I Fight Bears – Self Titled

An encounter which just grows in strength and persuasion with every listen, the self-titled debut album from Welsh metallers I Fight Bears is an ear grabbing statement of potential and success. Brewing a healthy blend of the familiar and fresh, it is a declaration of a band with all the weaponry to make a potent impact on the British metal scene.

Hailing from Bridgend, I Fight Bears draw on the inspirations of bands such as Killswitch Engage, Parkway Drive, and Lamb Of God for their voracious sound. It is not necessarily the most unique proposal you will come up against yet each song within the band’s first album has a freshness and adventure which commands attention. Since emerging around two years ago, the band has stirred ears and praise with their singles and a live presence which has taken them alongside the likes of When We Were Wolves, Skies In Motion, and Perpetua. Predominately self-recorded by the band itself with Micheal Paget (Bullet For My Valentine) involved on some songs for both mastering and mixing, their first album is a big nudge at richer and thicker attention and instantly makes a potent impact.

It opens with the mighty Hammers, melodic enticement and hungry rhythms instantly to the fore before it all unites for a rapacious and inviting enticement. A great blend of throat scraping and clean vocals grab their own healthy portion of attention soon after, the excellent mix matched by the predacious craft of the rhythms and creative weave of the guitars. Infectious and intimidating, it is a great start to the release; as suggested familiar and new imagination entangling in magnetic success.

Upcoming single, Envision, follows sharing melodic vines which maybe are not the most original but make a tasty appetiser for the blossoming enterprise of the song to flourish upon, again vocals captivating at the heart of the creative web. As the guitars weave, rhythms pounce with an anthemic touch, fiery grooves and spicy hooks latching onto their intrusive swing. With a touch of Avenged Sevenfold to it, the song hits the spot before making way for the band’s current single, Lost The Fight. The track’s roar is unleashed on a snare of grooves and sonic temptation, their enticing bait laid on the more volatile but no less gripping lure of the rhythms. I Fight Bears have a multi-flavoured surge of sound at the heart of all songs and maybe none as compelling as that fuelling this very easy to devour proposal, especially as it grows more predatory by the minute.

Design And Purpose carries that intrusive intent into its following proposition, beats and bass a grumbling trespass soon bound in melodic strands with their own imposing touch. Vocals blast the mix with a raw emotive breath, the song a predacious assault before opening up its melodic dexterity as clean vocals again provide a superb contrast matched by the endeavour of the guitars. As imposing and catchy as its predecessors, the track is a just as inviting lead into the band and its sound, quickly matched in that quality by Life Of One. Another smart weave of styles and sound bound in an adventurous intent, the song a swift and increasing captivation epitomising the band’s craft in songwriting, performance, and imagination.

It is fair to say that next up Disposed did not grab our ears as dramatically as those before it, surprises less open yet it is a richly satisfying and intriguing encounter with vocals once more especially magnetic before Trust thrusts its rousing prowess through ears. Rhythms harry and punish the senses as raw vocals graze their surface, an appetite stirring mix only enhanced by the melodic and harmonic tenacity of guitars and the cleaner side of the two pronged vocal persuasion. Barbarous yet seductive, the song is superb and only escalates in captivation with every subsequent twist.

From the cantankerously wired Exhale, an incendiary slice of metal with a hardcore lining that is as irritable as it is infectious, and the senses crushing tempest of Smoking Gun, the album hits another high spot to rival its early plateau. Both songs are a cauldron of what the band does best and right to the fore of our favourite moments, their might leaving System a task to bring things to a just as potent close which it does with its own corrosive furnace of enterprise and power. The trio alone leave ears and pleasure full with a hunger for more in close attention.

With the realisation of their inescapable potential and a real vein of individuality, I Fight Bears could become a real presence within the broadest metal scene. Their thickly enjoyable first album already declares the band one exciting prospect on that British landscape.

The I Fight Bears album is out now.

http://www.facebook.com/ifightbearsband   http://www.twitter.com/ifightbearsband   http://www.instagram.com/ifightbears

Pete RingMaster 20/02/2018

Copyright RingMaster: MyFreeCopyright

Of Legions – Face Value

With already a rather potent reputation for their voracious live presence, UK outfit Of Legion offer the fullest introduction to their hardcore ferocity with debut album Face Value. Enticingly irritable, enjoyably raw, and emotively abrasive, the nine track trespass is a potential rich suggestion of a band carrying all the qualities to make a lingering mark on the British hardcore/punk scene.

Emerging in 2015, Stoke hailing Of Legions have evolved a sound which could be said to have found its true roar around the release the following year of second EP,. They have continued to hone it with essences of metal, rock, and punk blossoming within and as evidenced by their first album, though it still feels like it has a way to go to fulfil its potential, it is a sound that has grown into one ear grabbing, imagination stirring proposal. Alongside, the quartet has further earned increasing plaudits with a live presence which has seen them share stages with the likes of Gideon, Desolated, Silent Screams, Liferuiner, Martyr Defiled, TRC, Machete 187, Continents, and Brokencyde. Now it is Face Value looking to push the band’s growing presence and fair to say it makes for one hefty invitation to ears and awareness.

The album’s title track opens things up, Face Value looming in from a distance with heavy coaxing riffs and crisp rhythms; already that multi-flavoured mix of sound grabbing ears. Once in full view, the initial vocal blast from Luke Mansfield triggers a rapacious surge of sound and emotion but one which prowls rather than violates to great effect. Swiftly it is all over the song brief but a great start setting up a real appetite for the rest of the album which the following Let Loose soon feeds. It instantly walls ears in a tempest of intensity and noise, the scything swings of drummer Nath McCue full of ill-intent next to the thick grumble of Ollie Lewis’ bass. With Mansfield venting with emotive passion, the guitar of Sam Morrey casts an enterprising web of intrigue and animus which just grips attention, the four way combination uniting in another two minutes plus of creative animosity and pleasure.

La Familia is another which prowls the listener, its threat and energy in check but fully felt as riffs and rhythms badger rather than strike the senses. With hungry hooks and rhythmic imagination at its centre, the song easily keeps predictability away before Worthless springs a bedlam of acidic grooves, vocal discontent, and rhythmic voracity. It similarly twists and turns with adventure and tenacity, blending familiar essences with real imagination carrying Of Legions individuality.

Grouchy bordering on choleric, Scum crowds and bullies ears next, Mansfield leading its corrosive holler with his throat scraping outpourings. Yet at its core is the most irresistible of grooves which inspires a similarly infectious lining across all traits as it leaves the senses withered, even more so with its final bearish incitement.

Even in their individuality, all songs to this point have their seeds in recognisable hardcore beddings but with Suicidal Thoughts the band really push themselves as progressive lined melodies and atmospheric intimation envelop ears as vocals share emotional scars. It is a compelling start which develops into a melodic rock/punk stroll, Morrey colouring it with some great fiery yet suggestive melodies. Leaving food for thought and a whole new current of potential flowing from the band it is another inescapably enjoyable moment within Face Value.

With the adversarial and constantly shifting dynamics of No Loyalty and the bullish rock ‘n’ roll of Hard Time, the album only confirms its potency if neither track quite stirs personal tastes as forcibly as other songs. Nevertheless, each only builds on the blending of styles the band embraces before Wormfeeder brings things to a close with its snarly intrusive quarrel. With death metal essences in its barbarous and suffocating tempest, the track is sonic pestilence and so easy to willingly succumb to.

Face Value is a great next step in the Of Legions’ growth, yes there are elements which might not grab as much as others but its promise is undeniable as too the enjoyment it delivers.

Face Value is out now.

https://www.facebook.com/OfLegions     https://www.instagram.com/of_legions_uk/

Pete RingMaster 20/02/2018

Copyright RingMaster: MyFreeCopyright

Promethium – Faces Of War

There is nothing better than hearing, release by release, the growth of a band in craft and sound especially when their potential is realised step by step whilst offering plenty more promise to be anticipated. Such has been the case with British metallers Promethium, a band who has openly blossomed record by record and now breaches a whole new plateau with Faces Of War.

Creating a sound merging old school with modern rapacious flavours, Lancaster hailing Promethium formed in 2007. Inspirations to the quintet included the likes of Black Sabbath, Metallica, Megadeth, and Pantera, essences still colouring a sound today which is as individual to its creators as you would wish. Quickly releasing their first EP, The Revenge, it was in 2009 and with debut album, Welcome to the Institution, that the band grabbed our, as so many others, attention. It was a raw yet accomplished introduction rich with that earlier mentioned potential brought to some fruition in its successor Origins four years later. As it built upon its predecessor’s strengths, so Faces Of War builds upon the second album but with a far more dramatic impact in songwriting to imagination to craft.

A concept album with each song offering a different perspective to war, the album launches at the senses with opener Enemies of Fate. A portentous sonic tone lures a march of riffs and rhythms into view with grooved armoury in its midst as vocalist Steve Graham swiftly joins the attack. It is a composed assault though, the band almost sizing up the listener rather than going at them full charge, providing a healthy mix of intrigue and predacious intimation. In no time guitarists Dan Lovett-Horn and Rossi are weaving a transfixing tapestry which is more than matched by the great vocal backing unity between Rossi and bassist Henry Greenwood; just two aspects in the inescapable maturity and growth in the band’s sound already being unveiled.

The outstanding start is followed by the similarly impressive Declaration. From its initial grooved trespass and Graham’s earnest calls, the track just wormed its way under the skin. The swinging strikes of drummer Kev Yates potently stir the senses, their rapacious incitement aligned to the groaning contagion of Greenwood’s bass as again a great maze of sonic enterprise is cast by the guitars with Curran Murphy guesting with a flavoursome solo. Drops in intensity brings spoken words from Nev Jones as Graham croons, a fluid twist which subsequently sparks a roaring finale before the outstanding P.O.W steps forward with its own dark clouds and intent. Grooves and rhythms instantly collude around vocals as an irritability fuels the nature of the track, essences of those aforementioned influences to the band spicing the volatile air of the track.

A shadowed calm is brought in by next up Shell Shock, its atmosphere as claustrophobic as it is seductive. That reflection rich restraint intermittently erupts in a cauldron of turbulence and emotive turmoil yet all the time guitars continue to weave a suggestive web of melody and predation. It is another gem and though only four songs in fair to say Faces Of War had us firmly hooked; a grip only tightened by 20,21,15 and its wirily grooved stroll. With Barry Mills sharing vocals with Graham across the song it boils with sonic dexterity while rumbling with rhythmic manipulation.

Such the massive heights of the first half of the album maybe it is inevitable that the task of living up to what came before slips up meaning personal tastes are not always stoked up as rigorously yet everything about Turncoat, from its vocal mix and rousing rhythms to sonic invention, is an ear grabbing proposition. It just misses some of the major sparks of its really striking predecessors.

As soon as the grooved webbing of Stolen Valour wraps ears straight after appetite was back to greedy, guitars and rhythms almost dancing on the senses with their snarling and badgering enterprise as again a vocal blend simultaneously entices and harries. With every passing minute the track simply blossoms as it evolves, harmony loaded vocals and creative unpredictability fuelling its compelling arsenal of invention. Another candidate for best track it is swiftly followed in matching captivation by Final Solution, itself an almost deceptive proposal being as intimidating and predatory as it is invasively infectious.

Featuring one of our favourite guitarists in Jay Parmar, Kill on Demand is one of those rousing anthems which have thoughts and spirit as eagerly active as the body. Led by the crunching beats of Yates and the brooding tones of Greenwood’s bass, the track is a magnetic fusion of old school and current ferocious metal shaped by the ever imaginative work of Lovett-Horn and Rossi and capped by the stylish raft of Parmar.

The album closes with its title track, another rigorously catchy and aggressive creative raid warlike in its tone and galvanic in its character. Epitomising the fresh strength and guile not forgetting that real maturity in the band’s sound, the track is a masterful conclusion to one mighty fine release.

Promethium and their sound just go from strength to strength, in turn so too pleasure. Yet there is still the feeling that they are yet to hit their full potential which considering the sheer unrelenting  quality of Faces Of War is something to keenly anticipate.

Faces Of War is available now @ https://www.promethiumband.com/product-page/faces-of-war

https://www.promethiumband.com/    https://www.facebook.com/Promethiumband/    https://twitter.com/promethiumband

Pete RingMaster 12/02/2018

Copyright RingMaster: MyFreeCopyright

The Outfit – Self Titled

Like the band’s name, the sound of US rockers The Outfit borders on the unassuming while embracing an array of familiar flavours. Yet, with its devious hooks and rousing dynamics, it equally reveals itself as one bold, tenacious, and stirring affair; traits all going towards making the Chicago band’s self-titled debut album one thickly enjoyable slab of rousing rock ‘n’ roll. It is a great contradiction which it has to be said hits the spot from track one to song nine, a stirring proposition declaring The Outfit ready to welcome world attention.

Consisting of musicians who have plenty of well-earned experiences, The Outfit was formed in 2016 by brothers Mark (drums) and Matt Nawara (guitar), Mike Gorman (bass) once of  Pezband and Off Broadway, and Andy Mitchell (vocals/guitar) who lists the likes of Dish, Verona, and 9 Volt on his CV. Their first album is a major nudge on widespread spotlights, the band looking to build on their reputation and success in their home city’s rock scene and it is not hard to expect it to stir up such widespread reactions.

As its opener coaxes ears, riffs and rhythms instantly collude in a feisty lure, spicy grooves emerging from their bait with the excellent vocals of Mitchell. Wire just as rapidly shares recognisable hues, hints of bands such as Seether, Breaking Benjamin, and Saliva adding to its own stylish enterprise. Inescapably infectious and increasingly addictive, the track gets the album off to a strikingly potent start which continues with Lucky One. It too grabs ears with real eagerness, richly enticing vocals and lively hooks joining the joyous stroll of the rhythms. In little time the song had the body bouncing and vocal chords boisterous as an electronic undercurrent and band harmonies got the imagination crowing. As with the first and many other tracks, there are no real surprises yet the song is insistently fresh and rousing.

A calmer air is brought by TKO, its Three Days Grace meets Chevelle breath and emotive heart nothing less than captivating while latest single, Soldier Boy, whips up an earnest rock ‘n’ roll saunter with energy in its spirit and vitality in its craft. Vibrant melodies unite with warm harmonies, flying beats with an earthy bass rumble, all bursting through ears alongside creative resourcefulness which is as anthemic as it is intimate.

A definite Sick Puppies hue colours next up Unfolds, the track an irresistible bold croon with power in its touch and heart in its call, all capped by one delicious hook within another enslaving chorus. It is the album’s pinnacle though closely rivalled throughout the album and especially by the rock pop romp of Just as One and the melancholically graced imposing balladry of Miracle, a track also showing essences of the aforementioned Australian rockers to fine effect.

No Lights On with a similar colour creates a web of steely lures soon after, guitars and vocals leading the song’s dexterous way driven by the lithe swings of drum sticks and the brooding amble of the bass. Nagging ears and imagination second by second with moments of further fevered harrying, the song is superb, another highlight setting up the raucous rock ’n’ roll finale of Hot Love. A slice of hard rock with classic instincts, it is a riotous charge of contagion bringing one spirit sparking release to a fitting and fine conclusion.

As suggested earlier, The Outfit in sound and album are not breaking out into brand new pastures but we suggest you will find few better bursts of virulent and exhilarating rock ‘n’ roll this year.

The Outfit album is out now through Pavement Entertainment on iTunes and other stores.

http://theoutfit.rocks/    https://www.facebook.com/TheOutfitrock/    https://twitter.com/theoutfitrock

Pete RingMaster 06/02/2018

Copyright RingMaster: MyFreeCopyright

Hell Fire Jack – Chains

It is dirty, raw, and unforgiving or in the words of the band itself, “Brutal Blues” which escapes the creative throes of ‘angry bastards, loud as Hell’ British duo Hell Fire Jack. It is also one compelling trespass on the senses and emotions which has come to a glorious head in the band’s debut album Chains. Imagine Seasick Steve infested by the spirit of Lux Interior as The Hangmen infuse their own devilry and you get a sense of the rapacious roar at the heart of the band’s first full-length.

Formed in 2012, Hell Fire Jack is vocalist/guitarist Alex Trewhitt and drummer Josef Karl, a pair from Yorkshire creating addictive toxic sounds which sizzle on the senses as they get rhythmically bitch slapped. It is not for those who want their music to be a comfort; an easy going escape without danger but for those who love to feel threatened whilst rocking out like a dog in heat, Chains is a thrilling demonic puppeteer.

It is also an album which simply blossoms song by song, each bringing something fresh and varied to the blues heart which breeds their predacious incitements. It is not just the sound which lures the listener into the dark, lyrically songs find seeds in “mental instability, insecurity and a constant struggle with modern life” to provide an intimacy which works away at thoughts just as the music gets under the skin and into the psyche.

As you might have surmised, we were seriously taken by Chains, it gripping attention and appetite from pretty much the first deep breath of opener Hell-O. The coarse but inviting riffs of Trewhitt’s guitar quickly lead ears into the waiting lures of his wiry grooves and the swing of Karl’s fevered beats. The former’s vocals are soon similarly magnetic, the pair creating a rousing concussive stroll leading feet and hips into fevered antics as shadows crawl the imagination. The track is irresistible, a stirring roar of blues and garage punk trespassing air and listener with every essence shared.

Cyborg swaggers in next, every beat a shuddering lead, each riff a rapacious scour on the senses but it all as virally infectious as the vocals cruising the inescapable persuasion. As the song epitomises, there is a great nagging quality to Hell Fire Jack propositions, an imaginative persistence which has body and appetite bouncing, and success Dark Horse only emulates. Its initial atmospheric smog is soon pierced by Karl’s anthemic swipes, it all building to caustic catchiness spewed by the guitar in an In The Whale/ Dick Venom & The Terrortones spiced shuffle.

The sonic liquor of Old Whiskery echoes assumptions going by its title, a sonic intoxication which deviously flirts in groove, voice, and beat while The Hustle chugs along with many similar traits of its predecessors to equal if less striking effect. It is familiarity though which gives Hell Fire Jack its individuality and incites a greed for more as words and syllables persistently bite within it all.

A sonic liquor swollen party comes in the shape of Don’t Come Knocking next, the track harrying the senses as a rousing vocal assault grips the imagination. It swiftly has its hand on best track heights before losing that honour to the quite brilliant Mr. Sinister. The track is horror blues punk alchemy, a proposition to breed lust over even with there being something indefinably recognisable about it.

Through the controlled but open sonic fever of Take a Hold and the predatory intimation of Sunday Best the album only reinforces its potency and persuasion though neither song can quite live up to the previous slices of rock ‘n’ roll manna. Each so they just grip attention with their varied enterprise, the following Lock and Key with its old school hues and garage punk dexterity then matching their heights with its composed but incisive swing.

Another major highlight is sprung with Better the Devil, its atmospheric, haunting melodic welcome alone enough to crow about but adding the subsequent tempestuous landscape and the Danzig-esque spicing which grips its tenacious blues prowl and the track simply escalates in character and prowess as well as impressiveness.

The album’s title track brings things to a close, a song which crawls through ears and thoughts with the instinctive infection of old school rock n’ roll and the lithe meandering of blues rock, it all boiling up and igniting in sonic blazes which sear the senses. Enthralling second by second, the track is rock ‘n’ roll at its basest and most compelling and a transfixing close to one thrilling release.

Hell Fire Jack never truly hit the brakes with their high octane attack and sound but when they do give them a nudge, you get taken to the darkest most seductively menacing places. Simply put Chains is a real pleasure pretty much like no other.

Chains is released February 14th on iTunes and @ http://hellfirejack.bigcartel.com/

Upcoming live dates:

Sat Feb 17 Hell Fire Jack album launch party, Harrogate, United Kingdom

Tue Feb 27 Lending Room @ The Library, Leeds, United Kingdom

Fri Apr 6 Al’s Dime Bar, Bradford, United Kingdom

Fri Apr 20 Verve, Leeds, United Kingdom

Sat Apr 28 THE FERRET, Preston, United Kingdom

http://www.hellfirejack.com/    https://www.facebook.com/hellfirejackband/    https://twitter.com/Hell_Fire_Jack

Pete RingMaster 06/02/2018

Copyright RingMaster: MyFreeCopyright

In Vain – Currents

Just a handful of weeks short of five years back, Norwegian metallers In Vain released the ear gripping Ænigma. It was a release which brought and honed all the potential and impressive attributes of its two predecessors to one seriously striking head. That triumphant encounter has now been swept away in the creative eddy of the band’s fourth album Currents, a proposal which lustily roars In Vain as being one of metal’s finest and most exciting propositions.

Since emerging in 2003, In Vain has grown within and persistently ascended the European metal scene with their adventurously imaginative progressive extreme metal. Their 2007 debut album, The Latter Rain, swiftly stirred keen attention and critical praise, and a reputation for craft and sound which the more variable Mantra nevertheless only reinforced.  The Jens Bogren (Opeth, Dimmu Borgir, Katatonia, Devin Townsend, Kreator) produced Ænigma simply sparked the imagination as it built upon and pushed the traits of those before. It all pales though before the majesty of Currents, a release which surprises at every twist and enthrals at every turn. Intricately woven yet as organic as the passion which drives it, Ænigma not only takes the In Vain sound to a whole new level, it brings progressive metal a fresh landscape shaping breath.

Seeing Bogren united with the band once again, Currents contemplates “the colossal shifts and changes of our time” looking at the currents behind major events and changes across the modern world from “Migration of people across continents and borders, cultures merging and the dramatic shifts in lifestyle from one generation to the next.” It also features guest appearances from the likes of drummer Baard Kolstad (Leprous, Borknagar), vocalist and former band member Kristian Wikstøl (From Strength to Strength), and vocalist Matthew Kiichi Heafy (Trivium) among various more.

Currents opens with Seekers of the Truth and immediately entwines ears in steely vines of guitar as beats bite. Andreas Frigstad’s raw throated vocals soon prowl the engaging lure, rhythms and melodies colluding in a web of threat and intrigue around him with the song’s climate imposingly bracing but equally infectious  as the guitars of Johnar Håland and Kjetil Domaas Petersen almost dance on the ear. The progressive nature of the band’s sound subsequently infuses the track’s aggressive intent, varied strains of extreme metal merging with melodic enterprise for a captivating trespass.

Even so it’s potent and ear grabbing entrance into the album is soon eclipsed by next up Soul Adventurer. Within its first breath as keys rise, grooves are writhing around the imagination, their earnest exploits matched by the superb clean vocals of keyboardist Sindre Nedland. It is instantly compelling, increasingly so as the song gets right under the skin with resourceful harmonies and rolling rhythms only adding to the richness as the guitars spin a web of creative temptation. It is the superb vocal blend across the band though which brings it all together for easily one of the best tracks ever spawned by the imagination of In Vain.

That is a height though regularly equalled from hereon in staring with Blood We Shed, the track a wall of predacious intent and tone led by Frigstad’s vocal threat. Riffs and grooves soon collude in their own menacing enterprise, the bass of Alexander Bøe a thick grumbling incitement but from within their dark nature a ripple of melodic suggestion becomes a heated, harmonic serenade. There is plenty more going on too as keys and voices take the stage before falling under the incoming rumble of those earlier imposing textures, an array of imaginative moments which seem to reveal more with every listen.

Currents comes in two editions, the Special Edition offering two additional tracks with And Quiet Flows the Scheldt the first. Like a developing landscape, the song grows by the second as vocals and guitars shape an atmospheric flight through suggestive sonic scenery. The track does not have the snap of its predecessor but infuses a drama which draws the imagination right into its heart, vocals again as stirring as the music with the flames of sax a captivating heat in its evocative climate.

The funkier tapestry of Origin and the inviting mystery of En Forgangen Tid (Times of Yore Pt. II) bring their own enthralling reflections to ears and thoughts next, the first a robust yet considerate confrontation masterfully blending contrasts in power, aggression, and tone not forgetting flavours. This is an ability In Vain have never been lacking but as so many other things it has breached a new pinnacle within Currents as the second of the two confirms. Sung in the band’s native tongue, the song is glorious. In no time melodies vein a portentous air, dark and light wrapping round each other as a kaleidoscope of vocal and atmospheric intimation entices from within the magnetically tempestuous vortex.

Ghost Path is the second song found only on the larger edition of the album, the track sharing its own mysterious shadow haunted realm. The imagination is taking on a stroll through an underworld of fear, despair, and increasing creative ill-intent which comes to a head in a rhythmically driven, rapaciously fuelled predation of sound and intensity. The song is pure creative theatre, and reason alone to go grab the bigger version of the album as you really do not want to miss out.

The album concludes with firstly the similarly enthralling infestation of As the Black Horde Storms. Its blackened assault has a folkish tinge to its melodic undercurrent, death bred traits soon as prevalent as the track consumes the senses and begins spinning another web of striking imagination and sound where, as throughout the release, every moment brings surprise and invention to absorb and impress. Its successor, Standing on the Ground of Mammoths, smothers ears with its dark air and slightly corrosive texture whilst again gripping attention with is aural enticement and vocal dexterity. More a song with its creative tenacity and enterprise understated compared with other tracks within Currents; every dive into it brings them closer to the surface though its slip in a thoughtful melodic seduction mid-way is a beguiling caress from the first moment.

It provides an end to an album which simply excites from start to finish. Setting a new marker for not only the band but extreme progressive metal, In Vain has become one of the most fascinating and enjoyable propositions within world metal.

Currents is available now through Indie Recordings digitally and as a normal and special edition on CD and Vinyl.

http://www.invain.org/    https://www.facebook.com/InVainOfficial/    https://twitter.com/invainofficial

Pete RingMaster 04/02/2018

Copyright RingMaster: MyFreeCopyright

Centuries – The Lights Of This Earth Are Blinding

It has been four and a half years since hardcore fury Centuries scorched this earth with their debut album Taedium Vitae, time we can say thanks to its successor which has not seen the band mellow a degree. In fact The Lights Of This Earth Are Blinding reveals the band’s sound has become even more sonically and emotionally irritable yet honed into a tempest of noise and intent as precise in its aim and impact as it is rousing in its nagging causticity.

The years between releases has also seen the 2008 formed band’s line-up evolve to now include members based in Pittsburgh, Pennsylvania and Nashville, Tennessee, and Manchester in the UK. Similarly the Centuries sound has grown and matured; its dark hardcore breeding embracing even richer crust and metal hues amidst bolder adventure. It is imposing, invasive, and persistently tormented; a harrowing and severely intense mix which also manages to be violently infectious and increasingly cathartic. Carrying a theme of constant self-doubt, “It follows how we choose to accept our loses and the reaction to life, as well as the journey we take to make peace with the demons we’ve made”, the air is a searing soundscape once more within their creative tempest just one more grievous, blacker, and inescapably compelling.

Recorded with by Kris Hilbert at Legitimate Business (Catharsis, Torch Runner, The Body) last year and mastered by Brad Boatright at Audiosiege (Integrity, Black Breath, Halshug), The Lights Of This Earth Are Blinding first scores the senses with its title track. Initial silence soon brews an electronic lure, its impending incursion quickly joined by vocal irritancy and a raw scarring of guitar. Just as swiftly it all unites in an insatiable charge, rhythms wildly yet precisely flung as acidic grooves tempt and abrase but an inhospitable surge as catchy and irresistible as it is punishing, and quite superb.

The outstanding start continues with Wooden Hands; it’s first coaxing an intimate acoustic melody, its second down an inviting line offering a furious expulsion of senses crippling beats, scavenging riffs, and vocal discontent. As the first, it has an instinctive infectiousness, an organic swing to a sonic chastisement which grips the imagination and manages to enhance rather than defuse the song’s vehemence.

Bygones is next up with barely two minutes of infernal confrontation. It is barbarous and unforgiving yet too has that contagious ability to tease and manipulate with virulent traits before Soil unleashes its own ruinous tirade. With a sludge thick weight but no less boisterous in its creative and physical mauling, the track prowls the listener, stalking their psyche before giving it a hellacious clubbing. As in all tracks though, the mayhem is finely sculpted and skilfully woven, every twist a fresh coercion into the heart of turbulence.

The following Bow Across A String sends a cascade of corrosion across the senses, every rhythm and riff putting them under duress but equally exciting them while each unpredictable turn in its caustic exploration has ears hooked and imagination challenged and aroused. Closing on the most excruciatingly intrusive yet addictive repetitious sonic yawn, the track leads into the meandering arms of The Climb. Its grooved vining wraps around the senses with ease as vocals scour their lining, muggy smog emerging to envelope the inviting bait and subsequently collude with equal potency with them as the track worms its nefarious way under the skin.

A delicious causticity of bass opens up The Endless Descent, its insidious grumble soon met by the raw throated assault of vocals and together triggering another highly addictive scourge of deliciously grooved bullying which only gets more captivating and debilitating by the second. That majestic ability to entangle extremes continues through the portentously shadowed May Love Be With You Always, its relentless rhythmic shuffle alone sheer captivation matched by the tapestry of guitar and groan of the menace brooding bass. The track is a maelstrom of sound and intent, a vortex of intensity which ebbs and flows but persistently pressures and pleasures as a host of flavours infuse its incursion.

A sepia toned clean vocal beckoning opens up Fury next, its dusty air shared by another mesmeric acoustic melody. It is an enthralling request for attention which boils up its emotions and air into a melancholically hazed wind and a proposition which bewitches before evolving into the rapacious climate of Nul Orietur. The outrage is a cyclone of suggestion and provocation, from the rolling enterprise of its rhythms and the inescapable snaring of its hooks and grooves to the scalding touch of its riffs and vocals, the album’s closer is another compelling assault to lead the album out on another major high.

With their debut Centuries made a major introduction to themselves, with The Lights Of This Earth Are Blinding they have uncaged one of the essential hardcore furies of this or any year.

The Lights Of This Earth Are Blinding is out now via Southern Lord Recordings and available @ https://centuriessl.bandcamp.com/album/the-lights-of-this-earth-are-blinding

https://www.facebook.com/centuriesfl

Pete RingMaster 31/01/2018

Copyright RingMaster: MyFreeCopyright