Pathologic Noise – Gore Aberration

_MG_1153_RingMaster Review

It has been twelve years since the release of their debut album, a period where Brazilian death metallers Pathologic Noise, certainly outside of their homeland’s underground scene, has been a big miss for some and, easy to suspect, a secret to a great many more. We can tell you what consumed the band’s creativity since that release but however the band spent the time, musically they have honed and re-energised their striking style of splatter death metal to invigorating effect. Evidence comes with second full- length Gore Aberration, a carnivorous violation of a savaging as thick in addictiveness as it is brutality.

Bred in Belo Horizonte, Pathologic Noise emerged in 1992 and took little time in making their mark upon the local and in turn Brazilian underground scene. First impressions and successes were reinforced by a trio of demos between 1995 and 2001, with debut album Sodomy and Delight on Flesh awakening broader attention and appetites with its release in 2003. As mentioned earlier, the time for the band between that well-received release and Gore Aberration is a mystery but fair to say it was well spent as Pathologic Noise return more creatively vicious, sonically bloodied, and intrusively potent. Major surprises are maybe a lesser factor within their latest album, yet there is stirring freshness oozing from every raw pore of its virulent contagion, which alone helps make Gore Aberration one of the most enjoyable genre releases this year.

capa_pathologic_online_RingMaster Review     The release opens with Never Ending Blood’n Hate, and an immediate entanglement of spicy grooves aligned to barbarous rhythms. Driven by a ravenous intensity and intent, the track is an uncompromising proposition, especially once the insidious vocal presence, led by bassist Tchescko Suppurator, lays its great toxic tones on the reins of the punishing incitement. With searing enterprise further spun from the guitars of César Pessoa and Claydson Melo, the opener sets the scene and tone of the album whilst igniting the imagination and a quickly greedy appetite.

It is a thrilling start matched by the even heavier footed and predatory Sexual Murder. Rhythmically though drummer L. Muratchas is a more considered protagonist, only unleashing his full venom once the guitars spew tendrils of heavy metal resourcefulness and sonic drama. It is the full-on chewing of the senses through riffs where the song excels especially but fair to say that every second is a thickly enticing lure, emulated and intensified by Pathologic Metal Vision. Again riffs and very often grooves too, descend and nag the senses and psyche like a drill bit on flesh, the merciless torrent of rhythmic barbarity working like a psychotic jackhammer simultaneously. It is a merger reaping havoc across the whole of Gore Aberration and especially torrential and pleasing on the third track.

Master of Suffering flings an infection of rock ‘n’ roll at ears straight way within its instant tempest of sound and attitude, that virulence twisted into a sonic stalking and vocal causticity soon after. The track persistently evolves as an array of imaginative ideas throw temptation into the mix, leading to a great bedlamic but skilfully ordered stomp that employs all ingredients again and again to rousing success.

That psychotic tapestry of sound is never far from the surface of any song within Gore Aberration, always bubbling near if not on the surface as in Bloody Deliriums, a carnal furor firing up an incendiary violation littered with rabid grooves and crippling rhythms, Bass and drums maybe at their most primal and savage here but equally in the following Lights on the Dark Sky. The track is physical and emotional rabidity, a corrosive onslaught but equally a scavenger feeding on bruised senses and through grooves which prey on the imagination as tempestuous rhythms ebb and flow in uncompromising hostility whilst a vocal trespass roams the violent maze of sound with demonic intent.

Pathologic Noise never lower their animus of sound and emotion with the album closing just as sadistic and punishingly insatiable as it had been up to the point of closing pair, Calling with the Deads and War Lust (Queen of Carnal Pleasures), and as cruelly catchy. The first of the final pair roams the senses with a piercing sonic resourcefulness and a wanton rhythmic and riff loaded premise as wild as it is nastily concentrated whilst its successor simply smothers the listener in suffocating intensity amidst a brutal scourge of sound, both tracks thrilling ears and inciting thick pleasure.

Spewing a sound easy to liken to bands such as Cannibal Corpse, Deicide, and Morbid Angel, as many have, Pathologic Noise might not be re-inventing the wheel with Gore Aberration but certainly shows all how great and hungry death metal can really get the body and passions going.

Gore Aberration is released November 2nd via Greyhaze Records and available at https://pathologicnoise.bandcamp.com or http://store.greyhazerecords.com/index.php?route=product/product&product_id=376

https://www.facebook.com/pathologicnoise/

Pete RingMaster 02/11/2015

Copyright RingMaster: MyFreeCopyright

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Christ Agony – Black Blood

Michał Grabowski - photo

Michał Grabowski – photo

Founded back in 1990 by vocalist/guitarist Cezar, extreme metallers Christ Agony have a pedigree and armoury of well-received and acclaimed releases which alone makes the band’s upcoming ninth album, scheduled for release next year, a highly anticipated proposal. Add new three track EP Black Blood as a teaser, or in the words of its press release, ‘the harbinger’ of that impending release, and it is easy to see Christ Agony once again being a highly talked of incitement within black and doom bred metal.

The Black Blood EP is described as Christ Agony returning back to its roots, taking the inspiration of the dark 90’s and the period of their acclaimed 1996 album Moonlight – Act III to its creative breast. Cezar has called the release, “the circle of the wheels of time is complete… the black blood of the universe pumps the venom in the infernal veins”, and there is no escaping the potent and ripe essences of the band’s past bringing rich hues to their new and fresh exploration of sound and senses.

BlackBlood-frontcover_RingMaster Review   Recorded at Studio 666, the EP opens with Black Blood Universe, swiftly engaging ears and imagination in a thick doomy swamp of intrusive black and death metal lit by celestial harmonies and a shadowy clean vocal delivery around the insidious intrusive squalls of Cezar. Thumping beats from drummer Darek drive a torrent of bracing riffs cored by the predatory stalking of Reyash’s bass, their rabid union a tempering contrast but equally incendiary incitement to the melodic toxicity and mellow atmospheric charm of the demonically rousing encounter.

The track intimidates, invades, and seduces body and emotions with equal measure and success, leaving a lingering imprint even as Coronation saunters in with its own sinister swing and rapacious character and sound. Rhythms entice as guitars provide a scourge of scarring riffs and infectious grooves, the bass lying between the two in its bait as the track increasingly lures and grips the imagination, especially when a melodic dance frees itself from the intensive shadows to weave a magnetic web of enterprise courted by the increasingly carnivorous tone and prowl of the bass. The song is a forcibly gripping offering, only tightening its hold on appetite and pleasure with every passing twist of ideation and trespassing lick of insidious sound towards warmly haunting caresses.

The release is completed by Kingdom Ov Abyss, a track swiftly enslaving attention through its rugged rock ‘n’ roll of riffs and hooks within another blanket of emotive intensity. The invasive tones of Cezar again invite as they spew their rancor into the veins of the senses but it is the arousal of pleasure ignited by the belly of rock ‘n’ roll at the heart of the creative and emotive animus that triggers an unavoidable lustful appetite for the song.

If Black Blood is the true hint of the next Christ Agony album than further thick acclaim is heading the way of Cezar and co; more to add to that sure to be provoked by this excellent EP.

The Black Blood EP is out now via Witching Hour Productions, available digitally @ https://witchinghourproductions.bandcamp.com/album/black-blood and on Ltd Ed 12” vinyl, CD, and cassette @ http://store.witchinghour.pl/

https://www.facebook.com/ChristAgony

Pete RingMaster 02/11/2015

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Boy From The Crowd – Where The Bees Come To Die

BFTC_RingMaster Review

Having enticed and fascinated with debut single Revelator, Boy From The Crowd does it again with first EP Where The Bees Come To Die. As the single, it is a release bred from a varied mix of blues, punk, and diversely seeded rock ‘n’ roll honed into songs which arouse attention in sound and lyric with accomplished ease. There is no intent to polish things smooth either; each track offering its raw and honest heart to add to the individual drama and potent enterprise on offer. The result is an increasingly tempting proposition which has moments that simply transfix and always has a persuasive hand on thick satisfaction.

From London, Boy From The Crowd consists of vocalist/guitarist/songwriter Vinny Piana and drummer Vegas Ivy, kindred creative spirits which upon linking up were “determined to be guided by their primal instincts and play music with guts, spirit and uncompromising integrity”, subsequently embarking on “a fearless mission to discover tough new ways to rock the blues.” In strong evidence of their purpose and its success was the highly riveting and pleasing Revelator earlier this year, a song still as striking and magnetic now opening up the pair’s first EP.

The song opens on a twang of blues soaked guitar, it’s tempting a spicy lure into the incoming stroll of firmly hitting beats, throaty bass coaxing, and a vocal offering as fascinating and raw as the sounds around it. In no time the song has attention locked in and an appetite inspired for the captivating invention shaping the blues rocker, its presence managing to reap a little of artists like Iggy Pop, Jon Spencer Blues, and Nick Cave to hone its own unique voice.

The blues hues of the opener are even more spicily intensive in the absorbing All I need, a track which atmospherically smoulders in dirty rock ‘n’ roll as tangy flirtation lines its grooves and hooks. As in its predecessor, twists and turns are a rapid captivation, blazes of melodic toxicity moving into filthy expulsions and contagious swaggers. At times the track plays like an antagonistic and off-kilter mix of Television and Tom Petty but once more weaves all essences into its own unique and partially psychotic adventure of creative tenacity and sound.

The Road takes over next, beckoning with an initial country rock kissed sway which soon blossoms into a punk infested roar, the song continuing to align both flavours as it spins a web of blues imagination through guitar and keys. The track is easily the biggest treat upon Where The Bees Come To Die, its blues punk temptation irresistible and another insight into the variety brewing within the songwriting and sound of Piana and Ivy, a diversity reinforced by the surf/psych rock blues of the EP’s title track. The instrumental is a blaze of alternating and entwining shimmering melodies and volcanic energy creating a canvas for ears and imagination to immerse in under the rich suggestiveness of keys, their caresses adding greater colour to the whole adventure.

Where The Bees Come To Die builds on the great introduction to Boy From The Crowd made by Revelator, casting its own highly persuasive hint to the emerging talent and sound of the band. It is early days but already expectations are leaning towards exciting times ahead with Piana and Ivy.

The Where The Bees Come To Die EP is out now digitally and on CD and Ltd Edition vinyl @ https://boyfromthecrowd.bandcamp.com/album/where-the-bees-come-to-die

https://www.facebook.com/TheBoyFromTheCrowd  http://www.bftc.band  https://twitter.com/BoyfromtheCrowd

Pete Ringmaster 02/11/2015

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Enemo J – Miley Virus

promo picture - enemo j_RingMaster Review

Listening to Enemo J is like being submerged in a swarm of African honeybees running amok, their sound a nagging and ferocious irritant that never desists in aggression and rage once provoked into creation by the band’s inspirations and imagination. As proven by new album Miley Virus, it also produces raw sonic nectar that ignites the appetite and through an unpredictable tempest, leaves the senses wrung out but with a real greed for more. The UK metaller’s fifth album is arguably their most adventurous and diverse yet, as again the band weaves an agitated expanse of styles and flavours into their storms, equally though it is possibly their most testing, but as that only results in being amongst their most fiercely enjoyable, it is a definite asset.

Hailing from Burton On Trent and emerging at the beginning of the new millennium, Enemo J has gone on to unleash a quartet of successful and increasingly acclaimed full-lengths and earned a potent stature for a live presence which has seen the band play with the likes of Napalm Death, (Hed) PE, Sylosis, Black Light Burns, and Korn, create a stir with performances at Download in 2010 and more recently 2014, and play with similar reactions fests such as Bloodstock. Now the core line-up of vocalist Craig Hartwell, guitarist Haydn Edwards, and bassist Mikey Wyke are ready to nudge and punch the broadest spotlights with Miley Virus, expectations after many listens to the beast leaning towards a highly positive outcome in that intent.

Miley Virus Artwork_RingMaster Review     After the vocal led Intro, band and album explode into tempestuous life with This Is Not A Toy, immediately spinning web of steely grooves and predatory rhythms led by the distinctive and as always swiftly engaging roars of Hartwell. His attack though comes with great variety from his throat and within the band, an adventure matching the winding lures of guitar and more controlled but no less imposing prowl of bass. Aligning ferocious metalcore influences with a groove metal tantalising, and subsequently cleaner textures in sound and voice, the track is a gripping and dynamic incitement to set things off and highly addictive, especially the more it evolves its rapacious body.

The album’s title track steps forward next, Miley Virus from an electronic coaxing flexing rhythmic muscles and cantankerous grooves from the already impressing prowess of Edwards. Spilling rap metal tenacity and enterprise in vocals and thick initial temptation, the track creates a kaleidoscope of uncompromising intensity and melodic tempting which at different times hints at the like of Skindred, Stone Sour, and American Head Charge across a thoroughly magnetic persuasion. Unfortunately our promo did not come with any details of guests and full personnel on the album but amongst many things, female vocals add a great siren-esque lure to the track’s robust adventure.

Five Percent slips in next, Hartwell’s voice offering its hip hop prowess as the track begins its growth into a fiery protagonist stalking ears and inciting with lyrical and physical confrontation. As bestial as it is harmoniously alluring within a volatile and climactic ambience, the outstanding track is a gripping proposal matched by This Stops Today. Carnivorous riffs court a sonic imagination straight away, vocals leaning towards a rancorous toning as they provoke and excite with the track perpetually twisting and embracing a wealth of attacks and formidable flavouring. As its predecessor, it too marks another lofty peak within the album with its Slipknot meets Stuck Mojo like voracity, a pinnacle almost emulated by the death/metalcore lined savaging of Ides Of March. The song is a predator of ears and emotions, virtually everything about it an insidious prowl led by the great malevolence fuelling Wyke’s bass but then tempered by the acidic strands spewed by Edward’s guitar and again impressive vocals.

The boldest adventure within Miley Virus starts emerging from Majora, the song a roar of rap lined metalcore which suddenly turns, with more impressive female vocals at its centre, into a melodically honed gothic proposal. This is Enemo J, so things never stay in one direction for long though; a swarming tenacity of riffs blossomed from the savaging fury and in turn swinging back into the gothic coated seducing. To be honest the track caught our ears by surprise and took a while to totally convince but overtime it wins out, as too Throughout which takes a similarly longer route in succeeding with its convincing. A thick tapestry of flavours extreme and melodic which at times flirts with post hardcore tendencies too, the song casts more great female vocals alongside the caustic squalls of Hartwell as melodies from keys and guitar provide an evocative drama. Admittedly, it fails to spark the same richest of reactions as earlier tracks but in fascination and invention, the song is absorbing and easy to repeatedly explore.

Both the volcanically intensive Sufferance and the drama fuelled radiance of Time sear the senses and light the imagination respectively, the first with its blackened wind over a swirling sonic canvas of endeavour. Its successor spins a low-key but potent acidic hook repetition within a sonically and emotionally turbulent post hardcore landscape, vocals as expected as strong as the music in revealing the depth of diversity and invention within their grasp.

Miley Virus is concluded by Drunk Lions At The Wolf Party, a ravenous ferocity of sound and presence veined by melodic and harmonic ingenuity. The song truly comes alive once all the extreme contrasts within it collude to create an engrossing flight of ire and emotive elegance, in turn providing a fine and big close to a riveting and thoroughly enjoyable encounter. Enemo J just goes from strength to strength with each release, and though for personal tastes it is a little bit a proposition of two halves, each song thrills and enthrals in their own inventive way to make Miley Virus an easy recommendation to make.

Miley Virus is out from November 1st through Digital Media Records across most online stores.

https://www.facebook.com/enemoj

Pete RingMaster 31/10/2105

Copyright RingMaster: MyFreeCopyright

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Never Found – Sorrow And Cyanide

Never Found_RingMaster Review

It seems Welsh band Never Found has been thrilling fans for quite a while now, but that potent knock on the broadest attention and success has yet to be made. Until now anyway as the band’s debut EP Sorrow And Cyanide is the kind of persuasion to give the British rock scene a mighty nudge. A gripping fusion of punk, metal, and riotous rock ‘n’ roll, the four-track encounter is a warts and all incitement that easily grips ears. Comparisons to the likes of Bullet for My Valentine and Aiden have been already and frequently sent the way of Never Found, but as proven by the EP, that reference only tells part of a flavoursome tale.

The seeds of Never Found began with vocalist/guitarist Daniel Barnes and bassist James Sweeten, their vision of a band starting its first steps back in 2009, though it was three years later when things began to really escalate in purpose and sound. That was the year drummer Kieran Ivey joined up to give the band its missing heartbeat. Since then Never Found has become an eagerly followed live proposition, playing with bands such as Fearless Vampire Killers, Ashestoangels, and William Control amongst many along the way. With their line-up more recently completed by guitarist Sam Redmayne, they are now ready to make a big statement towards bigger spotlights; Sorrow And Cyanide the first potent line in that creative declaration.

Artwork_RingMaster Review   It opens with Just Like Hollywood, a track careering through ears from second one upon a charge of punk riffs and battering rhythms driven by the instantly strong tones of Barnes. As Clash/Sex Pistols like chords and ferociously lined punk roars erupt in sound and voice, the song quickly brews an aggressive virulence with its own line of contagious hook littered enterprise, and an adventure unafraid to embrace hardcore and harsher metallic spicery. Tenaciously and bruising, the track provides a gripping and thrilling start to the EP, but sound wise, it is just one shade to be discovered within Sorrow And Cyanide.

The following Choking Me stalks and rises up against the senses with a much more metal leaning, barbarous rhythms and acidic grooves entwining ears as Barnes vocally and enjoyably carries on employing a punk seeded incitement. With the bass of Sweeten a grouchy and bestial stalking at the heart of the growing infection too, the track springs a confrontation as antagonistically grouchy and spikily catchy blend of As I Lay Dying and Lost Prophets to entice and impress.

King Of Nothing follows a similar if less intensive pattern as its predecessor, and maybe loses some of its predecessor’s spark and potency because of it, but with more great vocal enticing and strong muscular enterprise walling in spicy adventure through the guitars, the track leaves satisfaction only full.

Fair to say it is swiftly outshone by Take Me Away though, the EP closer enticing hues of grunge cored rock ‘n’ roll into its volcanic landscape of metal voracity and punk rock rebelliousness. Almost like Green Day meets Gruntruck and Reuben, with the results stirred up by Skinlab, the track is a powerful and favourite dynamo to end the excellent EP.

Demandingly we are now expecting big things next time around from Never Found just because of the impressive introduction offered by Sorrow And Cyanide, but to be honest more of the same would not be a major disappointment either, as long as some of the promise oozing through this great release is intensified.

The Sorrow And Cyanide EP is out now @ http://www.neverfound.bigcartel.com/category/cds

https://www.facebook.com/weareneverfound/   https://twitter.com/weareneverfound

Pete RingMaster 02/11/2015

Copyright RingMaster: MyFreeCopyright

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Damn Vandals – I Hate School/Whisky Going Free

Damn Vandals_I Hate School_Packshot_RingMaster Review

News of any new Damn Vandals release always sparks a keen lick of the lips and a flutter of anticipation in the heart of The RR thanks to the band’s previous explosive roars of spiky rock ‘n’ roll posing as singles and albums. So no surprise that when the announcement of the UK rockers new single came through, the same reaction escaped. Consisting of I Hate School backed by Whisky Going Free, the release is a recognisable Damn Vandals stomp with the unapologetic attitude and fiery enterprise the London quartet is so renowned for.

At times it is hard to imagine that it is only back in 2012 that Damn Vandals started exciting ears with the release of the Beautiful Mind EP and soon after debut album Done For Desire, the band seeming to have incited ears for many more years. Each release made quick and potent impressions with the latter spawning a host of essential and thrilling singles luring as rich a dose of acclaim as the album sparked itself. Live the band’s hook loaded mix of garage, psych punk, and earthy rock ‘n’ roll has equally earned the band a big reputation and fiercely loyal following, a success only cemented and expanded with last year’s uncaging of second album Rocket Out Of London, it another web of contagiously addictive tracks working within the impressive body of the album or subsequently alone as incendiary singles. The two songs making up the new single have the same source, both I Hate School and Whisky Going Free taken from the Julian Simmons (Midlake, Ed Sheeran, Guillemots, Goldheart Assembly) produced, heavily praised full-length, and each rising to the challenge of making singular statements of persuasion.

I Hate School swings in on a sultry melodic lure and winy groove as vocalist Jack Kansas quickly adds his distinctive delivery and tone. As his voice takes hold so he and fellow guitarist Frank Pick continue that first enticement with fingers on guitar strings, but broadening its thickness with bluesy coatings for an increasingly tempting invitation. Alongside, the more grounded rhythms of bassist Adam Kilemore Gardens and drummer Chris Christianson stroll, emphasizing and shadowing the fiery textures around them perfectly.

Within the heart of Rocket Out Of London, it is fair to say that the song was a touch shaded by the more raucous dynamics and drama of other tracks around it but there is no denying that as a single, it seems to discover a new strength and character to bewitch and inflame ears with ease. Ending on a persuasive anthem of vocal roar from Kansas, again at perfect contrast to the smouldering sonic climate of guitar, the track has ears smiling and satisfaction full to bursting.

Second song Whisky Going Free has feet tapping and hips swaying within a breath of its start, hooks and grooves flirting like a casually flirtatious seductress as rhythms bring their own saucy revelry to the creative party. Bass and guitar soon unite in a tango which drives the song from start to finish, their tempting enticing cradling the matching swagger which too come from the breeding of imagination and temptation. Steely guitar jangles and punk seeded noise only adds to the thick and riveting persuasion on offer, the song undiluted and unfussy rock ‘n’ roll as inventive and instinctively compelling as anything out there and from anyone.

Whilst fans wait for new material, I Hate School/Whisky Going Free provides another essential Damn Vandals moment for 2015 whilst for newcomers, the single is a potent way to step into the creative and off-kilter ingenuity of Damn Vandals.

I Hate School/Whisky Going Free will be released November 6th.

https://www.facebook.com/damnvandals  http://damnvandals.co.uk  https://twitter.com/DamnVandals

Upcoming Live Show: The Dublin Castle, London on Fri 27 Nov 2015.

Pete RingMaster 02/11/2015

Copyright RingMaster: MyFreeCopyright

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Men In The Sky – If I Go

Men In the Sky_RingMaster Review

Dipping deeper into the pop rock infectiousness that lurked within the highly enjoyable walls of 2014 released EP, Version 1.0.1, UK electronic rockers Men In The Sky now unveil their new single If I Go. Still hugging ears with the electronic and synth sculpted prowess which marked that first encounter, the new track also shares open inspirations from eighties guitar pop to brew a virulence that has feet and hips as eagerly engaged as ears.

Men In the Sky cover_RingMaster Review   Men In The Sky is a Liverpool based British-Canadian collaboration consisting of band founder Gary Roberts (guitar and synths), Simon Mawson (vocals), Gavin Thomas (vocals), and Chad Montgomery (guitar). Last year saw the quartet joining Factory Records’ Michael Johnson in the studio to record and co-produce the Version 1.0.1 EP, a link-up repeated for If I Go with a freshly different but equally captivating result.

Whereas the EP sparked, across its diverse mix of songs, thoughts of bands like Depeche Mode, Visage, and Pet Shop Boys in varying degrees, If I Go invites thoughts of a Howard Jones, Scritti Politti, and Erasure with its melodic virulence and catchiness, though the potent whispers of Depeche Mode in the keys and New Order in the rich ambience seducing throughout the song are just as open.

An initial caress of guitar has ears quickly enticed, its invitation soon joined by a broader vision of its melody and a swift expressive weave of vocals and synths. The engaging swing of the song is a just as rapid temptation, its sway never relinquishing its alluring bait as melodies and sonic imagination flow effortlessly from guitars and keys. There is maybe an understandable familiarity to the track but that too only adds to the attraction and rosy colour of the song and its mesmeric persuasion. An electro pop tempting which you can imagine being as at home in the midst of its eighties inspirations as it is as a new flirty protagonist in the modern electro pop landscape, the single leaves ears and energies hungry for more.

If I Go is the best song to date from Men In The Sky, a venture into poppier climes it is easy to suggest could lead to rich success, if not now at some point ahead if its direction is continued to be explored more.

If I Go is released November 2015.

https://www.facebook.com/Men-In-The-Sky-291917267514298 http://men-in-the-sky.com/ https://twitter.com/SkyMen_offic

Pete RingMaster 02/11/2015

Copyright RingMaster: MyFreeCopyright

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