UMA COMPILATION 2015

PICReputation Radio/RingMaster Review

It is time for the Underground Metal Alliance (UMA) compilation of some of the best underground metal bands in Italian, and once again UMA Compilation 2015 awakens ears and attention to a host of highly accomplished and thrilling encounters. With a line-up selected by fans and the UMA jury, which included members of Exilia, Sadist, Nanowar as well as managers of studios and festivals, plus other bands already part of the selected UMA roster, the album is an eclectic treat which is all the more sweeter through its availability as a free download for all.

It kicks off with Milan symphonic folk metallers Atlas Pain and their track Each Uisge, a rampant canter of rolling feisty rhythms and raw folk tenacity. It roars and bristles with magnetic persuasion lifting its potency further when allowing a Celtic influence to flirt with the aggressive heart of the excellent starter. It is a fine opening continued by Avoral, epic metallers from the same city, and the dramatic War Is Not Over. With nagging riffs, enjoyably theatrical vocals, and muscle-bound rhythms, the track is an attention grabbing bellow which even ears not quite enamoured with their seed genre can find plenty of resourceful and imaginative textures to enjoy and be involved in. In any large compilation you will always find some songs not quite fitting personal tastes but from start to finish it is fair to say that the compilation has little difficulty sparking a healthy appetite for the strengths and unique characters of all those involved.

Caelestis and Calico Jack are another example of the diversity across the release, the first a Naples duo creating provocative blends of post/progressive rock and shoegaze which immerse ears in captivating landscapes and the second pirate folk metallers from Milan who stomp over the senses and into the imagination with their busy and fiery adventures. The band’s songs are poles apart yet alongside each other, Ode Al Mare and House Of Jewelry make a highly satisfying union backed by the following punk folk metal of Evendim, their raucous temptation Whiskey On Fire an instinctive whipping up of energy and participation from those taking a swig of its rousing persuasion.

A web of nu and progressive metal cast by Pescara quintet Fake Heroes is next and quickly emerges as another keen favourite. The strong vocals in On The Hill are a mellow lure within skilfully conjured tempestuous sounds which busily twist and entice around them. Featuring Giacomo Castellano, the song is a compelling embrace of emotive and technical tempting, almost volatile at times though it is soon clear that GorganerA have that area cornered with their malevolent fusion of death and black metal. As shown by Veleno, The band embraces familiar inspirations yet though only one song, as it stalks and barbarously seduces ears there is an open variety of flavours and ideation ensuring the track stands out.

Away From My Fears from Edolo trio Hell’s Guardian is one of the songs which on first listen seem to lack the spark of others but with persistent listens begins revealing its eventful and increasingly enjoyable attributes, the vocals especially growing in stature and raw charm. It is a slow burn of persuasion, just like the following Falling Snow from avant-garde metallers Ideogram, but an increasingly impressing one. The latter’s offering from its first breath casts elegant melodies and evocative sounds in a masterful invitation, the track subsequently growing into an unpredictable and again persuasive offering as operatic and guttural growls bring their striking mix to an unrelenting maelstrom of musical enticement.

Como quartet Ignotum offer a slice of their enjoyable debut album Larvas Mortal God next, the atmospherically fiery and raucously trespassing Hecatomb Memories an intrusive and compelling insurgence of the band’s black/death enterprise. Its mighty incitement is matched by Kanseil and the excellent roar and devilment of their track Panevin, a song which leaps upon ears from its first breath inciting pleasure physical and emotional enjoyment from thereon in with its anthemic and melodic folk metal revelry.

Novara avant-garde metallers Locus Animæ is another band taking longer to get into, their startling sounds and minimalistic ambiences a pleasingly testing adventure with constant rewards ensuring their song, which also carries the band name, grows to be another welcome proposal over time. Similarly Insane Asylum from heavy rockers Mary Brain is a y less immediate tempting compared to other tracks but soon turns into a raucous highlight with its jagged riffs and predacious personality.

For personal appetite and ears, the album hits the sweet spot over the next handful of songs, starting with the excellent Mechanical God Creation and their slab of technical death metal brilliance, Shadow’s Falling. The song is a brutal beast of intensity and craft, a track making you stand up and pay attention with consummate ease. To be fair every song on the album does do that, though maybe few as commandingly as Milan quintet’s offering. It is followed by Lady Loneliness from Misteyes, the song a bewitching serenade of gothic metal led by a beauty clad caress of female vocals and keys. It gets darker and nastier over time but never loses its elegance and grace.

The outstanding rapper/masked guitarist Red Sky is next, his percussively lively and rhythmically compelling track I 7 Vizi Capitali, an undiluted temptation. The track is a quickstep of animated ideas and atmospheric shadows, a riveting jungle of stirring textures and shamanic tones kissed by the pipe seduction offered by guests Kanseil. Its enslaving persuasion makes way for Scum and their ferocious assault on the senses, Becoming Heavier. Thrash bred, punk infested, and woven with a host of metal essences, the song is a delicious and bracing onslaught, rich in craft and unbridled in fury, and quite thrilling.

Gallipoli heavy metallers Serial Vice provide a heftily flavoursome roar next with You Are Heroin, the song another inescapable anthem bellowing from within the album, whilst the blackened death metal fuelled Il Culto Della Pietra reveals its creators Veratrum to be a gripping and quickly intriguing prospect from Bergamo. Both songs are ripe with enterprise and craft, the latter of the two a broad expanse of textures within a mix of blistering hostility and alluring melodies.

The collection is brought to a close by a trio of tremendous creative outbursts, starting with Roma heavy metallers Whisperz and the rabid tempest of metal bait called Malicious Intent. Taken from their self-titled album, the track is a rugged and flirtatious lure of old school and modern metal, a rousing of attention and energy which the following Winterage takes on its own bold journey with The Harmonic Passage, a symphonic power metal recruitment of body and emotions, and yet another inescapable anthem bursting out. If there is still anyone yet to find their feet listening to the release, there is no chance of remaining uninvolved as Wolfang brings it all to a storming end with their fiery riot of Wild Forest. It is symphonic folk metal let loose to ravish air and ears with unbridled passion and energy.

It is a fine end to an invigorating and exciting release. Italian metal is blooming right now and the UMA Compilation provides all the evidence whilst shaping up to be one of the best collections of artists to thrill ears in recent times.

You can get your copy of UMA COMPILATION 2015 as a free download HERE.

http://www.undergroundmetalalliance.com/
RingMaster 24/06/2015

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

Hellrad – Things Never Change

FRONT COVER_Reputation Radio/RingMaster Review

The sound of US sludge metallers Hellrad is like toxic lava. It crawls over and consumes ears, blisters the senses, and devours all before it in an atmosphere of unbridled hostility. It also, with weighty persuasion and hellacious intensity, leaves the listener basking in a network of scorching, seductive grooves and intimidating rhythmic slavery, it all colluding for one fierce volcanic treat.

Hellrad began in the August of 2014; the Philadelphia quartet formed by guitarist Mike Hook (Eat The Turnbuckle, Bad Luck 13) and drummer Robert Lepor (Brian Candle). The pair swiftly enlisted bassist Herb Jowett (Javelina, Lick Golden Sky), and with an album’s worth of tracks emerging from their songwriting, completed the line-up with vocalist Dirty Dave Repenning (Off Duty Death, Warsaw). Their sound is as dirty as it is ugly, as angry as it is uncompromising, but aspects aligned to a violent creativity which emerges as wholly contagious. Recording Things Never Change at Permanent Hearing Damage Studios with Steve Roche, Hellrad have unleashed a proposal which is not quite a game changer but it is certainly an uncomfortable and uncompromising fresh breath to the sludge/stoner scene.

From the uncaging of its opener Street Zombies, the album reveals depths of sound and a cast of textures which are as much ravenously doomy as they are voraciously noise rock inspired, a blend perpetually brewing in a cauldron of sludge predation. The first track comes in as a warning siren, its portentous air sparking ears and imagination though their expectancy is soon engulfed in a lumbering and slowly brewing tempest of binding grooves and scything rhythms. It is a stalking rather than an onslaught, yet it has the intensity of a sonic tsunami smothering and stirring up everything in its path. The vocals of Repenning are just as rapaciously delivered, a squall of ire and emotion and as addictive as the roar growing around him. Lyrically little is given away by his raw delivery across the release but his psyche ripping presence is all about texture and emotion, and in that he, as the webbing of enterprise around him, is primal magnetism.

The following My Jihad’s Against My Mind keeps the impressive and intrusive start going, its rage and intent a much more urgent and volatile persecution of body and thoughts. Riffs and rhythms again create an unforgivingly caustic canvas for grooves and vocals to spread their almost rancorous bait, and once more the victim is blissfully immersed in echoes of a cancerous world and destruction. The closing tonic of stoner bred lures of guitar, rather than a respite to the torturous adventure seeding them, is the flowing link into another merciless ravaging. Dope Fiend Jesus manages to be even more raw and filth clad than its predecessor but also more seductive with its flirtatious melodic enticing and passages of mellow aggression. It is deliciously fearsome stuff carrying the whiffs of classic stoner and sludge bands but quickly corrupting and twisting them into something rabidly distinct to Hellrad.

Homegrown Terrorist is one of those sonic and social statements you do not ignore. Everything from its opening sample to the insidious sprawl of Repenning’s tones and the barbarous presence of the bass to the violent swings of Lepor, create an unshakeable trespass physically and emotionally. Its brutish incitement is only enhanced by the venomous sonic vines unleashed by Hook, their virulent enticement, rather than a temper to the existing savagery, an incitement to more threat. It is a template just as addictive in the hard-line predatory saunter of Fucked Up, another unrushed violation which waits until it is ready before unleashing a scourge of sizzling sonic enterprise and poisonous intent bred in an exacting embrace of intense rock ‘n’ roll.

The rhythmic nature of 15 Years and Counting is at times almost meditative, certainly hypnotic though there is no peace or calm to be found in the ruinous landscape of the song. The infectious and anthemic bait of Lepor is only reinforced by the carnivorous tones of Jowett’s strings, both forging the irresistible dark spine within the tightly entwined mix of melodic enticing and inhospitable noise pollution. The track enthrals and thrills before making way for the groove fest of Smoke More Crack. The salacious slab of rabid, dirt spawned rock ‘n’ roll is the final confirmation of the immense and addiction forging properties of band, album, and their severe concoction of sound.

Things Never Change is a punishing treat and Hellrad the nastiest, most vicious exponents of aural castigation, and we for one cannot get enough.

Things Never Change is available now digitally and on CD @ http://hellrad1.bandcamp.com/releases

https://www.facebook.com/Hellradphiladelphia666 

RingMaster 24/06/2015

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

 

Silent Jack invite fans to ‘Play The Game’!

SJ PTG PR Photo

Silent Jack To Release  ‘Play The Game’

 

 Birmingham based hard rockers Silent Jack are ready to unleash a hail of hard rock with debut album ‘Play The Game’! The follow up to 2012’s ‘Snakebite’ EP is thirteen tracks of pure, unfiltered rock straight from the home of heavy metal. Under the expert guidance of veteran producer Alex Cooper at Arkham Studios, the band has spent the best part of a year distilling the power of their live shows into a single full-length release.

 Playing balls-out hard rock in the vein of classic acts such as Guns N’ Roses, Mötley Crüe, Whitesnake and Led Zeppelin, Silent Jack bring it all to the table. ‘Play The Game’ features the crushing riffs and clean vocals that have wowed audiences around the country, with fan favourite tracks like ‘Too Many Women’ and ‘Whisky And Me’ joining newer cuts such as ‘I Am The Law’ and ‘Make It Right’. Rockers around the world will definitely find something they like on the album and Silent Jack can’t wait to unleash it.

 The band have been firing on all cylinders this year, reaching the finals of both the Bloodstock Metal 2 The Masses competition (Birmingham, July 12th) and the Hard Rock Hell Highway To Hell competition (Sheffield, September 5th-6th), and have recently been announced for the Saturday of this year’s Degeneration Fest (Nottingham, August 28th-30th).

‘Play the Game’ is set for release in September this year, and the band will be hosting a launch party at The Roadhouse in Birmingham on September 13th.

 

http://www.Silent-Jack.com     http://www.facebook.com/silentjackband    http://www.twitter.com/silentjackband

Biotoxic Warfare – Lobotomized

Biotoxic Warfare PIC_Reputation Radio/RingMaster Review

It would probably not be too unfair to say that Lobotomized is not overloaded with rich originality, though it has plenty of flavoursome exploits which stand out, but when it rocks like a barbarian smelling blood, which is most of the time, the debut album from Greek thrashers Biotoxic Warfare is one fiercely enjoyable and invigorating incitement. Wearing many of their inspirations on their sleeve, Slayer and Kreator more obvious ones, Biotoxic Warfare create the kind of hostility their name hints at but also weave in some juicy sonic imagination and temptation to ensure that every song within their first album offers unpredictability as well as spicy familiarity. The result is a compelling and thoroughly pleasing rampage to heartily recommend.

Hailing from Heraklion in Crete, Biotoxic Warfare began in 2012, drawing on the European and American thrash metal scene as well as the roots of the genre to create and hone their own ideation and sound. Making a potent impression on the Crete and Athens live scene soon after, the band released the Baptized In Blood And Greed EP in the April of 2013, its fury earning good reviews around the metal media. Live the band equally flourished, earning a potent reputation as they proceeded to support bands such as Suicidal Angels and Enforcer. 2014 saw the current line-up of vocalist Mike Kavalos, lead guitarist George Dimitrakakis, rhythm guitarist Stelios Sfendilakis, bassist Panagiotis Polioudakis, and drummer Orestis Drapaniotis in place and the recording of the band’s Vaggelis Theodorakis (Revolted Masses) mixed and mastered debut album.

Lobotomized Cover Art_Reputation Radio/RingMaster Review    Lobotomized quickly works on ears and imagination with its opening instrumental Mors Indecepta. The piece is a swift scene setter, its prowling almost lumbering body dragging portentous hues around as rhythms crawl slowly and intimidatingly through ears. At the same time guitars spin an evocative web of sonic expression until it all comes to a point where it all erupts into a predatory incitement of ears and imagination. The track does not make an instant dramatic persuasion, even as it increases its weight and intensity minute by minute, but over listens becomes a rich and potent introduction. Its transition into Proclaim The Gospel Of Lies is not as fluid as one would wish but quickly forgotten as the second track from a demonic declaration, sends forth riffs and rhythms clad with brutal rabidity, though they quickly become entangled with highly alluring grooves. The track is soon really storming the barricades, its riffs almost punk like and its slithers of grooves pure tangy acidity around the caustic growling of Kavalos. There is familiarity to its hooks and driving riffery yet not of sources or styles expected which adds to the intrigue and fun, as does the slip into dark cavernous, almost doomy terrain.

The song is sheer anthemic magnetism but equipped with expectations throwing exploits and imagination that makes song and band something fresh, a characteristic exploited again in Baptized In Blood And Greed. Again a bestial prowl is the springboard to furious and anthemic tenacity from all areas of the band, the bass a primal invitation as thick and potent as the fiery endeavour of the guitars. Another inescapably rousing conflict, the song makes way for the darker saunter of Dsyphoric Reality. Well its entrance is a deliberate stroll; the rest of its torrential offering is soon after an unbridled and carnivorous trespass of ears and pleasure. As in most songs, an ever twisting gait breeds a compelling and contagious swagger around which the craft of both guitarists shine with their individual creative flaming, the bass on its own agenda to prey on the passions with a rabid snarl and addictive rancor.

Drapaniotis is a perpetual magnet and provocateur with his inventive and constantly evolving swings, as proven once again in the album’s title track, though he has to hold back whilst the song makes a mouth-watering and melodically charming entrance. The itch to uncage energy and antagonism is soon inescapable and drummer, band, and song are soon descending on ears and appetite with a tempest of rabid rhythms and ravenous riffs guided by the ever raw and enjoyable hostility of Kavalos, potently backed vocally by Dimitrakakis. It is the rolling contagion and spicy slithers of sonic invention which steal the show though with the virulence of the song pure slavery as too, as indeed the ingenuity of the guitars in setting off kilter almost post-punk like sparks to the outstanding encounter.

The gripping savagery of Lust For Hate is next, bringing more of the similarity between the surface actions of some songs within Lobotomized but quickly spearing and defusing it with its own imaginative and searing tapestry of sonic colour. Not quite matching previous songs, it leaves ears and satisfaction enjoyably full before Parasitic Life and finally As We Rot (Promises of Heaven) bring the album to a thunderous close. The first of the pair is waspish in its grooving, a tasty and welcome irritant leading into the warfare of the song and returning with regular invention and success whilst the track breeds even broader rhythmic and infectious shoulders for the guitars to blaze from. It is a scintillating proposal matched by its successor, the album closer a tsunami of intensity and barbarism within a whirlpool of unforgiving energy and twisting enterprise, and quite irresistible.

As suggested there is plenty to find yourself familiar with in Lobotomized but it does not stop the album throwing up one of the most invigorating and enjoyable metal releases this year. Biotoxic Warfare is thrash metal embracing the old and new whilst infusing its own spice of character and imagination. This might not rank as your best metal album of 2015 but it just could be your favourite thrash encounter.

Lobotomized is available now via Slaney Records and @ https://biotoxicwarfare.bandcamp.com/album/lobotomized

https://www.facebook.com/pages/Biotoxic-Warfare/427903787269059 https://twitter.com/biotoxicwarfare

RingMaster 23/06/2015

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

Versus The World – Homesick Roadsick

LORES Versus The World _Reputation Radio/RingMaster Review

If you are already a fan of US punk rockers Versus The World, new album Homesick Roadsick probably holds few major surprises and if a newcomer to the band, it will be found to healthily recall the pop punk exploits cultured and famed within California over past decades,. For all though, it will be a thoroughly magnetic proposition containing the most rounded and mature songs from the band yet. The release rumbles and strolls along with open contagion and undiluted passion to whip up attention and rich satisfaction, and though it might not prove to be the best punk release this year, it certainly reveals itself as one of the most enjoyable and memorable.

The third album from the Santa Barbara quintet sees the band returning to Kung Fu Records, the home of their self-titled debut full-length of 2004. As its predecessors, Homesick Roadsick was recorded with Bad Astronaut guitarist and producer Thom Flowers and as last album Drink.Sing.Live.Love in 2012, mixed by Ian MacGregor (Katy Perry, All-American Rejects). Fair to say that Versus The World has boldly and inventively grown in presence and songwriting since those early days, honing a vivacious sound setting them apart from the pop punk crowd, even with its recognisable inspirations. Now the line-up of band founders, vocalist/guitarist Donald Spence, bassist Mike Davenport (ex- The Ataris), guitarists Chris Flippin (Lagwagon) and Tony Caraffa (Murderland), and drummer Bryan Charlson have explored new depths and potency to it with Homesick Roadsick and conjured up another treat

It opens with The Santa Margarita, a song written by Spence for Tony Sly, the late frontman for No Use For A Name. Featuring guest Dave Hause, the track quickly has ears in a fiery embrace of raw riffs and sonic tempting driven by the forceful beats of Charlson. Hooks, musically and vocally, stir ears and attention, the song swinging along with an infectious manner and an incendiary energy in its builds to and eruptions of mini crescendos. The song is rich captivation, a rousing start continued by the less urgent but swiftly as flavoursome stirring of The Black Ocean. Heavy scythes of riffs pounce on the senses first, their inviting bait bound in tangy tendrils of guitar as the impressive tones and delivery of Spence croon with expressive passion. More a smoulder than the kind of roar expressed by the previous song, it rises to breach the same creative and gripping plateau before A Storm Like Me unveils its controlled but rousing anthem. Its chorus is an inescapable lure soon involving the listener whilst the guitars, as the vocals across the band, whips up the imagination and appetite with ease.

HSxRS_Vinyl_Front_Reputation Radio/RingMaster Review     Seven Thirty One bounds in expelling emotive flames and tenacious exploits like a mix of The Ataris and Billy Talent next. It quickly sets another peak in the landscape of Homesick Roadsick, the bass of Davenport a dark seduction speared by the volatile swings of Charlson as the guitars of Flippin and Caraffa ooze spicy enticement and fiery persuasion. Further fuelled by the excellent vocal delivery of Spence, the track is raw flirtation followed by both the inventive A Brooklyn Rooftop and the addictive qualities of A Sight For Sore Eyes. Neither song can quite match up to their predecessor but each grips ears and enthrals attention with their dramatic and skilled propositions, especially the latter with its initial and lingering Ruts like jagged riff. It also has one delicious shadow rich bassline amidst a web of melodic and harmonic drama, a combination as fascinating as the songwriting bearing them.

The album’s title track is an initially headstrong rampage setting emotions and appetite aflame, and even though it dips slightly once evening out its attack as melodies and vocals emerge to climb all over ears, it remains a raucously emotive and physical tempest leaving pleasure full and greedy for the just as sizeable and persuasive presence of Bullet Train. Expectations are fed a little by the structure and invention of the track, but with another grouchily incendiary bassline, swirling guitar enterprise, and a vocal resourcefulness which only wins plaudits, the song makes a highly satisfying proposal before being overshadowed by the excellent Detox Retox. Davenport’s bass is carnivorous in tone, his adventurous and thrilling designs increasingly open and potent in the second half of the album, whilst guitars spiral from ravenous riffs into fiery entrails of sonic imagination driven by the energetic whipping of beats. It results in, as the album, an encounter which does not shake the boundaries of punk and maybe the band’s existing originality but leaves the listener encased in fresh enterprise

There is no lessening of enjoyment in the closing pair of songs either, Self Preservation Is Killing Us All first to flame with sonic and melodic dexterity before Our Song offers one final thick bellow of rock ‘n’ roll. They ensure a fine end to another invigorating offering from Versus The World. Homesick Roadsick is undoubtedly the band at its best, though there are times across the album where it seems to hold check on invention heading towards new and potentially startling doorways. It is an album to constantly please and enjoy nevertheless, and a highly pleasing success in anyone’s book.

Homesick Roadsick is available from June 23rd via Kung Fu Records digitally and on Vinyl/CD @ https://versustheworld.bandcamp.com/album/homesick-roadsick

Versus The World Summer UK/EU Tour Dates w/ Strung Out:

30.06.15 DE Berlin – Cassiopeia

01.07.15 DE Cottbus – Gladhouse

02.07.15 DE Erfurt – Eburg

03.07.15 CZ Mighty Sounds Festival

04.07.15 DE Aachen – Musikbunker

05.07.15 FR Paris – Le Petit Bain

06.07.15 UK London – Underworld

07.07.15 UK Manchester – Ruby Lounge

10.07.15 UK Brighton – The Haunt

11.07.15 BE Ostend – Elysee

12.07.15 DE Saarbrucken – Garage

14.07.15 IT Milan – Circolo Magnolia

15.07.15 CH Geneva – Usine

+ More TBA Soon!

http://www.versustheworld.com/   https://www.facebook.com/vstheworldmusic

RingMaster 23/06/2015

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

 

Old House Playground – The Great Escape EP

Picture 49_Reputation Radio/RingMaster Review

Listening to The Great Escape EP, thoughts wondered whether if Edgar Allan Poe was around today creating dark literary masterpieces, would he be listening to and most likely involving the music of UK based Old House Playground somewhere. Four tracks of dark rock ‘n’ roll bred with provocative blues climates and gothic imagination, all “with roots in the songwriting culture of traditional Greek folk music”; the band’s new seriously compelling EP suggests quite possibly yes as it thrills with its ripe bewitching drama and imposing atmospheres.

It was in 2009 that Old House Playground moved from Athens to Manchester to, in the words of their bio, “experiment with new musical paths and forms of expression.” Vocalist/guitarist Tryfon Lazos, drummer Andreas Venetantes, and bassist Conor Loughran were soon weaving inspirations from the likes of Tom Waits, Django Reinhardt, Nick Cave and Greek artists Psarantonis, and Marcos Vamvakaris into their own unique vision of an alternative rock/blues sound. The departure of Loughran before its recording saw debut album God Damn That Gold the creation of the remaining duo overseen by producer/musician Chris Evans. Its 2013 release via Evening Economies/Fat Bob Records was keenly received and praised, as too a UK tour in support of its unveiling. The band also ignited the attention of Vini Reilly through the band linking up with Sugar House production, leading to a subsequent collaboration seeing Old House Playground and Durutti Column together for the latter’s first Manchester performance for five years and Lazos singing onstage alongside Reilly that night. With bassist Jago Furnas enlisted last September, Old House Playground now release the magnificent tempting of The Great Escape, an encounter to inspire the imagination and feed a greedy appetite for dark treats.

Picture 47_Reputation Radio/RingMaster Review   Opener Polite Fiction immediately has ears and attention sparked with its initial psychobilly coated groove, and gripped with the quickly joining blend of vocals and spicy guitar enterprise. The tones of Lazos are a rich enticing and attention grabber, even as the song becomes a perpetual awakening of new sounds and textures sparking ears with embraces of fiery sax and brooding basslines amongst many things. An unbridled captivation with a predatory stride, the song blossoms into a sultry, jazz kissed seduction of Bernaccia and Tom Waits like essences courting the warped swagger of Eighties B-Line Train Disaster and the raw croon of Nick Cave. It is a delicious web of temptation, ears and thoughts embroiled in the swinging lures and smouldering drama cast by the openly inventive and descriptive craft of the band.

The exhilarating start is followed by Stardance, a similarly potent slavery of blues intoxication and rhythmic devilry bound in tangy grooves and vocal enterprise. Like its predecessor, the song has a flirtatious devilry to its sauntering gait and swinging energy, and like the first track provides an irresistible tapestry of darkly cultured hues entangled in delta bred blues persuasion. It is the devil’s music for sure and even more ridiculously addictive when exploring off kilter twists of sonic and melodic ingenuity aligned to the perpetual noir lit jazziness fuelling its inventive breath.

A western twang creeps in with the inviting caress of guitar bringing All Day Today into view next, the song’s country-esque acoustic folk charm enhanced further by the ever potent and alluring vocals of Lazos. Reminding in some ways of Swedish band Billy Momo and in others of Milton Star, the song is three minutes of dark seduction sparking ears and thoughts further before making way for the EP’s closing title track. Sweltering with sultry melodies and heated sonic mystique, the song is pure aural alchemy conjuring a majestic tapestry of wiry chords and acidic grooves within a suggestive landscape as intimate as it is evocatively expansive.

The track is a brilliant end to a seriously thrilling release. Old House Playground may have been in the shadows for many before the release of The Great Escape EP but it is easy to suggest the only dark hues around them will be those they seed, blossom, and embrace their music with from hereon in.

The Great Escape EP is available via Horus Music from 22th June @ http://oldhouseplayground.bandcamp.com/album/the-great-escape, digitally and as Limited Edition 10″ vinyl with 2 bonus tracks!

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

RingMaster 22/06//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

 

Dendera – Pillars Of Creation

Album line-up

Album line-up

UK metallers Dendera whipped up plenty of eager attention and acclaim with their debut album The Killing Floor two years ago and now with its successor Pillars Of Creation poised to ignite ears and appetites with its own unique character, it is easy to expect the Portsmouth band doing the same again with greater success. Embracing a fresh roar of modern rock and invention with their heavy/classic metal breeding in their new offering, Dendera has honed a more distinct sound to themselves, not one to reinvent genres but undoubtedly one to really set the band apart from the tide of likeminded bands.

Since releasing their first encounter, the We Must Fight EP in 2011, it is fair to say the band has had the attention of fans and media alike, a ready to praise spotlight elevated by the release of The Killing Floor in 2013. Live too the band has earned a potent reputation and stature, touring and sharing stages with the likes of Saxon, UFO, Fozzy, Skindred, Firewind, Alestorm, Unearth, The Sword, Orange Goblin, Grand Magus, Ill Nino, POD, Soulfly, Kobra and the Lotus and….well the list goes on. Now the quintet of vocalist Ashley Edison, guitarists Stephen Main and Tony Fuller (the latter having left the band after the album’s recording to be replaced by David Stanton), bassist Bradley Edison, and drummer Andy Finch return with a seriously mighty slab of metal and with ease the band’s finest moment yet.

Dendera cover_Reputation Radio/RingMaster Review     Pillars Of Creation opens with Claim Our Throne and quickly has intrigue and imagination awake with the track’s opening melodic suggestiveness. Its entrance sets the scene, casting a rich and welcoming landscape yet one with an initial melancholic air which as its depths and scenery builds and expands, evolves into a more intimidating presence. Eventually riffs and rhythms build imposing walls whilst hooks and grooves colour the increasingly compelling emergence of the track with inescapable temptation. In full stride the song roars with the impressive vocals of Edison leading the way as guitars and bass lay down magnetic bait through riffs and enterprise. The old school essences of bands like Iron Maiden and Saxon, which heavily coloured the band’s first album, are still clear hues in song and album but more spices now in a bolder and more creatively individual proposal from Dendera. It is not ground-breaking stuff as mentioned but the band has cultured something rich in variety and resourceful in exploration, and as shown by the starter and reinforced by subsequent songs, created a sound which will send fans into bliss whilst offering plenty for those who maybe do not have an appetite for a classic form of metal to have eager interest in.

The impressive start is matched by Bloodlust, the song straight away living up to its name and exploding with a far more raw and predatory presence than that of the previous song. Thrash spiced riffs are rampaging through ears from its first breath, they and rhythms whipped up by the confrontational vocals. It is a tenacious and grouchy encounter which mellows out for its melodically fiery chorus, but is soon back stirring up air and blood with the same insatiable surges of intensity and sound which it first erupted with. Its blend of contrasts is a fluid and alluring invitation, a persuasion emulated again in the stormy nature of In High Tide. A cantankerous tempest of rock ‘n’ roll, the track aligns sonic croons with bestial snarls and rugged hostility, their fluid passage making for a fascinating and increasingly anthemic incitement on ears and emotions.

Already across three songs, Dendera has infused elements from groove and melodic thrash to varied heavy rock, an involvement never diminishing just evolving and changing across every song starting with the stalking of senses that is Disillusioned. Another song reeking attitude and carrying an almost primal swagger, it prowls ears with an intimidating air driven by the ever impressive and masterful rhythmic webs of Finch. Groove wise there is a definite Pantera edge and swing to the track’s core lure, one in many ways copied in the excellent vocal persuasion of Edison and potently backed by the band’s roars and the guitar endeavours of Main and Fuller, especially with a seriously tasty and incendiary solo.

The Daylight Ending is a sweat and spit encounter, rhythms and the delicious bass bait of Bradley Edison a barbarous proposal matched by riffs whilst guitars and vocals carry an aggressive

new line-up

new line-up

nature to their provocative and inventive craft. The song is a gallop for the main, a relentless foraging of body and imagination leaving an even hungrier appetite which The Chosen One feeds with its dark and heavy trespass of the senses. The song does not quite grip as other tracks, missing an indefinable spark to ignite personal tastes but there is no denying or not enjoying its invention and adventure, especially it’s contagious and at times brutal gait.

The explosive sonic flames and melodic passion fuelling Unholy sparks a lick of lips within a few explosive moments next, riffs and grooves almost swarming over the senses and into the passions as bass and vocals virtually prowl with their own inescapable persuasion. The beats of Finch are a bully but a welcome protagonist as again he sculpts an addictive frame and engine room for a song.

Pillars Of Creation is brought to a close by Edge Of Tomorrow, a fire of aggression and passion within a sonically tempestuous soundscape. It fiercely pleases on first touch but, as the album, just impresses and draws keener lustful reactions with every listen. The release is a must for all classic and heavy metal fans but such the new adventure and variety the band has woven into their songwriting and sound, there is much for all metallers including, us among them, those without an instinctive taste for old school roars. In fact it very likely will, as here, emerge as a favourite of the year for fans and newcomers alike.

Pillars Of Creation is available via Metalbox Recordings from June 22nd @ http://www.denderauk.bigcartel.com/

http://www.dendera.co.uk/   https://www.facebook.com/DenderaUK

RingMaster 22/06/2015

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