The Redeemed – Obscured Misery

The sign of a really potent introduction is that it is still grabbing new attention and support months after its initial release, and that is exactly what Obscured Misery, the debut from UK thrash metalcore outfit The Redeemed is making a success of. Offering three slices of imposing and magnetic ferocity forged metal, the EP is an ear pleasing, appetite breeding assault from a band swiftly revealing the potential for great things.

The quintet comes from the heartland of Surrey with its seeds sown with the coming together in jam sessions of band founder Anthony Wiseman with fellow guitarist Ben Newton back in 2013. A mutual love for bands such as As I Lay Dying, August Burns Red, Inflames, and Caliban cemented their creative link, songs soon emerging from the pen of Wiseman and expanded with the lead guitar prowess of Newton. Subsequently after a few misses, a stable full line-up emerged with the addition of bassist Josh Lightfoot and drummer Steve Dun, eventually vocalist, once of Piss Viper, completing the band. Obscured Misery is the band’s first onslaught and one, with its creative web and striking dexterity, relentlessly making an impressive invitation to new attention.

The EP’s title track opens things up, Obscured Misery entangling ears in a maze of Newton’s creative tendrils, his guitar spewing sonic vines with skill and ease as a rhythmic intensity rumbles and then bursts. The throat raw tones of Fletcher are just as quickly surging through ears, growling with discontent as bass and rhythm guitar almost swing in attitude and enterprise. The song’s emerging landscape is a tapestry of twists and turns, never taking a moment to relax as neither can the listener as torrents of imagination loaded textures and eventful dexterity enjoyably impose. Forged on a host of metal bred styles, the track is a striking start displaying the individual and united zeal forged skills of the band but equally a maturely inventive composure.

The Concept follows and equally strikes a chord with ears and appetite in no time especially with Lightfoot revealing his clean vocal strength for a great contrast and complement to the rasping tenacity of Fletcher. As ravenous in character and tone as its predecessor, the song also slips into calmer waters with fluid adventure though never settling there too long before its volcanic heart and creative blaze resurfaces and drives things on again with Newton’s prowess exceptional throughout.

The EP is completed by Last Mistake; itself a skilfully bred maelstrom of craft and creative attributes leaving already impressed ears greedier. Certainly it lacks something indefinable compared to its companions on personal tastes but only accentuates and reinforces the real pleasure of being surrounded by the EP’s creative tempest with only its fade out something to grumble at and that is just a personal bugbear of any song.

Together the trio of tracks declare The Redeemed as a band attention is a forgone conclusion for with the promise of bigger and bolder exploits ahead breeding just as strong anticipation for those things to come. The UK just might have a new major force in the making.

The Obscured Misery EP is out now @ https://theredeemeduk.bandcamp.com/releases

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 Pete RingMaster 26/07/2017

Copyright RingMaster: MyFreeCopyright

Bloodclot – Up in Arms

Pic Rick Rodney

Bringing together the highly recognised talent of certain individuals from various acclaimed bands does not always guarantee something special but in the case of Bloodclot, it feels a given such the instinctive union between its collective. The band is the coming together of Cro-Mags vocalist John Joseph, former Danzig and Murphy’s Law guitarist Todd Youth, drummer Joey Castillo formerly of Queens of the Stone Age, Danzig, and Eagles of Death Metal, and Mondo Generator frontman and ex- Queens of the Stone Age, Kyuss bassist Nick Oliveri. Together they confirm that given with debut album Up in Arms, a physical and lyrical roar of hardcore defiance.

Unleashing twelve ravenous slices of punk rock with more inescapable hooks than found in Leatherface’s pantry, all fuelled by raw irritability at the state of the world today, Up in Arms is a crowd uniting battle cry. It fuses familiar essences with the fresh appetite and invention of a quartet seemingly destined to come together at some point. Everything about it is as organic as it is rabid, as challenging as it is rousing; taking no prisoners but rewarding those who it devours time and time again.

The album’s title track crashes in on the listener first, springing from an invasive sonic mist with a slavery of guitar and rhythmic predation as Joseph pokes and stirs the senses with voice and word. Castillo’s beats are rapier sharp and imposing, Oliveri’s bass carries an infectious brooding whilst Youth’s riffs and hooks ensnare across four eventful minutes.

It is an ear gripping, appetite inflaming beginning which only kicks up a gear with the following Fire, a belligerent brawl of punk ‘n’ roll instantly chaining ears with a  virulent hook as rhythms jab and incite. If the Angelic Upstarts was merged with Sick Of It All, this could be their anthem while Manic infuses an even greater physical psychosis and unforgiving attitude to the torrential gait of its predecessor in its own addictive multi-flavoured rumble.

Through the sonic call to arms scourge of Kill the Beast and the Dead Kennedys scented Prayer, new twists of sound and invention force themselves through ears, each with a virulent strain of spiky hooks and body twisting grooves, while their successor has things bouncing like a dervish. Siva / Rudra is a contagion of enterprise as cantankerous as it is exotically seductive marked, as all three, by Oliveri springing basslines as funky as they are carnal. Alongside, Youth’s riffs and grooves come as primal as they are compelling whilst Joseph squeezes every ounce of uncompromising adventure and emotional incitement out of tone and syllable.

Soldiers of the New Babylon locks metal and punk together in its prickly vent, a testy proposition woven with nagging riffs and a magnetically throbbing bassline before Kali throws all those attributes into an insatiable maelstrom of punk rock temptation, taking best track honours along the way. Barely seeing the one minute mark, the track is irresistible but swiftly rivalled by the crabby assault of Slow Kill Genocide, the catchiness moment within Up in Arms and arguably the most choleric.

Pure punk rock truculence shapes the breath-sapping antics of the following Slipping into Darkness, Oliveri spawning his most addictive moment within the album bound in the searing flames of Youth’s guitar as vocals and beats vent their animosity with Life as One backing up its triumph with its mercurial but always commandingly imposing tapestry of quarrel and imagination.

The album is closed by You’ll Be the Death of Me, a slab of rock ‘n’ roll taking big chunks out of the senses as it excites with its Lard-esque espionage. Addiction has never been more vicious and seductive within three and a half minutes, certainly in recent times, as that spawned by the outstanding finale to one of the year’s biggest treats so far.

Produced by Zeuss (Hatebreed, Revocation) and mixed by Kyle McAulay at NRG, Up in Arms transcends being just a great release from another so called ‘super group’, it has given hardcore a fresh new breath and snarl which we can only hope is the first of many gales from Bloodclot.

Up in Arms is out now on Metal Blade Records across most stores and @ https://bloodclot.bandcamp.com/album/up-in-arms

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Pete RingMaster 26/07/2017

Copyright RingMaster: MyFreeCopyright

4 Past Midnight – Battle Scars & Broken Hearts

Over a career expanding over a decade or more there are moments when a band openly dips below their previous heights. That blip has yet to come with Scottish punks 4 Past Midnight since raising their middle finger back in 1989 and is not on the horizon yet as their new album, Battle Scars & Broken Hearts, proudly declares. Offering fifteen slices of the band’s uncompromising yet relentlessly infectious punk rock, the album holds no major surprises in a departure from that instinctive sound but easily refreshes an already established appetite for their militant roar across its tenacious body.

The Glasgow quartet’s sixth studio album among numerous singles, EPs, and compilations, Battle Scars & Broken Hearts sets out its agenda straight away with Do it Now. An opening scuzzy chord opens the gateway to a surge of rapacious riffs and punchy rhythms through which the distinctive lead vocals of drummer Peter McCartney gravelly growl. A delicious hook adds its bait from within the roar too, reinforcing the track’s instinctive punk ‘n’ roll contagion with addition inciting traits.

From one great track to another as For Life strolls in next upon the swinging beats of McCartney, the guitars of Tam Bowman and Fred Stevenson uniting in a calmer but no less boisterous invitation. As vocal chords quickly join in with McCartney’s, hips are bound in the groove of Stevie Goldsack’s bass, its grumble a flirtatious tease within the chest beating declaration of the track before being a similarly compelling lure within the drama clad, politically scathing Politician. Bowman again weaves ear grabbing melody lined hooks as Stevenson’s riffs crawl over the senses, they and the rhythmic prowess of Goldsack and McCartney gaining in aggression and adrenaline as the song hits its finale.

Through the more controlled yet predacious growl and narrative of the UK Subs-esque Guilty and the brief instrumental shuffle of Tonight, variety and further pleasure consumes ears, both tracks anthemic in their keenly individual ways though not as imposingly as 4pm On Tour (4pm crew pt4). The fourth instalment of the band’s rebel rousing, spirit sparking anthem, it swiftly declares there is no point trying to resist its instinctive persuasion to roar your head off and physically stomp especially through its virulent chorus; the track leaving the body and heart elevated in a way only 4 Past Midnight can.

The sultry melodic hues of Bowman’s guitar immediately ignite next up Hope, Fear, Pain, Love, Desire if not lingering around long enough when seducing ears across its contagiously muscular canter for personal tastes while Survive just blisters the senses with its energy and rapacious tone. Though neither quite hits the levels of songs before them each brings hooks and invention which resourcefully leaves a smile on lips before being fully eclipsed by the chest beating might of Let’s Go. For any band, punk or not, wanting to learn about creating organic but purposeful anthems sure to whip up the hearts of their fans, this fevered soundtrack to any uprising has it all; 4 Past Midnight continuing to deliver such incitements album after album at times almost song after song.

Its bold corralling of emotions and spirit is followed by the rough and ready insight and equally tone of Alone, where a blend of old school and modern street punk with a whiff of hardcore for good creative measure is unleashed, and in turn by the Oi infested I Hate My Life. The first of the two again hits the spot without inflaming it leaving that to its ravenous successor and the magnificent Day After Day within which Goldsack’s bass brews up a primal almost carnal grizzle in its tone and virulence. The goodness does not stop there as Bowman takes the imagination into a melodic metal nurtured detour before things get salaciously punk again.

Accompanied by the piano elegance of someone simply called Vivian, McCartney shows his melodic vocal side to surprise and enthral as Whithered Roses next serenades.  Written by the band with Clare Bowen, it is a magnetic beckoning subsequently leading into the waiting jaws of the track with the bass again finding a bestial hue to its growl as hooks sink deep within the passions as McCartney is back to his sandy throated best with matching rhythmic dexterity. The track is superb, rock ‘n’ roll to whole heartedly give energy and zeal to.

The album is completed by firstly The Reason, a song hinting at pop punk instincts whilst roaring with a flavoursome mix of rock, and lastly through the gnarly and seriously catchy blaze of Can Anyone Hear Me; a plaintive call which grabs attention on every level. Together they provide a grand finale to another mouth-watering and increasingly thrilling encounter from 4 Past Midnight.

It is hard to pick the best album from the band, though there is no doubting that they are only increasing their impressive reputation as not only Scotland’s best punk band but one of the UK’s most essential propositions with each release, but for sure  Battle Scars & Broken Hearts is right to the fore of their biggest punk triumphs to date

Battle Scars & Broken Hearts released through Hedgerow Records (UK) on Vinyl and on CD via the band, Combat Rock Records (France), and Bosstuneage Records (UK),with its digital store @ https://4pastmidnight.bandcamp.com/

http://www.4pastmidnight.co.uk/    https://www.facebook.com/4-Past-Midnight-215468135159655/    https://twitter.com/4pastmidnight

Pete RingMaster 26/07/2017

Copyright RingMaster: MyFreeCopyright

Chasing Sanity – Anathema

Chasing Sanity is the new solo project from Erik Martin, formerly of Erik Dismembered and one half of Skin Drone; a new creative adventure born from the ashes of the first of those two when Martin decided to “start over and rebrand” himself and his music having felt “uninspired to write anything under the Erik D moniker”. In many ways, Chasing Sanity is closer in style to his work with Otto Kinzel as Skin Drone but as swiftly revealed within debut album Anathema, creating its own unique and fascinating world of imagination and sound.

Though you might primarily tag Anathema as Avant Industrial Metal, it is equally a kaleidoscope of atmospheric and cinematic textures drawn from the darkest corners and depths of the imagination. Every track is a challenge and canvas for the imagination to conjure upon and a place where intimate horrors collude with broader nightmares. Themed by “anxious depression and anger” bred in Martin’s own experienced emotional turmoil, the album opens with You Fiend. Primarily an instrumental release, the first track features the vocal prowess of Nate Exx Gradowski from Isolated Antagonist, AutomatoN, and Quo. Straight away the raw snarl of guitar stalks the senses, inserting their toxic magnetism as Gradowski adds his multi-textured presence within a similarly diverse lure of synths. Every second of the song leads to a fresh turn and unpredictable twist, Gradowski’s switches between harsh and clean vocals matched very second of the way by invasive yet captivating sound.

In many ways, the opener is a straight forward proposal to embrace compared to its successors where the imagination is as active as ears.  Cursed is next up, gliding in on the infectious throb of bass as an increasing web of sound and noise insert their suggestive glimpses into the track’s brewing landscape. Drama fuels every second, metal nurtured riffs and trespasses gripping bait but persistently interrupted by haunting atmospherics and sombre shadows to catch ears and thoughts off guard time and time again. As with all pieces, interpretation will be unique to the individual but unavoidable as the track provokes and inspires before Depths Of Euphoria immerses ears in its own disarming quiet suggestiveness. Even more cinematic than its predecessor, the song is like a flight through night clad scenery with sinister shadows and dark traps waiting to spring.

The industrial intimidation of Haunted Walls quickly has thoughts and emotions involved next; danger and innocence entangling within its guitar veined gothic body. It is a dark place though with the invasive intent of a Hostel found cell, every step within its fascination wrought with tension and ill-intent before Dismembered Thoughts brings some light to the release with its infectious waltz. Yet it too is a tenebrous dance with treachery and menacing asides, keeping ears and thoughts again wary and busy throughout its passage through to the steely net of sonic intimation cast by Orange Bottle. A blend of textures and styles unite for its metal nurtured shuffle, the track prowling the senses as it commandingly ignites physical and mental involvement.

Pills, Pain And An Autopsy creates its own travelogue through the dark tunnels and layers of psyche and suggestion where caliginous beauty and thought infesting angst breed their own unique connection. The track continues to grow and blossom, never escaping its haunting shadows but nurturing a myriad of melodic hues and evocative textures within its atmospheric immersion.

The final pair of tracks upon the EP sees Martin linking up with firstly Rockwater Pictures for Red Death and its percussive and inhuman infestation of the psyche and lastly with Chris Bollinger of Kill Point Protocol and Varicella in Salem, 1666. The final track only needs Vincent Price’s distinctive growl to be the complete cinematic nightmare, one offering extreme and industrial metal surges seemingly glimpsed through a damaged canvas slashed by the claws of the horned one. As the album, it needs numerous plays to settle on a final interpretation, if you ever can, with thick enjoyment flowing through every attempt.

There is no doubt that Anathema is a challenge, one only venturing within its dark realms will reveal whether you  will embrace or flee from it,  but as is the theme with Erik Martin’s work, it is a testing which leaves you mentally and physically alive and indeed welcomingly exhausted. Chasing Sanity pretty much sums up the sound and experience of Anathema, something we all do in varying ways through life.

Anathema is out now across most stores and @ https://chasingsanity.bandcamp.com/

https://www.facebook.com/chasingsanityband

Pete RingMaster 26/07/2017

Copyright RingMaster: MyFreeCopyright

Vault 51 – Kid

It is never a bad thing to make a thumping good first impression and that is exactly what US quintet Vault 51 has done with their debut EP, Kid. Not that the band is exactly a new force to attention having been around a while now with a buzz soon brewing up around them and apparently they have been signed to Roadrunner Records at some point too. Kid though is their first meaty proposition for real focus following a clutch of magnetic singles, and a forcible reason to pay close attention to their rousing sound.

Roaring out of Atlanta, Vault 51 breed a sound which lies somewhere between alternative rock and melodic/post hardcore; a proposition embracing familiar essences with fresh invention to create an individual character which blossoms across the six tracks of Kid. Already earning comparisons to the likes of Red Jumpsuit Apparatus and Story Of The Year, the band gets straight down to persuasive business with the Drew Fulk (I Prevail, Motionless In White) produced and Lee Rouse mixed EP. Thirty Six gets things underway, it’s ticking suggestiveness soon submerged in a torrent of riffs and fiery sonic flames. That passing of time is still there working away as the song ebbs and flows, the bass of Alex Garmon a gnarly temptation and the jabbing beats of Joshua Landry a biting trespass as melodies and harmonies catch alight and soar. Frontman Landon Jones leads the way with his potent tones backed by the similarly alluring voice of guitarist Tom Jepson, whose strings simultaneously collude with those of Patrick Snyder in a web of enterprise which has ears gripped and an early appetite stoked in swift time.

It is a powerful start to the release, that mix of varied flavours and textures a tempestuous yet composed blaze which as suggested earlier merges recognisable essences with bolder exploits belonging to Vault 51; a success found again within the following We Don’t Care. The track quickly shows itself a predatory individual, riffs carrying a sinister and aggressive edge tempered by again impressing vocals. With rhythms bringing their own cantankerous almost inhospitable intent, the track still plunders the senses; a Spineshank meets Breaking Benjamin spicing grabbing keen attention as things flow through mellow and harsh scenery with craft and emotional intensity.

The first two striking tracks set the marker for the EP which arguably the subsequent songs miss matching yet as latest single Magnolia with its melodic graces and atmospheric caresses soon reveals, the adventurous ear pleasing nature and power of the release refuses to die down. A volatile encounter as calm and seductive as it is fiery and imposing, the third song breeds a virulent infectiousness as forceful as that cast by its predecessors and in next up Wildfire. A poppier incitement from the off but soon lighting a pyre of emotion and intensity, the song has something of Australians Voyager and Sick Puppies to it, a mix of the two in many ways at least which has the imagination soon caught up in its creative drama.

The magnetic reflective calm of Mourning View makes an engaging contrast soon after; the song a melodic serenade on the senses with a brooding rhythmic lining as keys cast their suggestive poetry.  It too has tempestuousness to its heart which flirts with rather than breaks in ears, adding an anxiousness which firmly appeals before Sincerely Me brings things to a ferocious conclusion with a blistering tempest abound with melodic beauty and emotional drama. Maybe taking longer to initially convince than other tracks within Kid, it blossoms into one of the highlight of the release with its cyclonic breath and rousing ingenuity.

Kid makes an increasingly compelling and impressive statement through every listen, sparking the lift off of Vault 51 into the grasp of real attention but more importantly a certain new wave of hungry fans.

The Kid EP is out now on Spotify, through other stores and @ https://www.vault51.net/merch/kid

https://www.vault51.net/    https://www.facebook.com/Vault51official/    https://twitter.com/vault51official

 Pete RingMaster 25/07/2017

Copyright RingMaster: MyFreeCopyright

Saint Apache – Wolf Machine

The suggestion of a bold new roar within the British alternative rock scene came with a self-titled debut EP last year, now Eastbourne hailing quartet Saint Apache confirm their potent emergence with its ear grabbing, spirit sparking successor. Wolf Machine is a blaze of muscular and tenacious multi-flavoured rock ‘n’ roll, a proposition often as bruising as it is rousing taking the potential of their first encounter to new creatively accomplished and energetically hungry heights.

Formed in 2015, Saint Apache weave their blaze of sound with an array of influences said to include the likes of Every Time I Die, Buckcherry, and Rage Against The Machine. It is a fiery mix with a volatility of thought and intensity which catches the imagination with ease within Wolf Machine. As mentioned, their debut EP was a potent opening encounter with the band; a promise fuelled introduction swiftly pushed and eclipsed by the rapacious presence of their new creative challenge.

The release opens up with a richly enticing hook; You’re Not A Slave instantly laying down a rich scuzzy lure quickly joined by imposing riffs and thumping rhythms. The equally compelling tones of vocalist Thom Meredith soon roar from within the magnetic nagging tide of sound, Saint Apache stirring up the senses and spirit with persistent and boisterous enterprise. Familiar and fresh hues collude within the fire, unpredictability brewing and grabbing its moment as the track slips into a restrained passage with post punk and invention nurtured twists dancing on the ears. The guitar of Leo casts a tapestry of endeavour and imagination, every second a web of hooks, grooves, and spikiness matched by vocals and the rhythmic predation of drummer Adam Oarton and bassist Luis T.

It is a tremendous start to the release, stoner and heavy rock mixing with punkier intentions and continuing to unite their elements within the following exploits of The Story Doesn’t End Here. The wiry tendrils and fuzzy breath of the guitar brings in a psych/stoner-esque smog, grooves shooting from its midst with again a recognisable yet invigorating character. The growling tone of the bass is a physical addiction all on its own, with an irritable presence just as enticing within Meredith’s vocals and snarling lyrical expression. Rage Against The Machine essences within the first song are a thick spice within the second, giving its swagger thicker liquor to intoxicate the listener with.

Halfway Dead similarly weaves a trap of closely acquainted grooves and hooks for the appetite but again with a tenacity and enterprise which has ears and bodies greedy and bouncing. As with all tracks, it is hard to say that originality is an overpowering essence yet in the bold and craft sharing hands of the band, everything comes in an unworn design and with unique nature. Previously mentioned inspirations again can be grabbed from the track but equally there is something of bands like Damn Vandals and Turbonegro to the raw and virulent attack.

The EP’s title track brings things to a close offering a drama coated, intensity loaded temptation from its first breath which may lose some of its threat as things ‘calm’ a touch and vocals become entangled in spicily wiry grooves but never loses its intrusive touch or creative appetite within its thrilling attitude loaded incitement. It is a gripping end to a continually galvanic proposition hard to find anything other than real pleasure with.

The Wolf Machine EP is audacious and impulsive in character and sound if admittedly not so much in major originality but even there the seeds are openly being sown and bred within its four songs for blossoming further down the line. Saint Apache is ready to make their mark and if Wolf Machine is a hint to the things to come, bring it on.

Wolf Machine is out now across most stores.

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Pete RingMaster 25/07/2017

Copyright RingMaster: MyFreeCopyright

Virtual Symmetry – X-Gate

The new EP from Italian progressive metallers Virtual Symmetry, X-Gate is quite simply a theatre of sound, craft, and creative storytelling which keeps ears and imagination greedily engaged from start to finish. Simplicity though is not a feature of the release with every song a kaleidoscope of flavours and styles, each encounter a lure into surreal realms and adventures woven with individual and united craft which alone grabs attention.

Founded by guitarist/ multi-instrumentalist Valerio Æsir Villa, Lugano hailing Virtual Symmetry potently build on the creative landscape and progression of their well-received debut album Message from Eternity of 2016 with X-Gate, creating a web of enterprise and imagination which ensures fascination is an equally lively reaction. There are moments when things settle into a calm temptation, a low key seduction and other times when the EP ignites a real zeal for its dramatic body of sound and invention but always attention is firmly hooked.

X-Gate opens up its exploration of man and its evolutionary possibility, which starts with its artwork, with Eyes of Salvation. Instantly guitars coax the listener with a fiery glaze to their lures before a portentous calm is accompanied by poetic strains of piano from Mark Bravi. Swiftly his additional keys flame up as the rest of the band unites their essences in a rising tide of sound and suggestion. Vocalist Marco Pastorino walks alongside the piano in another mellow passage, his potent voice matched by others within the outfit, before that fire erupts once again with the rhythmic rapacity of bassist Alessandro Poppale and drummer Davide Perpignano driving things. From its first breath, the track is a web of enterprise and thought, a myriad of textures and layers explored better over subsequent listens though its infection loaded chorus is a swift recruitment of ears and involvement. Across its seven plus minutes, the song continues to tease and tempt whilst weaving a fluid collage of styles and theatrical imagination.

It is a great start which has ears and appetite hooked for that to follow starting with the epic flight of Alchymera. For almost a quarter of an hour, the song is a magnet for the senses and thoughts; its celestial and emotional journey especially blessed with keys carrying a definite  Bill Nelson vibe whilst the guitars give Steve Vai like scents to their endeavour. An eighties new wave/synth pop essence also simmers within the track, seductively caressing its more irritable traits while Villa alone brings an emotional drama and moodiness to the track which is absorbed and emulated in the atmospheric climate spreading across the mercurially alluring and skilfully woven landscape.

Elevate completes the release, the track notable alone for the union of Pastorino with the radiant voice of Diane Lee from Swiss melodic progressive metallers Lost Journey. The pair is surrounded by a serenade of sound with volatility in its nature as potent as the emotional drama and invention loaded imagination baring their qualities. The song almost swarms the senses with its charms and fiery heart, breaking into more tempestuous moments throughout to only increase its pull.

It is fair to say that though its strong first showing, X-Gate simply escalates in depth and persuasion over time. Virtual Symmetry is a richly intriguing and tempting proposition from the outskirts of the progressive metal landscape but a prospect increasingly coming to the fore with each offering they make and though the EP might not end up on the year’s best lists come the New Year, but could for many, as one of the most enjoyably fascinating propositions X-Gate is right up there.

The X-Gate EP is out now.

https://www.facebook.com/VirtualSymmetryOfficial    https://twitter.com/virtualsymmetry    https://www.instagram.com/virtualsymmetrypjct

Pete RingMaster 25/07/2017

Copyright RingMaster: MyFreeCopyright