Vile Regression – Empires

Vile Regression Promo 2014

Irish metallers Vile Regression are no strangers to acclaim, their debut release coming under eager praise but you can only feel that it was fore play for a much stronger and fevered attention once new EP Empires consumes ears. The release is a stunning onslaught of sonic voracity forged in the imagination of technical metal and ferocity of extreme metal in its broadest diversity. The band has inspired comparisons to the likes of Death, Opeth, and Gojira, and listening to Empires it is understandable but whereas at times other technically fired bands bewitch with their skills before falling into indulgences, Vile Regression sculpt real slabs of brutal invention. Their tracks are built on riffs and grooves which come with lethal hooks and melodic tempting, all aspects treated with the same love and attention as the technical alchemy at work. This is openly evident in Empires, a clutch of songs which leave ears gloating and passions bulging.

The seeds of the Dublin band began back in 2007 when brothers Barry (guitar) and Kenn Christie (bass) formed a band which went under a few names for early demos until settling as Visitor Q and releasing a debut EP to strong responses. 2010 saw the addition of drummer Robb Behan and the band name changing to Vile Regression. The Pattern Evolves EP was unveiled the following year to, as mentioned, keen critical praise, its success leading to the band landing support slots with bands such as Dyscarnate and Fleshgod Apocalypse. A line-up change saw vocalist Padraig Croke and guitarist Brian Brady joining the brothers and Behan in 2013, which was followed by a support slot with Unearth and subsequently the recording of Empires. It has been a strong rise for the band over the years but with the new release it would be hard to be surprised if the band now found itself to the fore of extreme metal such its triumph.

Ears are immediately challenged as opener Tides confronts their anticipation, thumping rhythms grabbing instant attention to which swirling sonic endeavour sparks the imagination. It is a potent lure which evolves into a fiercely front_coverrousing tempest as the swipes of Behan trigger a maelstrom of bass intimidation, raging vocals, and senses binding sonic causticity. It is a dramatic and feverish incitement which never loses its irresistible lure even under the cascading, creatively carnivorous technical exploration of the band. It is a seamless union, one as mentioned which feels united in every intent rather than elements trying to outshine others. Between the Buried and Me comes to mind during the track but only as a spice to something scintillatingly original.

The following Raze the Complexity similarly needs little time to inflame the senses, guitars dancing seductively and with agitated endeavour across ears as the grouchy growls of Croke spill hope linked animosity. It is increasingly magnetic bait which only increases its toxicity as the guitars flirt with the imagination through ingenious designs and craft. Just as masterfully contagious though are the merciless and adventurous rhythmic incitement of Behan and the corrosively riveting riffs of bass and guitar. Not one note or twist in the song comes without scintillating creative tenacity but it never dips into the realms of excess either, every alignment of savagery and technical enthralment a gripping and easily accessible drama.

The brief instrumental Dream of the Red Chamber allows a breath to be swallowed, though its melodic beauty then takes away the next before moving into the outstanding predacious storm of Thought Replication. The new track lurches with a sonic tempting which swiftly enslaves appetite and emotions. Sinew driven riffs add ravenous shadows to ever grizzled and compelling vocals, whilst the emerging creative emprise spreads elegant and mouth-watering tendrils. Not as intensively aggression as the first pair of tracks, the song bellows at and charms the senses in equal measure, their fluid union a through captivation from ear to passions.

It is hard to relay the skills at play and the even more impressive merger of that brilliance into the grooving almost bestial rapacious heart of this and other songs, that ridiculously thrilling success repeated and enhanced with The Abstract. For all the references which flirt with thought across the release, this song also imposes a veining of inhospitality which could be Ferium or Killswitch Engage bred , this again showing the broadness and depth of the band’s sound. The track continues to gnaw on and subdue the senses, its ferocity coming with a rabidity which is flirtatious and speared with staggered and jagged unpredictability and ear teasing sonic fascination.

Another mesmeric instrumental sooths next, Down to a Sunless Sea as radiant as the previous piece, before final track raises its rhythmic ire and sonic fire to sear and assault with glorious invention. The Empyrean Divide explores thoughts and soul with a rich Opeth/Death spiced, heavily shadowed breath. There is an even more menacing darkness and imposing grudge to the proposition but again it’s devouring only leads to brighter prospects echoed by lyrics and the melodic maze of invention veining and entwining the raw onslaught.

The final track is a thunderous close to an exceptional encounter, one which puts Vile Regression firmly on the frontline of progressive/technical extreme metal releases this year. Empires declares the band a new emerging leading light, a proposition the metal world has unknowingly been eagerly waiting for.

The Empires EP is available now!

http://vileregression.bandcamp.com/album/empires

www.facebook.com/vileregression

10/10

RingMaster 21/07/2014

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Versus You – Moving On

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Since forming in 2005, Luxembourg’s Versus You has become one of Europe’s most captivating and hard- working pop punk bands, as well as the source of much anticipation when news of a new release comes to light. The release of new album Moving On has been no different in raising a keen appetite and equally does not detour from the band’s knack at providing a thoroughly enjoyable romp of punk rock at its most accessible and infectious. The album does not set a new trail for the genre or band come to that, instead it simply parades twelve songs which just do what Versus You does best, capture the imagination with virulent hooks and melodies whilst thrilling thoughts and emotions with superbly crafted and lyrically insightful songs.

With a decade of stirring up audiences and fans on the impending horizon, Versus You has kept the energy and passion of their presence and intent alone impressively high over the years. Renowned for their hunger to tour and take their sound to fans, the band has been a regular attack of gigs and tours across their homeland, as well as East and Western Europe, sharing stages with the likes of NOFX, Alkaline Trio, Rise Against, White Flag, The Casualties, Bayside, Jimmy Eat World and many more. Equally their previous trio of albums as well as EPs and an outstanding split release with White Flag, has thrilled and helped thrust the band to the fore of Europe’s punk scene, even with a spate of line-up changes especially in the sticks swinging department. Fourth full-length Moving on is another commanding and deeply satisfying proposition, as said not one to change the face of pop punk but easily reinforcing Versus You as one of the leading lights.

Produced by Chips Kiesbye, the album opens with the immediately rigorously coaxing When It All Goes Down, its initial scrub of guitar an intriguing irritant to awaken attention and appetite alike. The song is soon into a feisty stroll Versus You Moving On Packshot 960x960with the rhythms of drummer Jerry Kirpach punctuating the mesh of caustic riffs conjured by Eric Rosenfeld and Dario Bruno. It is not an unrelenting attack though, the song respectful in its aggression and open in its web of easily snagging hooks with the bass of Giordano Bruno adding its own throaty lure to add extra bait to the first easily addictive blaze of sound from the album. Lyrically the song is one of many looking at band life, whilst other Rosenfeld penned themes include traveling, making friends, relationships, and life’s issues, songs never afraid to deal with unexpected things directly.

The following If The Camels Die, We Die makes the strong start look like a mere appetiser, its eager energy and urgent enticement of catchy melodies and deeply hooking snares impressively catchy. The bass finds an extra snarl to its tone which hits the spot perfectly whilst the slightly grizzled vocals of Rosenfeld only add to the raw and honest edge of the encounter. The guitar designs also standout with their imagination within the narrow but full flight of the track, a success emulated and more by the next up A Way With Words. The song is a real pop song, its compelling power pop radiance irresistible to feet and voice. Essences of its sound remind of Good Charlotte and Smashmouth, these spices teasing thoughts pleasingly whilst around them riffs and rhythms cast a more sinew tempting to the potent revelry.

Both On The Town and Be Better Than Me gets the fire in the belly raging, the first a terrific stomp of grazing riffs cut across by flames of acidic melodies as the excellent vocals explore relationships. Its successor is a mellower enticement but no less riveting in its punchy beats and rock ‘n’ roll bred suasion which brings a touch of Pinhead Gunpowder as well as irresistible unpredictable twists and excellent additional female vocals to its glory. The pair push the rising stature of the album up another step, the first especially a highlight of the album with its dramatic air and ridiculously contagious incitement musically and lyrically. Their success is matched easily by Skinny And Distracted, roguish rhythms and stabbing hooks uniting for a Boxcar Racer like treat. At ease persistently changing its urgency and sinew built gait, the track is another anthemic coaxing impossible to resist joining in with but just as strongly brings new thought provoking adventure and imagination to its body.

One That Can See is a resourceful and adventurous romp for ears and emotions, though not finding the same heights as previous songs even with its appealing sonic endeavour, whilst Stay Down, Stay Strong also lacks that same passions igniting spark though it provides a fiery rock song which is as infectiously binding as it is evocatively coloured by a melodic rock intensity. Both tracks leave appetite and reactions well fed nevertheless before Kitchen-sink Drama leaves them bloated and blissful from its insatiably contagious and bruising stomp. There is an antagonistic and defiant edge to the song which emulates from the vocals and lyrics to inspire a strong drama and depth to its presence, whilst hooks and melodies complete the enslavement with masterful and instinctive invention.

30 Pills unveils another big highlight within the album, the provocative song themed around somebody being HIV positive. Hard hitting lyrically and musically, Rosenfeld alone bringing a deeper growl to his narrative, the track roars and incites yet still employs some of the juiciest hooks and melodically drenched chords to persistently inflame ears and emotions. It is a glorious strike leaving the final pair of Still I Persist and You Are My Friend a hard task to follow. They make valiant attempts though, the first a vigorously solid slab of muscle driven punk rock with passion fuelled intensity and the closing song a slower slice of punk balladry which with Green Day like melodic potency, brings a smouldering and evocative finale to greedily embrace. It is a fine end to a great album.

Moving On is arguably a release which delivers what you expect from Versus You without the band making great strides forward but with songs that simply fill every need and want of a pop punk enticement, and with plenty of extra thrills included, it is a release which simply leaves pleasure and contentment the overriding result and that is more than good enough to unreservedly recommend the album.

Moving On is available now on Bomber Music @ http://bombermusic.limitedrun.com/products/528789-versus-you-moving-on-cd-and-vinyl-lp-and-dl in download, CD, black vinyl, and Ltd Ed vinyl versions.

https://www.facebook.com/vsyou

8.5/10

RingMaster 21/07/2014

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The Males – Her Golden Blood EP

MALES BAND PHOTO

Dirty, fuzz lit, and pungently unfussy, the sound of UK noise rock band The Males is a proposition which just crawls under the skin and gets feet right through to passions dancing to its feverish tune. The band’s new EP Her Golden Blood tells you all you need to know about the emerging band. Consisting of three songs which are just as grunge/stoner fuelled as they are noise spawned, it is an encounter which does not make massive waves but ripples and smoulders very nicely to leave a lingering and raucously reminding indent in thoughts and emotions.

The Males was spawned from the creative coming together of guitarist Will Goldstone and vocalist/drummer Lewis Young at Bournemouth University during the mid-2000s. Eventually joined by bassist Ben Smith, the trio set forth as The Males and were soon drawing attention and eager ears towards their noise bred rock ‘n’ roll. With inspirations from the likes of Shellac, Black Sabbath, Jesus Lizard, Fugazi, The Melvins, the Misfits, Refused, Queens of the Stone Age and AC/DC spicing up their invention, the London based trio uncaged a self-titled demo in 2012, a raw and unruly incitement of sound sparking the imagination and a growing spread of fans. The single Wolves followed in the October of 2013 with a teaser from their debut EP, Golden Gates touching ears earlier this year. All has helped inspire keen anticipation for the new EP, an appetite easily and potently fed by Her Golden Blood and its potential drenched roar.

Opening track Cut Her Off from its first breath leads ears and feet into its immediate inescapable bait, punchy rhythms and raw riffing leading to addictive behaviour upon which sonic designs and the strong vocals add extra tempting. THE MALES EP MASTERThe song flirts with hints of bands, though the ones which most spring to mind and certainly not influences on The Males being as new as they, is Feud and The St Pierre Snake Invasion. There is an expectations feeding aspect to the song in some ways but also a more prominent refreshing energy and coarse rabidity. It is a tenacious encounter with caustic melodies, increasingly dramatic rhythms, and a glaze of sonic enticement simply luring the listener in further.

The track is a strong and masterful start to the EP which the following Golden Gates backs up solidly. It wraps tendrils of sonic coaxing around ears first, an acidic scuzz lined lure which is soon joined by weighty rhythms and an even bigger bass incitement, its tones bulging with devilish intent. The vocals again bring an expressive and eager revelry to the highly satisfying encounter though ultimately there is not quite the same spark of imagination to the body of the song as its predecessor. It certainly offers enough to intrigue and keep thoughts on their toes though, especially to the latter stroll of the track where it seems to find a more virulent persuasion with an irresistible groove.

The final song Hot Blood has an old school punk flavouring to its fiery waltz of moody basslines, agitated rhythms, and squalling riffs. It is hard to define who it reminds of but there is definitely a nostalgic tang to the track which colours its impressive enticing even more potently. The best track on the release, it is a compelling protagonist to imagination and ears, a track which hints at riots and brawls with its energy yet resorts to primal seduction for the main to ignite once again an already greedy appetite.

Her Golden Blood is not going to lead to declarations of The Males being the next big thing but it undoubtedly has the potential and weight to earn the band a stronger spotlight and reputation in their continuing ascent.

The Her Golden Blood EP is available now @ http://males.bandcamp.com/

http://themal.es/

8/10

RingMaster 21/07/2014

Copyright RingMaster: MyFreeCopyright

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