Four matches the success of the first with another mix of naggingly infectious hooks and enticing rhythms, this time within a more blues dressed pop rock premise. Like all addictive songs it has irrepressible bait which repeats and repeats with incessant potency to capture imagination and emotions. Again there is little which is unsurprising but much which leaves you wanting another healthy helping of its revelry, the same which can be said about On the Air even if it does not quite match those early heights set. Fusing a Nirvana like voice to its presence with a Weezer flavoured sound, the track makes for another appetising encounter although vocally it sometimes misses the mark.

Blow Moulding Machine pushes the album back to that previously higher step with its dark basslines and choppy riffs, the song a reserved but engaging melody enriched stomp, before the outstanding pair of I Don’t Belong and especially Hevo take things to a new level. The first of the two shimmers and prowls with a masterful pop rock temptation soaked in what is best described as a Blur meets The Zanti Misfitz. It is an impossibly riveting slice of indie rock which almost alone makes Phono Emergency Tool a band to keep an eye on but alongside its impressive successor is a done deal for attention and appetite. The second of the pair pierces ears with a persistent jab of sonic delight which the roving dark sound of the bass soon aligns itself too. The start of the song has a definite XTC feel about its tempting before opening its inventive arms with an additional punk rock adventure and creative wantonness which has more than a touch of The Barracudas to it. An energetic quickstep of flirtatious hooks and boisterous rhythms, the track takes top honours on the album whilst reinforcing the increasingly enticing presence of the band.

The intrigue coated charm of Crimentology unveils another twist in the variety of the album, it’s plainer but no less appealing rock exploits tantalising thoughts though its chorus is slightly less inspiring compared to the excellent design around the verses, whilst Better Stay Home produces a quirky slightly off kilter piece of pop infested ingenuity. It is song which maybe should not work but the band turn it into a deliciously alluring and salaciously bewitching tempting hard to tear away from.

It has to be said that from here on in the album slips away in potency and power though the next up sixties blues dressed rocker Don’t Stop Making Money is riotously infectious leaving a smile on lips and in the imagination. Neither the more predictable Farther nor the underwhelming A Lower Life manage to raise anywhere near the reactions most of the previous songs inspired, their undeniably accomplished offerings lacking the spark to make a real impact whilst the closing Heyday meanders without really going anywhere. They cannot prevent Get The Pet ultimately being wholly entertaining and joyful company which shows a definite potential within Phono Emergency Tool still waiting to be discovered.

Get The Pet is available via Red Cat Records now!




RingMaster 16/05/2014

Copyright RingMaster: MyFreeCopyright

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