27 Tons of Metal New England – Various

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And Bluntface Records do it again, thrusting the underground scene at the senses courtesy of another essential compilation of some of the most striking and potential drenched bands around. This time the US label is exploring the underground metal scene from New England, which on the evidence of 27 Tons of Metal New England, is simply writhing with great ravenous bands and sounds. The release is as diverse in styles as it is voracious in creativity and though with the amount of bands and metal subgenres involved personal tastes will obviously find a greater hunger for some over others, it is fair to say that the album from start to finish is a compelling treat with no weak spots, and all the more tastier for being completely free.

The encounter opens with Carnivora and a track taken from their outstanding EP, The Vision. Pessimist’s Tongue is the Danvers quintet at their full blistering best and weaving suggestive ambiences into subsequent tapestries of rabid vocals and rancorous intensity. Yet despite its almost cancerous intent and creative breath, there is anthemic energy and a web of searing adventure from the guitars involved, which in turn sparks addictively imaginative exploits from the band across the song’s corrosive landscape.

It is a scintillating start to the release pushed on by Alterius and their uncompromising melodic death metal trespass on the senses, A Citadel’s Demise. The song comes from the band’s latest EP Voyager, and merges classical overtones into its fluid brutal and seductive tempting. Like being serenaded whilst the beast tears your throat out, the track stalks ears and psyche setting in motion a keen appetite to know more, a success matched by Revere quartet Travel Amygdala and their aggressively smouldering Died by a Bullet. Entangling its inventive metal bred sound with progressive and grunge seeded imagination, the song aggressively crawls over the senses enticing and intimidating, especially as it builds in energy and tempestuous air. There is also a potent sludge feel to part of its character too, the thick prowls between forceful strides of creative and vocal drama carrying the strongest whiff, with ultimately everything uniting for one riveting proposition.

Bostonian black metal trio Ashen Wings comes next, the band’s raw and carnivorous sound a bracing magnetic scourge delivered to ears from Cancerous Bones. As insidious and ruinous as you can imagine, it also spawns a swing to its gait which only adds to the addictive proposal on offer before making way for the just as destructively virulent Scourge of the Hierophant from Sorrowseed. A blend of blackened death metal with a healthy vein of classic and melodic tenacity, the increasingly thrilling track smothers ears and appetite with pestilential persuasion whilst provoking the want to offer vocalist Lilith Astaroth some soothing for her surely shredded vocal chords.

band-contacts-page-127 Tons of Metal New England      Walk the Earth (No Longer) from sludge/doomers Conclave steps up next, the nine minute intrusion an accomplished and enthralling predation cast with rugged heavy riffs and heavily swiping rhythms, all lorded over by just as unpolished and alluring vocals. From their Breaking Ground EP, the song is as effective descending on ears in top gear or in crowding their walls with a lumbering and weighty provocation within a long but never less than thickly engaging incitement.

The same kind of hold is seized by Beneath The Burial next and their track In Memory, its fusion of hardcore ferocity and metal spawned sonic invention a fury of searing grooves, vocal animosity, and subsequently predatory imagination. As the album itself, there is a wealth of flavours emerging across the track musically and vocally, which only adds to the slow but fiercely burning persuasion of the song to inspire a want for more as it makes way for Skin Drone and God Complex. One of the few bands these ears had already come across and previously devoured, the duo of Bluntface Records founder Otto Kinzel and Erik Martin of Erik Dismembered and Critical Dismemberment unleash one of those examinations which you never know whether to fear or whole heartedly embrace, the latter always the chosen reaction of course. Like a sonic scavenger, the track vocally and musically spills its creative industrial/metal animus on to the senses within an evocative ambience which then inspires a melancholic exploration of emotive and creative expression. The song is a cauldron of inventive sound and emotional intensity, a rich picking for those with an avant-garde side to their preferred examinations.

The scorching designs and temperament of Dirty Birdy from metalcore furnace Don’t Cross the Streams is next; band and track a scarring addictiveness which without springing major surprises has ears and heavy enjoyment sealed from the first clutch of seconds. Their triumph is quickly backed by Stoughton power/progressive metallers Forevers Fallen Grace and Clarion of Regret, another song which needed warming to before its potent expanse of craft and enterprise became an inescapable hook, and after them Makavrah with the excellent Awakening The Ancients. The Peterborough hailing doomsters have a sound which is dangerously mesmeric, a senses meddling sonic bewitchment which as shown by its twelve minutes of evolving soundscape, is hex like in its ingeniously dramatic and creative exploration. With echoes of Show Of Bedlam to it, the track is one delicious incessant crawl.

The industrial endeavour of Isolated Antagonist more than lives up to its offering’s title next, Infection a contagious causticity of sound and emotion with vocals to match as it worms under the skin and into the psyche with lingering rewards, whilst the following Composted bring a carnal presence and hostility into the equation with their track OB/GYN O.G. The band’s death metal onslaught has the voracity of thrash and swagger of groove metal to it, and as hungry hues only help to create an immense and irresistible corruption.

Both Charlestown sextet Untombed and Mike Kerr Band keep the riveting roar of the album going, the first with their groove and antagonism loaded death metal antipathy, Criminal Inception. Savage and violently catchy, the track is another which is maybe not gripped by original exploits but is one spilling a fresh venom which leaves a great many of fellow emerging genre bands in the shade whilst its successor is the title track from its creators recently released new album The Truth of the Lion and features Texan vocalist Adrienne Cowan and Jim Oliveira in its classic/melodic metal lure.

Power groove metal is on the agenda next through Before the Judge and their track Bobby D. With a highly agreeable nag of riffs and grooves lining its erosive blaze, the song stirs the blood band-contacts-page-2_RingMaster Reviewwhilst pouring more diversity into the compilation, variety further expanded by The Aberration and their track Bologna Skins are the Next Big Thing. The band consists of Travis O’Connell (guitar) and Jim Cole (drums), an instrumental duo creating, on the evidence of their contribution, compelling proposals of snarling progressive metal loaded with uncompromising attitude.

Melodic death metal quartet My Missing Half scars air and ears next with The Lives I’ve Ruined, a song with essences of The Black Dahlia Murder and At the Gates to it whilst finding its own magnetically inventive nature. The track leaves emotions and senses breathless but hungry for more as so many on the release, including Seeds of Negligence and their maelstrom of varied and inhospitable metal posing as The Reaper. The song is a bruising and vicious temptation of death, groove, thrash, and progressive strains of extreme metal, an incendiary incitement sparking a lust for further confrontation.

Dover trio Cactus Hag drags the listener back into a rich immersion of sludge and doom invasiveness with Grand Lodge of the Mirage, the track an insidious erosion snuffing out light and hope whilst sparking just as strong enjoyment. Its smothering rancor is contrasted by the brighter and superbly volatile adventure of G.O.G. from Side Effects May Include, the song another entwining a mass of different styles into its individual tempest of heavy rock and creatively rabid metal, and another only leaving the urge to go explore in their wake. Which is something which also applies to Pelham’s Epicenter and the thrash fuelled insurgency of See Through. With strands of alternative and groove metal to its robust and tenacious exploits, the track is as anthemic as it is strikingly inventive, and amongst admittedly many, an instinctive favourite.

band-contacts-page-3_RingMaster Review     Fog Wizard get body and passions inflamed again with Fear the Kraken, a rapacious prowling built like Sabbath meets Motorhead with the attitude of Stuck Mojo and the combined snarl of Slayer and Black Flag. One slab of real pleasure is replaced by another and the abrasive kaleidoscope of sound unveiled by Sonic Pulse through Defenders of the Good Time. A brawling festival of power and thrash metal with a flurry of heavy and classic metal hues for greater captivation, the track is a ferocious blaze equipped with drama, familiarity, and inescapable bait.

The heavy weight slab of talent is brought to an impressive end by a trio of bands to also keep a close eye on, starting with the bestial sound of extreme metallers Graveborn. Their mercilessly hellacious and skilled Leviathan is sheer sonic and rhythmic savagery with just as brutishly varied vocals, and another big enticement before heavy/thrash metal Verscythe prove their classic seeds in the richly magnetic Land of Shells.

Completed finally by Vacant Eyes and the melody sculpted funereal death/doom exploration that is The Dim Light of Introversion, a track thick in atmosphere and haunting trespasses for a darkly compelling seducing, 27 Tons of Metal New England is an intensive journey through the depths and expanses of New England’s underground metal scene. It is one of the most extensive and rewarding compilations in a long time which from start to finish, enthrals and assaults, entices and transgresses. If any metal fan does not come away from the encounter with at least a handful of new lusts we would be amazed. So no dawdling, go and get one of the biggest and best free treats of the year,

27 Tons of Metal New England is available for free download @ http://bluntfacerecords.com/27-tons-of-metal-new-england

RingMaster 06/07/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Being As An Ocean – Self Titled

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Unleashing the successor to their acclaimed album How We Both Wondrously Perish of 2014, US melodic hardcore band Being As An Ocean, easily reinforce their already potent reputation with a new self-titled proposition. Building on what fuelled the last release whilst pushing its boundaries and imagination that little bit more, the new album is a captivating and fiercely accomplished offering, and though it did not consistently set our ears ablaze, it is one of the most refreshing encounters heard this year which at its heights is seriously rousing and in its less dramatic moments simply thorough enjoyment.

Creating emotive and tempestuous incitements from a fusion of melodic hardcore, post-hardcore, and metalcore, to condense the veins of flavours running through their sound, the Californian bred Being As An Ocean swiftly engages attention and imagination with the opening to first track Little Richie. Mellow keys and vocals unite for the initial atmospheric coaxing though that tender lure is soon engulfed in crisp beats and caustic vocals aligned to more merciful flames of guitar. It is a striking proposal which evolves with every emerging passage of ideation, continually revealing fresh invention whilst remaining as imposing and provocative as possible.

The strong start is quickly eclipsed by the following Ain’t Nobody Perfect where the ear gripping vocals of Joel Quartuccio reveal strong emotive textures in a varied delivery, an emotional success matched by the powerful clean tones of Michael McGough. Personal tastes mean the latter’s cleaner range is the one which sparks the appetite most but there is no escaping the strength and quality of Quartuccio’s aggressive squalls and spoken expression, and the way he masterfully uses them. The guitars of Tyler Ross and McGough similarly abrase and seduce across this and each track, their raw base an inflammatory persuasion on ears and individual imagination at times a spellbinding emprise to anticipate and devour.

IMP006_RingMaster Review The Zealot’s Blindfold spills angst and ire with every turn in its thick emotive landscape, vocals the rigorous vehicle for their narrative. Their expulsions of emotional fire are tempered and inspired by the eventful lines from Ralph Sica’s bass whilst drummer Connor Denis muscularly punctuates every expression offered. The track is another slice of seriously resourceful songwriting with an interpretation which is barely anything less than venomous. With the guitars and McGough’s soaring melodic tones the biggest thrills, the impressing encounter makes way for the excellent Sleeping Sicarii which has ears and appetite hooked from its opening of an almost senses grinding torrent of repetitive grooves. It is a stirring start which slips a touch as a spoken delivery aligns to a more relaxed enticement, though the bass seizes another chance to throatily seduce at the same time. The song comes vivaciously alive again when intensity and virulence breaks out to raise the temperature and thrills, a potency matched by a tremendous flight of choral harmonies later in the song amidst McGough’s rich croon.

A similar template feeds the heart and ferocity of Judas, Our Brother next, again Being As An Ocean masterly moving through melodic and predacious scenery within constantly varying climates. The song also reinforces that each track needs close attention and time to reveal all the nooks and creative crannies within, greater rewards as thrillingly shown here and proven again by the fascinating Saint Peter always the result from immersing under the surface tempest. Melancholic yet elegant keys hug the spoken narrative of Quartuccio to open up the subsequent song, guitars a quickly joining enticing within a brooding atmospheric charm. In no time though, Being As An Ocean expels crescendos of creative theatre and emotional energy, again the lead vocalist a gripping unchained protagonist within a rich and expansive web of sound.

Though not quite sparking as consistently as its outstanding predecessor, the emotional fire that is Forgetting Is Forgiving The I still provides moments which simply bewitch whilst only arousing thick satisfaction whilst The World As A Stage merges a celestial melodic shimmer with the raw Quartuccio antagonism to create a compelling storm of heart driven reflection and turmoil. As much as it is forcibly abrasive and caustic, the song is melodically turbulent, once more an intensive tapestry crafted and unveiled by the band.

The closing pair of first Sins Of The Father and lastly …And Their Consequence bring the album to an enthralling close. Both tracks twist through fiercely voracious and emotionally subdued drama across their dynamic proposals, the first almost burning with passion and sonic anxiety whilst its successor is even more emotionally apprehensive and musically incendiary with it’s searing anthemic blaze led by Quartuccio in full passion backed just as potently by McGough’s impressive voice.

The tracks are again evolving adventures providing a great end to an impressive release. As suggested earlier personal tastes waned in some aspects of songs, certainly over initial listens, but the fact that a constant returning to the release and a lingering persuasion bred by individual songs is a persistent outcome from every listen, provides the evidence to the success of Being As An Ocean, band and album.

Being As An Ocean is released in Europe and the UK on 6th July via Impericon Records and available in the US now through InVogue Records

https://www.facebook.com/BeingAsAnOcean

RingMaster 06/07/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

American Fangs – Dirty Legs

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As much as we, like so many, are always looking for something uniquely new and ground-breaking to fascinate and ignite the passions, there are undeniably times a masterful fusion of existing designs and textures in one irresistible slab of full on rock ‘n’ roll is just as thrilling. Dirty Legs from US rockers American Fangs is such a riotous treat, an embrace of established and recognisable essences honed with new hooks and inescapable virulence then immersed in high octane energy and dirty intent. The result, one of the most scintillating and ferociously outstanding stomps unleashed this year from a band set to replicate home success and surely stir up hungry appetites around the world.

Hailing from Houston and formed in 2008, the American Fangs sound is described as a blend of post hardcore and alternative rock/metal, flavours certainly erupting within the band’s songs but equally tracks are punk, hard rock, and as uncompromisingly contagious as any form of pop rock. Band and sound swiftly drew attention as a live presence in the US and the UK, American Fangs touring with the likes of Deftones, Papa Roach, Four Year Strong, Sevendust, Hollywood Undead, and Chevelle over the years and making highly praised appearances at festivals such as SXSW, Rock on the Range, Carolina Rebellion, Rocklahoma, Festapalooza Shreveport, and Ship Rocked. Backed by their acclaimed self-titled debut album and their first EP, the quintet has become a greedily followed prospect, if not quite to the same level in Europe as in the US, though Dirty Legs will surely change that with, to follow up a potent performance at this year’s Download, its worldwide uncaging.

Opener Slavery Wedding swiftly sets the tones for the album, its immediate swipes of hefty rhythms and caustic riffs an attention grabbing eruption driven by the dirty scowl of Gabriel Cavazos’ vocals. There is no hiding place as the beats of drummer Micah Miller seem to intensify their assault with every punch and the guitars of Kenyon Puntenney and Chris Goodwin turn more toxic with every riff, chord, and eventually a blaze of seriously seductive grooves. Like a mix of Every Time I Die and Cancer Bats in league with UK band Bite The Shark, the track is primal rock ‘n’ roll turned into an anthemic riot refusing to take no for an answer.

Dirty Leg_front.eps_RingMaster Review     The outstanding start is instantly matched and surpassed by Death of Me, a scuzzy epidemic of insatiable hooks and rhythms within a bruising sonic infection. Cavazos again leads the incendiary confrontation with an ear gripping delivery which is soaked in attitude and enterprise and backed by the equally potent tones of bassist Kyle Shimek. The latter’s string sculpting is just as imaginative and enticing too, offering a grouchy lure throughout but especially exploiting the passages of ‘relaxation’ to unveil the most predatory funk lines you will ever come across. As its predecessor, the song is high on adrenaline and ferocity, taking no prisoners lyrically and in its voracious presence.

Counting Wolves has an even rawer texture and air to its quickly pleasing roar, the song merging the passion and hookery of a Billy Talent with the agitated emotions and fury of a NOFX, then twisting it into American Fang’s own demandingly catchy revelry. Once more band and album is drawing full submission from body and thoughts, though fair to say the excellent song still pales against the might of Say What!, carnivorous rock pop at its best. Everything about the track is ravenously addictive and anthemic, body and soul whilst being tenderised by punishing rhythms inescapably entangled in wiry riffs, clanging hooks, and a blazing vocal roar.

Shimek’s bass begins unveiling new bestial, primeval tones in Leukoplakia next, its dark lure aligning with stalking grooves and barbarous beats as vocals crawl menacingly over the senses. Despite all that intimidation, there is again pure virulent alchemy at work which only incites the listener to dance whilst snarling at the world with the song. If rebellion needs a soundtrack this is it. The breath-taking incitement eventually seeps into the following Black Eyed, though the body is not given any time off here either, the song a kinetic jungle of pungent rhythms courted by spicy and inventive twists within an alternative rock/punk stomp.

Few albums hit an early peak and keep it going across their length without even slight dips but Dirty Legs does, in fact it just gets stronger and more tenacious as it goes as if it is feeding off the reactions and energy of the listener. Bukkake Summer proves the point, a slice of rock ‘n’ roll which takes the rowdy exploits of the previous track and sculpts them into its own punk ‘n’ roll harvest of nagging riffs, growling contagion, and mischievously rousing vocals, all punctuated by sinew loaded rhythms. Imagine a mix of The Ramones, Turbonegro, and The Senton Bombs and you have a hint to another delicious brawl on the album.

Both Brazlian Axe and We Stand Apart keep the thrills and creative spills coming, the first a raunchy blaze of rock ‘n’ roll with tangy hues to guitars and vocals creating around a resonating rhythmic spine whilst its successor is another proposal lock ‘n’ loaded with barbed hooks and intoxicating guitar resourcefulness. With vocals as much a cheerleader to the imagination and virulence of the song as they are a feverish protagonist to the combative strength of the lyrics, the encounter steals top dog honours on Dirty Legs, though only by a shade such the might of all.

Both tracks inflame ears and emotions whilst keeping the album burning creatively and aggressively, each only inspiring thoughts and appetite to crave more before being fed by closing track You’ve Got Future Written All Over Your Future. It is a heavyweight turbo-charged rampage which pretty much sums up the might and inventive craft of the album. As throughout the whole release, there is plenty to recognise and offer possible comparisons to, yet American Fangs simply use all flavours and seeds for their own devilish intent to riveting and incendiary effect.

Quite simply Dirty Legs is rock ‘n’ roll baby and it does not get much better than this!

Dirty Legs is available from July 4th via Best Before Records @ https://www.bestbeforerecords.com/Shop/DownloadDetails?rid=BBR_RE_24 and http://www.amazon.co.uk/Dirty-Legs-Explicit-American-Fangs/dp/B00XUVZ7YA

https://www.facebook.com/americanfangs http://www.americanfangs.net

RingMaster 04/07/2015

Copyright RingMaster: MyFreeCopyright

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Watertank – Destination Unknown

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After ten years of existence, French rockers Watertank released debut album Sleepwalk in 2013 to heavy and deserved acclaim. Like for so many, it took our ears and appetites to hungry heights; in the words of our review the release was “an instigator of the purest temptation.” Now the band unleashes its successor Destination Unknown and lures even lustier responses with its irresistible concoction of sludge, stoner, and various other compelling styles. Taking the essential essences with made the first album so potent; Destination Unknown emerges as a fuller, more gripping proposal of sound and invention which in turn shows that its predecessor was just the appetiser to greater Watertank alchemy.

The Nantes band began in 2013, swiftly forging a strong fan base and reputation for their sound and stage presence with increasing success over the years. A couple of well-received EPs earned strong attention and praise before the release of Sleepwalk, whilst on stage the band proceeded to play with the likes of Torche, Kylesa, Baroness, Capricorns, Lair Of The Minotaur, and The Ocean amongst a great many. The band’s first album certainly sparked new spotlights upon Watertank though not to the level now expected to be aroused by Destination Unknown.

The album opens with Automatic Reset and straight away transfixes ears with its opening mist of guitar; the sonic shimmer quickly followed by a bulging blast of heavy riffs and rhythms. With them a groove also joins the tempting, its lure relaxing as the song settles into its stroll and welcomes the dusty tones of vocalist Thomas Boutet before returning with even spicier toning to its sultry tendril. Just as quickly a contagious air floods the encounter, a persuasion which never loses its potency as the song shuffles up its gait and intensity across the rest of the magnetic offering. The guitars of Rémy Bellin and Bojan Anicic continue to wrap ears and song in resourceful and gripping enterprise, greater colour added to the excellent start to the album all the time.

Straight away it and the following Fever reveal a more rounded and deeper depth to the band’s music, a less raw and caustic sound which still retains the growl and intensive weighty hues which fuelled the previous release. The second song is a far more aggressive offering than the first, punkish in its attitude and energy with wiry hooks to match. The bass of Maxime Coste is a grumbling potency whilst drummer Jocelyn Liorzou lashes skin and senses with adventurous and antagonistic scythes. It is a glorious riot bringing a mix of Torche, eighties band Skyscraper, and a touch of Motorgrator to entice before making way for the gentler smouldering charm of Contrails. It is still a heavyweight proposal though which seems to grow and loom over the senses with every passing second. Once more hooks and grooves grace a dynamic web of imagination and primal temptation, the latter at times as intimidating as the swings of Liorzou and the predatory riffs.

The song closes with similar reflection soaked calm to how it started, drifting away so the heavy resonance of Coste’s bass can lure attention ready for an intensive crawl of riffs and grooves. DCVR is another swift inescapable persuasion equipped with a sonic tang and commanding stature, not forgetting an addictive swagger even with it is on the prowl. It is also another track showing the greater expanse and imagination in the band’s songwriting and sound, and their ability to perfectly entangle rugged terrains with highly provocative ambiences of sound and emotion.

   The bubbling electronic start to Last/Lost Hope instantly catches expectations unawares and by surprise, though they are barely given a nibble to feast on within Destination Unknown anyway. Its enslaving coaxing soon evolves into a thrilling and lively shuffle of sonic and melodic festivity guided by the ever appealing tones of Boutet. At times elements of post punk and new wave, as well as noise rock, seem to add their spice to the infectious tapestry of the rock popper, a strong catchiness emulated again in the dirtier but just as contagious Surrender. As much as you can find hints in varying degrees of bands such as Torche and Queens Of The Stone Age to the song, there is an older hue to the outstanding stomp, elements across its kinetic two minutes recalling eighties and nineties seeded ingenuity.

Doomed Drifters explores the darkest shadows and corners of the band’s sound but again tempers it with a sonic and melodic resourcefulness which energetically and brightly smoulders as it masterfully fuse contrasts and flavours. Seducing with greater and more experimental suggestiveness for an emotionally provocative and atmospheric climax, the song leaves ears enthralled and primed for the bewitchment of the similarly expansive landscape of Scheme. Growing bigger and bolder with every passing harmonious whisper and melodic enticement, the song dances and flirts with ears and imagination, recalling a strong if coincidental feel of Comsat Angels to its exceptional and thrilling adventure.

The album ends with its just and adventurous title track, Destination Unknown a thick provocative embrace which evolves and then revolves through a soundscape of sonic and emotional intensity. It is a fine finish to an exhilarating proposition. Watertank certainly thrilled with their first album but leave it looking a touch pale against the creative vivacity and explosive drama of Destination Unknown, one of the most exciting encounters this year so far.

Destination Unknown is out now via Solar Flare Records @ http://shop.solarflarerds.com/categories/pre-orders and http://music.solarflarerds.com/album/destination-unknown

https://www.facebook.com/wtrtnk

Ringmaster 30/06/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

 

 

William English – Basic Human Error

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The most intimidating and thrilling cauldrons of hostility are those which spit and burn even before you get dirty and scorched within their blistering ferocity, and so it is with Basic Human Error, the debut album from UK noise violators William English. It is a release which singes flesh from ears and boils the senses from its first breath alone, only impacting and thrilling with harsher and richer intensity once you actually delve into the depths of the seven ravishments. The Norfolk quintet lit a fuse in the passions with their first single from the album Bud Vessel a couple of months ago, but hindsight shows its triumph barely scratched the surface of the wonderfully hellacious Basic Human Error

The William English sound is a prowling rabidity of doom enriched, tar thick sludge which is just as open and voracious with heavy strains of hardcore, noise, and dark metal. It makes for a menacing and uncompromising proposition yet one with an array of virulent toxic grooves and rapier like rhythms aligned to slithers of invention embroiled in anything from punk to noise to post punk. It is an invigorating and punishingly exhausting consumption of body and psyche, which only gets fiercer and more scintillating with every listen.

Cover_RingMaster Review   It is Bud Vessel which lights the touch paper to the album, its two minutes plus of vicious addictiveness an instant onslaught of barbed hooks and spicy grooves encased in fuzz soaked, snarling causticity. With mercilessly stabbing beats from drummer Joe Woodbury in the driver’s seat, the track careers through ears with the squalling hardcore tones of vocalist Shane Miller an acidic burn in the hostile and contagious smog of the song. Stoner seeded grooves spring their bait throughout too, everything colluding to ignite ears and emotions in a blaze of cancerous temptation.

The opener is as much a punk roar as anything else and quickly contrasted yet emulated in many ways by Life Of A Fisherman. The song is a slowly invading protagonist, a crawling and persistently expanding threat initially which once settled kicks up a gear and unveils a masterful swagger rich with ravenous and inviting grooves around a volatile nest of barbarous rhythms. Spilling sonic ire and addictive lures with every passing minute of the track’s weighty length, guitarists Ryan Carter and Dave Vickers sear and ignite the senses and imagination respectively, their hostile invention, as across the whole band, forceful and riveting whether slowly trespassing through or raging with tsunami effect at the listener.

The epic assault finally makes way for a just as intensive examination from Seaweed, a track venomously lapping ears with steady persistence, and as the last, creating moments of sheer violence. The bass of Callum Gibb is a predatory stalker within the crushing weight and intensity of the song whilst vocally Miller uncages his full punk spite and expression, especially devouring the air with an effect covered might when the song slips into a cavernous, post punk spiced, doom soaked passage of insidious calm. The torrent of rugged riffs and rhythms provide a constantly evolving and nagging proposal but as other aspects around them are regularly unafraid to switch gait and hostility as the ever gripping drama of the grooves persist in their addictive tenacity.

     Captain Tugboat unleashes its own distinct violation next, bringing extra tang and ingenious unpredictability to a fury of hooks and toxic grooves in a presence which embroils torment and rage in one corrosive and once again irresistible animus of sound and emotion. As the album, at times the track sparks thoughts of bands like Eyehategod and Buzzov*en but equally of others like Coilguns, KEN mode, and Neurosis; raw whiffs just as suggestive in the following Grandpa Sorrow Pt. 1, another taking such elements and sculpting them into something solitary and predacious to William English. The track stalks the senses with a laboured but hungry intent from start to finish, eventually dissipating for A Monger to cast its individual sonic coaxing and bracing creative hostility. There is no escaping its slow encroachment and the subsequent raptorial explosions breeding mouth-watering savagery, nor the spellbinding effect of its unbridled barbarity in tone and sonic enterprise. Bass and the song’s truculent atmosphere provide a bestial embrace, the vocals an ever shifting in delivery and belligerence throughout whilst the guitars emerge carnivorous in invention and enthralling in craft for another viscous treat.

The album closes with the eleven minute sonic opus of Grandpa Sorrow Pt. 2, a full journey in its own right exploring every flavour and inventive corner within the William English invention, ability, and sound. It is as dramatically appealing and darkly ruinous as the world we live in, every passing second and twist a creative cacophony of raw seduction and jaundiced attitude shaped by fearsome tapestries of viscid sludge spawned ingenuity.

The track is a tremendous end to a thrilling first album from William English. Basic Human Error is sure to be an encounter seeing many fleeing for the hills in fear but similarly one to breed plenty of lustful hunger and stalker like attention for its creators. We are the latter and suspect we will be heftily joined in that club over the coming weeks.

Basic Human Error is available now via Grandad Records @ https://williamenglishband.bandcamp.com/

and http://grandadrecords.bigcartel.com/product/basic-human-error-william-english

https://www.facebook.com/WilliamEnglishBand/

RingMaster 01/07/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Heyrocco – Teenage Movie Soundtrack

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With the release of recent single Elsewhere a sparkling lure to its impending arrival, Teenage Movie Soundtrack has answered the suggestiveness of its lead song and shows itself as an even greater enticement of the promise soaking that lone song of a few weeks back. The debut album from US angst poppers Heyrocco, the ten track encounter is a diverse and magnetic party for ears which weaves the teen angst sounds and emotions of the nineties, the guitar jangle of early Cure, and the dirtier tones of grunge into something unique from the imagination of the band. This still only scratches the surface really but the ultimate result is a release which sounds familiar, nostalgic, and thoroughly fresh, not forgetting highly enjoyable.

Hailing from Charleston, N. Carolina, Heyrocco consists of vocalist/guitarist Nate Merli, bassist Chris Cool, and drummer Tanner Cooper, a trio who has been constantly and increasingly stirring up attention on both sides of the pond since forming around five years ago. Teenage Movie Soundtrack is the band’s largest and strongest nudge on ears and appetites since forming and it starts with a bang through opener Loser Denial.

Guitar and vocals immediately pour their rich expression on ears, the pairing already hinting at the hues of a Weezer which only gets intensified as the song slips into a ripe stroll of rumbling bass, eager beats, and a spicy guitar clang. It is also instantly wrapped in pure infectiousness, a trait invading the whole of the album from hereon in. Virulently increasing in energy and captivating endeavour as it heads towards its riotous finale, the track is an exhilarating start to the release, leaving the listener in an agitated state eager for more, which comes courtesy of the heavier but no less compelling Melt. The air and presence of the song is thicker in emotional intensity but still retains the alluring catchiness of its predecessor, and indeed that same seeding of alternative rock/power pop for its own tempestuously inventive and at times perfectly imposing presence.

Heyroccocover_RingMaster Review     The grunge fuelled Virgin comes next, its opening minimalistic croon leading to thick and voracious Nirvana-esque explosions. It is an alluring cycle which is on repeat across a track which dramatically seduces and enslaves ears and emotions. There is no escaping the decade and bands inspiring the invention of Heyrocco or the ability of the threesome to twist them into ravenous incitements of raw and incendiary pop, as proven again by the lighter revelry of Elsewhere. Its opening jangle of hooks and invitational vocals is irresistible bait especially with its whisper of discord, a success eclipsed once the dark tones of bass and subsequent scythes of guitar court the potent variety of vocals across the band. Spiralling melodies and welcoming harmonies continue to exploit the submission given to the song’s charms, even as the outstanding encounter stirs up its creative intensity and volatile shadows to grow into an even bolder and muscular proposal.

A calm of sorts arrives next with the warm caress and enterprise of Mom Jeans, its rhythmic tempting and swinging pop gait a reserved but energetic festival of smouldering reflection and vivacious light locking ears and thoughts into eager attention. The almost sultry embrace of the song is replicated in many ways by First Song, though its tenacious balladry made up with livelier energy and melodies has more of a Costello/Petty-esque feel to it. Compared to previous tracks it takes longer to tempt and never quite manages to spark the same thrills whilst casting its pleasurable persuasion, but it certainly reveals more to the potential soaked depth and diversity in songwriting and sound within Heyrocco.

Alison brings a fiery blaze to ears next; its fuzzy textures and sizzling air colouring a cauldron of angst laden expression and melodic infectiousness bound in searing psych pop enterprise which in turn is equipped with pleasure gripping hooks. The track sizzles on the senses but is soon outshine by the even greater temptation of Jake Miller’s House Party. From its initial blast of spicy grooves and anthemic rhythms aligned to a thick lure of a bassline, imagination casts images of being bound in the throes of heaving bodies bouncing to the song’s puppeteer like tempting. You can picture a video for it straight away, energies and limbs moving in tandem even as the song relaxes a touch from its kinetic start for the great tones of Merli. A stomp of grunge hued rock ‘n’ roll, the song’s seamless flow through controlled and frantic crescendos is as magnetic as the web of invention and flavoursome hooks running incessantly through what proves to be the best track on the album.

The skilful Cure like hug of Santa Fe (Stupid Lovesong) is another which takes it’s time to convince, but eventually its laid back melody cast serenade simply leaves ears smiling whilst closing track Happy with its heavier rock croon ensures the release closes as potently as it began.

As so many, the band’s last single was our introduction to Heyrocco and there is no doubting they thrilled. Now Teenage Movie Soundtrack shows that it was no a flash in the pan but even more that it was just one strong essence in the band’s full sound and inventive presence. The additional excitement bred by the album is that you get the feeling this it only the beginning in their creative journey, just a scratching of the surface.

Teenage Movie Soundtrack is released on July 10th via Vital Music Group

https://www.facebook.com/Heyrocco    http://www.heyrocco.co.uk/

RingMaster 01/07/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

The Ghost Next Door – Self Titled

TheGhostNext Doorband_RingMaster Review

Sometimes a band name can alone ignite potent intrigue, spark an instinctive interest. Fair to say The Ghost Next Door easily did that but where so often others fail, the Californian quartet backed it up with a just as intriguing and fascinating album, a self-titled debut ripe in invention, unpredictability, and dramatic textures. The release is a tantalising weave of diverse styles and bold imagination honed into something as contagiously addictive as it is rousingly anthemic. Description of The Ghost Next Door sound is destined to vary from listener to listener and all will be no doubt right in varying degrees but one thing expectations can assume is most will be waxing lyrical about the outstanding proposition.

The Ghost Next Door name is inspired by the supposed haunted house that founder and vocalist/guitarist Gary Wendt (ex-Skinlab, Sacrilege B.C.) found himself living next to and its sound forged from a desire to “marry the dark melancholy of 80’s and 90’s alternative with the aggression and drive of Bay Area metal.” Linking up with bassist Seanan Gridley and drummer Sean Haeberman, the band after forming played around California for a few years but unable to really find their niche disbanded. Continuing to work on recordings already underway though, Wendt with the help of people like Steve Green (Skrew/Skinlab) recorded and mixed The Ghost Next Door debut album, following it with a reforming of the band. Gridley reunited with Wendt whilst the line-up was completed by Sacramento guitarist Aaron Asghari and drummer Paula Sisson from Remagen in Germany. Since its return the band has hit the live scene with hunger again, playing with the likes of DRI, SpiralArms, Dr. Know, and Comes with the Fall amongst many. Released via Mausoleum Records, their first album is now let loose and if you needed proof that rock and metal could be boldly adventurous, intelligently inventive, and make an instinctive partner in lust, this is it.

It all begins with Forever My Demon, an electronic mist slowly emerging with suggestive tones and subsequently spawning bulging rhythmic bait and evocative melodic tempting. Already there is an anthemic core luring attention, bait enhanced by atmospheric keys and eventually a potent wash of caustic guitar. As Wendt releases his vocal persuasion too, there is a mix of metal and rock enveloping ears and imagination with thoughts of Stone Temple Pilots and nineties heavy rockers Skyscraper swiftly coming to mind. It soon evolves again though, a grunge and fiery groove driven colouring joining the already established textures, they in turn slipping into a progressive/ heavy metal twist. It would take a page long review to cover the full thrilling adventure of this song alone to be honest, it’s busy but fluid and bold enterprise further emulated in every unique track upon the album, but fair to say all perpetually leave ears enamoured and appetite greedily hungry.

TheGhostNextDoorRingMaster Review     Proof comes in Crickets straight after, its heavy and eagerly prowling riffs instantly encasing ears as rhythms keenly jab throughout. As swiftly guitars spill wiry hooks at will, their barbs gripping ears as vocals and melodic hues begin thickening the enticement. As in the opener, every moment of the song comes with creative drama and unexpected turns of ideation, ensuring that though it does not quite rival the success of its predecessor, it is a riveting enjoyment, though soon outshone by the invigorating All Fall Down. There is a familiar air to the song, though for no obvious reasons, but this only adds to the swift seducing of ears through tangy melodies, spicy grooves, and more antagonistic beats and vocals. A heavier growl is soon pushing the track but again it is all relative to the moment in the song, progressive and hard rock essences as much an open input as melodic and groove metal in its absorbing weave.

Ten Steps Back backs up this new plateau breached by the album straight away, it and the following triumph of Dead Things. The first of this pair entangles ears in tendrils of guitar and accusation fuelled vocals, their restraint but strong tempting enhanced further with outbursts of harsher, more hardcore like punk expulsions of emotion and sound. With stabbing scythes of sonic ingenuity bridging this cycle and a subsequent harmonic flirtation teasing with a pause midway, the song is a kaleidoscope of imagination with its second half as distinct and seamlessly crafted as the first. Even listening to it constantly, every partaking of this song and indeed album brings fresh rewards, its successor another prime example. More ruggedly direct than the last song in many ways, its roars and strolls rigorously with hearty beats against just as sinewy riffs, their intensity urged by the great mix of vocals and bound in a rich sonic web of sparkling endeavour.

Bully lives up to its title, springing from a deliciously tangy dance of guitar hooks into a predatory stalking with the bass especially vocal in intimidating intent. Eventually it rises into a full bruising and mouth-watering incitement with those initial lures still working spicily away to ensnare, the following mellow melodies within resonating rhythms bringing the seduction. The track completes a quartet forming the pinnacle of the release though it is not the end of the inescapable persuasion and creative alchemy of the release.

The beginning of next up Eleven O’Clock Blues is almost theatrical, vocals and rhythms entering with a swinging gait against the more aggressive surge of riffs. Everything is soon entwined in a revolving fury and melodic embrace, the former aspect the thickest texture breeding an array of metal based ingenuity and flavours. To try and simplify the glorious body of the song, try to imagine a mix of Machine Head, Killswitch Engage, Alice In Chains, System Of A Down, Tool…actually don’t it probably will still be wide of the mark as already we say do yourself a favour and simply go explore the album and bask.

In hindsight this song is another of the album’s greatest successes, and another increasingly thrilling proposition with every listen just like the far gentler but no less magnetic Fragile. The song is a feisty croon which is as seductive in its mellower moments as it is in its impassioned blazes, and without managing to reach that lofty perch set, leaves only fresh greed and pleasure in its wake before album closer Famous Last Words similarly cradles and bellows over the senses with irresistible charm and inflamed passion. With a rich strain of thrash and classic rock in its ferocious belly, if not the stronger unpredictability of other proposals, the track is a powerful end to a stunning album.

If like us the band name sparked a flicker of attention do follow it up, and if it does not still launch yourself at The Ghost Next Door, a band and release which truly has something for everyone but in an exhilarating tapestry like no other.

The Ghost Next Door is out now on CD and digitally via Mausoleum Records @ http://www.music-avenue.net/mausoleum/detail.php?id=251158

http://www.theghostnextdoor.net/    https://www.facebook.com/theghostnextdoor

RingMaster 16/062015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net