Sahona – Self Titled

sahona_RingMasterReview

Some things are meant to be and seem to navigate to that outcome whatever the initial intent. French melodic rock band Sahona is one of those propositions. Originally, it was intended as a solo project but as musicians were brought in to help its creator, the dynamics and creativity of a band took over. Now they make their introduction with a self-titled debut album; a rousing drama of sound and imagination that simply grabs attention.

Emerging from the South of France, Sahona was formed in 2013 by vocalist/guitarist/keyboardist Charly Sahona of progressive metallers Venturia. As mentioned, the project was set up as a solo venture with friend and drummer Stéphane Cavanez brought in to help out. Having produced some songs for the duo, guitarist Fabien Paraillac soon joined the pair, to be joined later by bassist Cédric Artaxet. As everything and everyone gelled, Charly proposed to turn the project into a full band venture with this their first album recorded in the spring of 2015. Now it is unveiled and ready to tempt and entice with its adventurous blend of melodic and progressive metal with electronic imagination.

The album makes a potent impression first time around but from a strong start and across a host of additional plays, it emerges as an even richer tapestry of sound and ideation which simply fascinates and enthrals. Opener Light of Day, Sense Of Life epitomises the increasingly magnetic journey; a song which draws ears into its melodic charms quite quickly but truly blossoms as each play allows a deeper exploration of its celestial aired depths. From an atmospheric entrance with dramatic keys soon adding additional drama, the song brews up into a busier and more energetic proposal veined by richly enticing guitar and the similarly potent tones of Charly’s vocals. Its melody rich epically throated yet intimate sound has a feel of Dream Theater meets Muse meets Absolace to it, a description which suits most of the release. Individual craft is as pungent and enjoyable as the united enterprise on show in the song, the band creating calm and reflective, raw and aggressive twists and turns which only increase in potency with every listen.

Album cover_RingMasterReviewThe same applies to the album’s outstanding second song, Fires of Passion. Straight away ears and thoughts feel they know the song, like it is a familiar friend returning to arouse the spirit, which it does from its opening web of grooves and flowing, expressive keys. That familiarity comes from again the Muse scent which is at its most fragrant in the song, but it only adds to the drama and tenacious roar of something ultimately distinct to Sahona. Riffs have a great niggle to their tempting whilst rhythms show a firm hand with every throbbing bassline and swinging drumstick as melodies and vocals caress as they seduce. It is the steely grooves and flaming tendrils of guitar enterprise which provide the icing on the flavoursome cake though, a feast which from its first play simply has the ears and emotions in rapture.

On This Winter Night brings an electronic coldness and shadowing into play next, its electro prowling the lining and introduction to further sonic resourcefulness and impressing vocals around a darkly alluring bassline. As its predecessor, it carries a recognisable hue to its creative attractiveness but it only colours something fresh and imaginative, a success echoed within the mellower emotive reflection of Under My Skin. Even with it’s a calmer climate it too shows great volatility to its intensity and heart, but equally equipped with the same infectious nature and sound which lit its predecessors

The electrified air and touch of the increasingly sonically exotic Words of Wisdom grips attention next whilst Little Jack spreads some bluesy tempting into its feverish mix of anthemic intensity and a predatory yet warm coaxing of the imagination. The pair continues the great variation in sound between tracks and offers more of the mouth-watering collusion and at times almost duelling guitar skills of Charly and Fabien. They are incendiary moments which never derailed or distract from the virulence of the song though, another skill shown by the band.

The haunting theatre of A Modern Sleeping Beauty follows the pair; its initial melodic romance leading into a fiery incitement complete with intoxicating grooves and a sinister air before Caught in Heaven descends on ears with glorious guitar jangles and sonic expulsions which in turn spark a boisterous and explosive devouring of ears. The track is glorious, part beast, part charmer, and a nonstop slice of merciless irresistibility. Again the band manages to spawn a predacious tone to their blaze of melodic and harmonic adventure in a track which, as the second, needs little time to ignite a lustful appetite for its presence.

Both Where’s The Path and I’m Alive keep enjoyment strong, if without reaching the heights of the last track. The first initially lays a lively simmer of energy and emotion on ears which, as in so many songs, grows into something bolder and more dramatic with every passing minute whilst its successor is an emotive croon which hugs the senses as Charly spills his lyrical heart.

Closing the album is the cosmic shimmer that is Book Of Life, a song which resonates and pulsates as it seduces body and mind. Sinew spun elements collude with candescent melodies and crystalline textures within it, helping colour a landscape as potent whether casting a mellow lure or a tempestuous agitation. With Cédric and Stéphane creating a sonic canvas which alone is easy to get tangled up in, the track is a superb end to a similarly impressing album.

For most Sahona will have been a new name; after their thoroughly enjoyable first album works its majesty, soon a highly recognisable one.

The Sahona album is out now through most online stores.

https://www.facebook.com/sahonamusic/

Pete RingMaster 02/03/2016

Copyright RingMaster: MyFreeCopyright

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

Megascavenger – As Dystopia Beckons

art_RingMasterReview

With good words heard about but sounds not yet an acquaintance, we had definite intrigue in our anticipation of the new album from Swedish death metal project Megascavenger. What we found within new album As Dystopia Beckons was one mouth-watering and unpredictable kaleidoscope of ferociously imaginative, ravenously confrontational, and venomously contagious extreme metal incitement.

The third album from the Rogga Johansson created project, descends on the senses with a creative animus of discontented sound, ruinous vocals, and an industrial seeded dissonance providing something which really is out of the ordinary. As with previous albums from guitarist/bassist/vocalist Johansson with drummer Brynjar Helgetun often alongside, As Dystopia Beckons sees the guest involvement of a host of members from major bands; Hail of Bullets, Entrails, and Bolt Thrower amongst many sharing their musicians. In many ways though, the stars of the proposition are the bold songwriting and spread of virulently invasive and varied flavours which merge with a tempest of corrosive death metal.

It all begins with Rotting Domain, a predatory stalking of the senses featuring Sven Gross of Fleshcrawl. Initially the track skirts around and prowls ears, shadowing the atmospheric visage of a dystopian landscape which emerges from within the sonic coaxing. Swiftly though, the listener is the target of hungry riffs and tenacious rhythms as an imposing portentous intent is shared by gutturally spewed vocals. It is a highly magnetic affair, especially with the stabbing beats and searing grooves which lay their claim to the imagination.

An industrial intrusiveness opens up the following assault of The Machine That Turns Humans Into Slop. From the carnal tones of bass to the swinging melodic grooves and voracious trespass of the rhythmic web, the song demands and receives eager attention. David Ingram (Hail of Bullets, Echelon, ex-Benediction, ex-Bolt Thrower) adds to the erosive persistence and infectious nagging of the song before Dead City with Jocke Svensson of Entrails involved, takes over. Straight away, the track stalks the senses with a cauldron of onerous sonic intrusiveness and thrash lined riffery. It is a drama which has the imagination swiftly locked in, physical attraction quickly lured by the industrial lined rapacity in sound and emotion that consumes ears. Though it does not quite find the same heights as the first pair of songs, it leaves enjoyment at a similarly feisty level before being eclipsed by As The Last Day Has Passed.

Already there has been a varied addition of textures and spices to songs, but the fourth is far bolder and subsequently even more attention grabbing. Teddy Möller (Loch Vostok, The Experiment No.Q, The Hidden) joins the pair in the lively catchiness and rampancy of the classic/ thrash metal fuelled track, his grizzled vocals a great union with Johansson’s throat shredding prowess. Like a mix of Fear Factory and Soilwork yet not, surprise is instantly replaced by pleasure for not only the gripping sounds but the bold ideation involved.

Things only seem to get braver and more hectic from hereon in; starting with The Hell That Is This World and its early-Pitchshifter/ Entombed like seductive massacre. The track is glorious, an uncompromising anthemic assault of brutal, groove entangled rock ‘n’ roll which again is built on numerous strains of addictive noise and tempestuous textures for one unique infestation of the passions. Kam Lee (ex-Massacre, ex-Mantas, Bone Gnawer, The Grotesquery) adds his prowess to the song and appears again in The Harrowing Of Hell, though before it, the death ‘n’ roll of Dead Rotting And Exposed scars and corrodes the senses whilst stirring up another industrial soaked stomp followed by the even more hellacious Steel Through Flesh Extravaganza with Adrie Kloosterwaard of Sinister in the mix, which uncages a contagion soaked storm of sonic cancer on the senses. Once more the best description for the thrilling violation is grievous rock ‘n’ roll, and again unbridled satisfaction is the reward.

The Harrowing Of Hell entwines gothic and extreme metal in an encounter which hints at bands like Sisters Of Mercy and Gene Love Jezebel as much as an Asphyx or a Godflesh. From a strong start, the album is at a new level around its middle with this transfixing encounter up there as its finest moment alongside The Hell That Is This World.

Completed by the prophetic sonic instrumental smog of its title track, As Dystopia Beckons leaves the senses wasted and imagination alive with emotions in total agreement. The album easily feeds a want for something individual and refreshing whilst stirring up the instincts for a barbarously invasive time, so can only be heartily recommended.

As Dystopia Beckons is out now via Selfmadegod Records @ http://selfmadegod.com/en/shop/item/12022

https://www.facebook.com/megascavenger

Pete RingMaster 02/03/2016.

Copyright RingMaster: MyFreeCopyright

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

Carnac – The Frail Sight

carnac_band_RingMasterReview

There is little we can tell you about Turkish death metal band Carnac, except and most importantly that their recently released debut EP is well worth a concentrated moment of your time. Consisting of four highly accomplished tracks, The Frail Sight is a proposition which may not bowl you over as it treads the line of established genre traits over major originality but it is a release which instils a keen want to come back for more.

Hailing from Ankara, Carnac emerged in 2014 with a sound spawned from the inspirations of bands such as Gojira, Opeth, At the Gates, and Enslaved. As shown by their Bahadэr Sarp engineered, self-produced debut, they have come up with a refreshing incitement unafraid to entangle invasively enticing snake like grooves and uncage a feisty rhythmic agitation within a ravenous death metal landscape. We suggested it was not bereft of familiar flavours and textures yet there is no hiding away that the quartet of tracks also reveals real freshness of craft and character.

The Frail Sight opens with Hericide and a sonic breeze quickly speared by robust rhythms which in turn sparks a heavy footed and invitingly swinging canter. With the hoarse vocals of Burak Yenitepe leading the way, the track proceeds to mix up the weight of its intensity and the charge of its energy without ever relenting in its ravenous impact on ears. Throughout, the guitars of Ozan Turakine and Nurhacı Çeri unleash torrents of riffs and winding tendrils of fiercely spiced grooves to magnetic effect, wrapping round the irresistible virulence fuelling the track and driven by the rapier strikes of drummer Baybora Topaloğlu and the brooding tones of Ünal Akünal’s bass.

Carnac_RingMasterReviewIt is a superb start to the EP, a swift impact maker as predatory as it is rousing and matched in success by the following Menhirs Of Enmity. Its entrance is a kinder melodic coaxing, though it takes little time for a tempest to descend on ears again with a thrash spiced contagion of hostility and infectiousness. By this point the want and ability of the band to keep predictability at bay is forceful. It was a potent part of the first track and reveals more boisterous intent here as the band take the listener on a roller coaster of a perpetually changeable landscape of energy powered flavours and ear devouring textures.

Debaser is the next to challenge and please, it too a wall of confrontation as it builds pressure on ears. Once more the guitars cast a net of hooks and roaming grooves, all skilfully and keenly spun around brutish rhythms and the rasping vocals squalls of Yenitepe. Its body is an attention grabbing cauldron of eager activity and almost sultry invention within merciless death metal stock, and fiercely appealing even though it does lack the same incendiary spark as its predecessors.

Closing track Servant To The Void is the same, missing an indefinable but noticeable element to really stir ears and emotions yet provides a thoroughly satisfying and adventurous challenge to spend plenty of time with. The guitars just about steal the show though bass and drums provide the kind of rousing badgering you just do not want to resist whilst Yenitepe offers his own pleasing incitement of the senses, though a touch more diversity to his delivery for personal tastes would add another potent dynamic.

Carnac introduces themselves in strong style with The Frail Sight with the potential of bigger moments to come openly brewing within its increasingly enjoyable presence. This is a band to keep a close eye on we think.

The Frail Sight EP is out now via Sliptrick Records with its digital outing @ https://carnac.bandcamp.com/album/the-frail-sight

https://www.facebook.com/carnacband

Pete RingMaster 02/03/2016

Copyright RingMaster: MyFreeCopyright

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

Diamond Days – People Change

DD_RingMasterReview

In the second half of 2015, UK alternative pop/rock band Diamond Days grabbed attention with the release of two singles in quick succession; songs which built upon the potential and success of their previous EP. Now they nudge the bar of their melody rich sound again with new track People Change; a single confirming why good, praise loaded things are constantly being said about the Liverpool band.

DD art_RingMasterReviewFormed in 2014, the quartet soon sparked keen online attention with the release of debut single Start It From The End, its release soon followed by over 60,000 views on YouTube and the luring of over 30,000 followers across social media since. Drawing on inspirations ranging from Fall Out Boy, You Me At Six, and Panic! At The Disco to Foo Fighters, Young Guns, and Lower Than Atlantis, the band’s sound has persistently evolved with each release too starting with their impressing debut EP, We’ve Come A Long Way. Live the band has equally earned a potent reputation, sharing stages with bands such as The Blackout, William Control, Metro Station, Motion City Soundtrack, Fearless Vampire Killers, and Verses along the way. Both the Love Struck Kids and I Rewind singles of last year hinted at further growth in songwriting and sound which now People Change backs with infectious charm.

An opening melodic sigh brings in the punchy beats of Mark Highdale and the enticing lures of guitarists Tom Shepherd and Alex Fearn first, the latter equally as swift in offering his strong voice and expression to the emerging song. It is a rousing start which never explodes but continues to fuel the growing harmonic and melodic roar. Darker textures are provided by the bass of Tom Jack Jackson, giving a great temper to the vibrancy which soaks the song from enterprise and craft through to the potent tones of Fearn.

There is also a great hint of new unpredictability emerging in the band’s songwriting too; a sudden twist into a calmer emotive climate without real warning one great moment in the increasingly magnetic encounter.

With a great video to accompany it, People Change looks like being the start of another strong year for Diamond Days and an enjoyable one for us.

People Change is out now.

http://www.diamonddaysmusic.com   https://www.facebook.com/DiamondDaysUK   https://www.twitter.com/diamonddaysuk

Pete RingMaster 02/03/2016

Copyright RingMaster: MyFreeCopyright

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

MORASS OF MOLASSES SET OUT ON THE ‘VULTURES PRAY’ TOUR WITH VICTORIAN WHORE DOGS

MoM_RingMasterReview

‘Their music goes back to the old Clutch, mixed with huge amounts of Sludgy, bluesy riffs. Singer and guitarist Bones had the best stage banter as well’ – Echoes & Dust

‘They win the award for best band name, and as they start into a set as heavy as hell, they raise the bar for the night. Tonight is all about tone’ – Get Into This

Morass Of Molasses have just returned from an intense weekender with Ohhms and Slabdragger, brief moment in time which saw them visit Edinburgh, Liverpool and Coventry in order to spread their unique brand of Sludgy Swamp Blues. In the process they garnered still more critical acclaim and fans alike.

Now, with the dust barely settled, they set out on the road once more. This time it is for their largest UK tour to date, with their Sludge Brothers Victorian Whore Dogs on board for the ride.

As if this wasn’t enough, the tour also coincides with the band acquiring distribution deals with HeviSike Records, Hibernacular Records, and From Beyond Records for the release of their unique sounds.

This is represents the band ‘working with the right people‘ according to frontman Bones. Who adds ‘It is good to see all our hard work being recognised by influential people we respect

The ‘Vultures Pray’ Tour…
25.03.16 – The Dragonffli (Pontypool)
26.03.16 – Bunker 13 (Stoke)
01.04.16 – The Swamp (Reading)
02.04.16 – Firehouse (Southampton)
03.04.16 – Edge Of The Wedge (Portsmouth)
07.04.16 – Pig & Drum (Worcester)
08.04.16 – Firebug (Leicester)
09.04.16 – Bad Apples (Leeds)
10.04.16 – Running Horse (Nottingham)
16.04.16 – The Black Heart (London)
17.04.16 – The Prince Albert (Brighton)

MoM tour_RingMasterReview
Find more details about Morass Of Molasses here @ Facebook: https://www.facebook.com/MorassOfMolasses