Dog Days – Heat

Pic_Christophe Dutoit

Pic_Christophe Dutoit

From its first inflamed note, the debut album from Swiss stoners Dog Days is a sonic mutt in season; a furiously rocking body of insatiable intent sculpted with sexily invasive grooves and a collusion of heavy boned riffs and rhythms. Consisting of eight instrumentally fertile slices of rock ‘n’ roll, Heat is also loaded with severely addictive hooks and immersive textures ensuring, in our experience, that a mating between release and the passions is inevitable.

Heat swiftly stirs up body and emotions from the off, quickly showing why the Fribourg trio of bassist Marie Riley, guitarist Vincent Yerly, and drummer Julien Vonlanthen are kicking up a potent buzz around themselves. Recorded with Sacha Ruffieux over two sessions of 5 days each at the Studio de la Fonderie, the band’s first album comes fuelled by the band’s intent “…to create an instrumental stoner album that shows our love for the sound we can generate with our instrument.

It begins with Saluki which instantly soaks ears in the thick fuzz of guitar and bass whilst a spicy groove nags and rhythms punch. As a sign of things to come, the air is seriously muggy which just adds to the swift drama lacing the virulence of dirty riffs and splintered grooves sculpted with repetitious persuasion. In no time though, the song is really swinging with fully fledged, intoxicating grooves escaping the stomping rock ‘n’ roll incitement. Fair to say, the imagination and appetite are hastily involved and as greedy as ears as the song from start to finish unloads a rich catchy tempest with a hungry swagger.

Heat Cover_RingMaster ReviewThe excellent start is superbly continued by Shiba and its heavily bruising and similarly contagious intensive boogie. There are no escaping essences of bands like Kyuss and Queens Of The Stone Age as a flirtatiously salty scything of guitar streaks through the brooding invasion of cantankerous bass and swiping beats, but with its gripping atmospheric theatre and ravenous intensity the track is uniquely a Dog Days beast.

Malamute wraps ears in sultry and evocatively sonic tendrils next, that persistently dramatic lure soon joined by the dark rumble of beats and a gorgeously carnivorous bass tone; it all springing a punk infused splatter of temptation as much post punk and noise rock as it is heavy punk ‘n’ roll upon ears. The track is instant slavery, a magnetic fusion of gnarly and sweltering contrast with one thing in mine, to seduce the senses whilst twisting them inside out. The pinnacle of the album, it is closely matched by the dark tempestuous trespass of Broholmer. Straight away, its invasive challenge prowls with leaden grooves and abrasing riffs tempered by the stirring up of a thickly and imaginatively layered lava-esque swamp like temptation leaving the body breathless and enamoured before Hovawart sonically shudders into view with pungent beats for company. There is tribal scented enterprise to the new track’s rhythms which continues to blossom and grip as the guitar caustically resonates and the bass links its own slightly bestial bait to the brewing storm of raw and mercurial suggestiveness.

Throughout new breeds of sound and invention are explored within the volcanic stoner genus of the album, Lancashire Heeler an incendiary groove train with creative rabidity to its infectious fire and thunderous trespass whilst Kyi Apso raps keen attention with its opening rally from Vonlanthen before Yerly and Riley nets that perpetually incitement in their webs of roasting and feral prowess respectively. As all songs within Heat, it is pure rock ‘n’ roll caked in tar like energy, set afire with sonic acidity, and given an off the meter voltage of raw aural electricity.

The album is concluded by the almost eight minute flirtation of Komondor featuring guest guitarist Sacha Love. The song is an uncontrollably bewitching proposal merging mesmeric surf rock with rich intoxicating melodic smoulders and sultry grooves; an exhilarating end to a release destined to be one of the year’s big highlights. Heat is one of those jaw dropping treats which are unexpected but quickly rapaciously devoured. The Dog Days bio calls the band’s sound “Stoner with a boner”; that tells you all you need to know.

Heat is released January 15th on vinyl and as a name your price download @ https://dogdaysband.bandcamp.com/releases

http://www.dogdays.band/   https://www.facebook.com/dogdaysfuzz

Pete RingMaster 15/01/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Third Sovereign – Perversion Swallowing Sanity

3rdS_RingMaster Review

The Asian metal scene is still a relatively untapped and certainly unrecognised landscape in the awareness of the majority on the outside, this despite the impressive bands and releases springing from it over the years. Through the fine efforts and passions of bands and labels/PR companies like Transcending Obscurity, a few things deservedly escape the shadows to earn strong attention and draw new ears and appetite to the region’s mighty underground scene. One such offering is the striking new album, Perversion Swallowing Sanity, from Indian death metallers Third Sovereign. It is an explosive thrash fuelled incitement bred from old school seeds of death metal blossomed into something as intensely fresh as it is enjoyably nostalgic, and another example of the potency within India’s metal scene as Third Sovereign back up to the legendary status they carry in their homeland and surrounding areas.

Formed in 2003 by a trio of musicians from Aizawl, the capital of the state of Mizoram, after they moved to Delhi “in order to expand their horizons”, Third Sovereign quickly earned a reputation for their bold and pungent take on death metal. Inspiration to their sound comes from the time bands such as Sepultura, Monstrosity, Cannibal Corpse, and Vader were the prime death metal driven scourges on the senses. 2006 saw the release of debut EP Horrified Visions with their acclaimed first album, Destined To Suffer uncaged the following year, as its predecessor upon Demonstealer Records. The Deprived Serenity EP continued the attention capturing success of the album with its release in 2008, whilst the single Sarcophaga was nominated in the Best Metal Song category at the Rolling Stones Metal Awards a year later. Leaping on to the now and the band is ready to unveil second album Perversion Swallowing Sanity, a release sure to ignite the most potent range of acclaim and spotlights on the band yet.

art_RingMaster ReviewAizawl based again, Third Sovereign intrigue the imagination with opening introduction Sakei Ai Hla, voices in threat or calling, hard to know, leading the listener towards and into the brewing tempest of Grave of Humanity and an irritable climate of intimidating riffs and towering intensity. A few moments more and the track is rampaging with thick spicy grooves entwining thumping rhythms and rabid riffs. As vocalist Vedant prowls proceedings with his grizzly guttural tones, thrash bred fuel flows to incite and power the increasingly gripping provocation masterly coloured by guitarist Benjamin and given compelling bulk by bassist Jonah within Reuben’s skeletal rhythmic frame.

Demonic and fiercely enticing, the excellent opener makes way for the incessant violation and nagging persuasion of Sarcophaga; the track a tempestuous onslaught as bestial as it is creatively endearing. Spiralling grooves and sonic imagination light the smothering weight of heavy riffs and brutal rhythms, their union a vicious contagion unafraid to spew toxically bracing tendrils of melodic enterprise.

Both Living This Hate and Slaughtered Mankind descend on the senses with nostril flared and muscles merciless; the first a barbarous consumption of ears littered with psyche gripping hooks and fiery grooves carrying as much venom as the bruising menacing around them. Addiction is as swift as an appetite for the quartet’s intrusive rabidity of sound and ideation, its successor showing this an achievement working across the board of Perversion Swallowing Sanity with its fierce animus of sound and hungry intensity.

From the waspish and predatory trespass of Devolution of Mortality and the more controlled predation guided prowl of Spawned with Guilt, band and album squeeze their grip on ears and thoughts tighter. Through their own individually truculent designs, the pair find a mutual savage beauty and character to threaten and enthral, theirs a murderous seduction emulated in the skilfully sculpted and emotionally untamed Holocaust of Preaching. The track is outstanding with its grooves, as in its predecessors, essential lures backed by the nimble and scorching prowess of the guitar and the merciless uncompromising tempting of rhythms and vocals.

There is no denying that Third Sovereign songs are as anthemic as they are vehemently hellacious; captivating incitements as ready to tear out your soul as incite an uprising. The insidiously hued Dark Black is crawling pervasive proof, working its way under the skin to ignite the passions into a greedy lusting for more before the military seeded rhythmic emergence of Burnt Epitome draws the listener into one final invigorating storm of raw malice and virulent death metal tenacity.

It is an immense end to an outstanding release from a band deserving the fullest attention. Third Sovereign is prime example of the depth within Indian metal alone; one of the leading forces we all need in our metal lives.

Perversion Swallowing Sanity is released January 15th via Transcending Obscurity India @ https://transcendingobscurityindia.bandcamp.com/album/perversion-swallowing-sanity-death-metal or http://tometal.com/

https://www.facebook.com/ThirdSovereign

Pete RingMaster 15/01/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

GET OUT. – Let Me In

photo by kim zangrando

photo by kim zangrando

Formed in 2014, GET OUT. is a Kingston, New York bred outfit showing a healthy appetite for a vast range of rock ‘n’ roll. Evidence comes with debut album Let Me In and its collection of tracks seeded in thick and varied essences from heavy rock, metal, punk, and plenty more. The result is a potent sound which gets straight to the point without distracting frills and a commandingly solid release providing increasingly thickening enjoyment.

With its members experiences in local, national, and international music scenes, GET OUT. has all the instincts and imagination to grab attention and get the body rocking. Scarab of Green quickly proves the point, the opener almost prowling ears with predation guided rhythms and fiery grooves before taking a lumbering stroll awash with spicy guitar coaxing from Ryan Rios and Jeremy Swift. Against more intensive and intimidating rhythms, it is an appealing start added to by the strong vocals of Morgan Y. Evans and blossoming further as the heavy rock enterprise of the song increasingly broadens in flavouring and aggression lined catchiness across its body.

Bloody Marys steps up next with sonic winds surrounding the rolling rhythms of drummer Greg Allen, this soon turning into an inviting mix of grouchy riffs and feverish grooves within a muscular frame stalked by an intimidating bassline. As its predecessor, the track has a hazy hard and blues rock air to its tone, the first of many hues spicing up the adventurous sounds within Let Me In, the metal fuelled Seven Heavens swift confirmation. From riff to rhythm, the song has a harsher intimidating edge to its body and attitude, nagging grooves and the thunderous bass of Colin Brown especially tasty against another strong lure of vocals. Sure to get anyone’s feet stomping and hips eager for the mosh pit, the track quickly hits the spot.

Album art by Chris Smith

Album art by Chris Smith

The melodically shimmering Master of Storms has similar success with its mellow croon and evocative melodies which lead to an alternative/melodic rock roar. As provocatively anthemic as anything on the album, it seduces and rouses the spirit with imagination before the sinew spun Chameleon strides in with a heavy rock swagger and bluesy climate. Carrying a rock pop scent to its infectious body too, the song stirs ears and appetite, though admittedly not quite as forcibly as the rampant rock ‘n’ roll of the album’s title track; Let Me In a robustly tenacious and energetically wilful stomp refusing to take no as an answer to its snarling infection.

The latter part of the album holds the strongest tracks, that particular highlight making way for another pair in the shape of the stoner-esque heated Moon Harvest and straight after, the great punk ‘n’ roll tearaway that is Faded. The first of the two is another slow gaited but intensively bodied proposition taking deliberately heavy steps across the senses whilst confronting ears with rapacious grooves and growling riffs aligned to scything rhythms. Its contagion drenched successor is simply a storming incitement of high octane riffs and attitude loaded rhythms guided by the ever impressing vocals of Evans and band. With the previous song to the pair, they make the best extensive moment within Let Me In, simultaneously revealing more of the diversity within the band’s sound.

The burning rock ‘n’ roll of Dagger Complex brings the album to a thumping close, its heavy rock a match for the offerings right before it with it’s in the face dynamics courted by virulent aggression and blood-pumping energy. It is a fine end to a release which, though for personal tastes Let Me In is a few flames short of the raging blaze it might have been, gives full enjoyment and you cannot be much greedier than that.

Let Me In is available from January 15th on iTunes and through the GET OUT. bandcamp.

https://www.facebook.com/getoutrock    http://getoutband.com

Pete RingMaster 15/01/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/