91 Allstars – Retour vers la Lumière

91allstars_RingMaster Review

Not convinced by their name but having no problem breeding a healthy appetite for their ferocious sound, 91 Allstars quickly show themselves to be another voraciously rousing proposition within the French metal scene with new album Retour vers la Lumière. The first encounter from the band since a change in line-up, their second album is a thickly enticing assault of death inspired metal aligned to melodic hardcore and plenty of other ripe spices. It roars and brawls with the senses, grips the imagination, and provides plenty to get excited over as 91 Allstars show themselves ready to take on broader spotlights.

Formed in 2005, the Paris quintet has perpetually drawn praise and support with their releases and a live presence which has seen them over the years share stages with the likes of Sick of it all, Gojira, Do Or Die , 25 ta life, Born From Pain, Mass Hysteria, and Knuckledust. Their first year saw the release of a self-titled debut EP and two years later the band teamed up with Danforth for the split release Destroy The Past. Acclaim grabbed debut album Telle Est la Loi in 2010, its success though already being eclipsed by the dynamic and hellacious enterprise of Retour vers la Lumière since its recent release.

91AS_front_RingMaster Review     The atmospheric Intro starts things off, its portentous air full of drama and suggestiveness which is taken on by the tempestuous nature and body of Omniscience. Immediately grooves and hooks are swinging with zeal as raw gruff vocals incite and rhythms batter the senses from the second track. It is a rousing confrontation, one as magnetic as it is hostile with the track’s death metal canvas coated in thrash inspired animosity and hardcore cultured dexterity.

Across both Mon bien, mon mal and Opprimés, band and ears collide as tenacious and antagonistic elements collude to spring a creative animus as appealing as it is threatening. The first of the two songs lines its assault with gripping hooks and spicy grooves as snarling vocals leads its anthemic nature. There is definitely some familiarity to parts of its textures and air but that only adds to the magnetic pull whilst its successor similarly impresses as it stalks the senses with its rumbling bass cored predation and stabbing riffery. As across the album, certain essences remind of bands such as Black Dahlia Murder and Gojira whereas the hardcore spices offer up thoughts of others like Pigs and Every Time I Die, but it all gets woven into something relatively distinctive to and constantly appealing from the French quintet.

Richesse humaine provides a raw bluster of voice and virulent sound next, its body entwined in wiry grooves and viciously anthemic tendencies whilst Les ombres de la perdition stomps along spilling acidic sonic tendrils from its bulging intensity. Epitomising the whole of Retour vers la Lumière, the pair also explore catchy exploits and melodic incitements, each spinning a tapestry of inventive lures which temper yet accentuate the unbridled force of the propositions.

The impressive intent and heart of the album continues through the ravenous animus of Eclipse éternelle and escalates in the primal trespass offered by L’ère du verseau; both songs fierce contagion with plenty to defuse expectations and further ignite a hungry appetite. Their success is matched by that of L’aube des princes, an aurally rancorous intrusion again leaving a want for more by the final note of its masterful and imaginative violation. With the songs sung in French lyrically we floundered but as shown by the encounter there is no mistaking the emotion and heart of each encounter.

Completed by the incessant infiltration of the senses that is Un sombre destin and lastly the album’s rapacious imagination enveloping title track, Retour vers la lumière is a seriously accomplished and enjoyable proposal. Certainly there is a bit of a similarity between tracks at times which defuses some of its immediate potency but songs and the album as a whole only grows to be challenge which impresses again and again.

Retour vers la lumière is out now via Dooweet Records @ http://shop.season-of-mist.com/91-all-stars-retour-vers-la-lumiere-cd-digipack

https://www.facebook.com/91AllStarsOfficiel

http://www.91allstars.com

Pete RingMaster 05/01/2016

Copyright RingMaster: MyFreeCopyright

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Endless Recovery – Revel in Demise

ER_RingMaster Review

Just released is the second album from Greek metallers Endless Recovery, a thrash fuelled scavenging of the senses helping to get the new year of metal off to an accomplished and highly satisfying start. Revel in Demise unleashes ten voracious roars seeded in the heavy and thrash metal scene of the eighties but just as keen to involve other extreme spices in their tenacious confrontations.

Formed in 2011, the Athens hailing Endless Recovery soon made their mark on the local underground scene with debut EP Liar Priest the following year. With their first album Thrash Rider uncaged in 2013, the band was already garnering firm interest and support, one fuelled as potently by a live presence which has seen the band over time play with the likes of Deceptor, Enforcer, and numerous Greek underground artists. The follow-up to the well-received Resistant Bangers EP of 2014, the Xmas eve released Revel in Demise makes the band’s thickest forceful nudge on the broadest attention yet.

artwork_RingMaster Review     As ripe with speed metal voracity as thrash hostility, Revel in Demise sets its stall out straight away with opener Sinister Tales, a spicy instrumental of metal diversity magnetically leading the listener into the wilder throes of the album’s title track. The heftily inviting start makes a seamless transition into the more antagonistic and primal nature of its successor, riffs and rhythms an immediate barrage of muscle and attitude driven by the blackened vocal delivery of Michalis Skliros. Group shouts add to the drama already being spun by the sonic dexterity of guitarists Tasos Papadopoulos and Apostolos Papadimitriou, that theatre of temptation courted by the dark primal tone of Panayiotis Alikaniotis’ bass and the uncompromising attack of drummer Michalis Moatsos. It is a quickly gripping beginning to the release, one arguably low on major surprises but rich in full-on incitement.

The following Reaping Fire instantly savages and entices with its torrent of riffs and tangy sonic enterprise whilst Storming Death provides a darker and more hostile environment again coloured with fiery craft and exploits from across the band straight after. Both prove to be just as barbarous as they are welcoming in grooves and hooks, the rhythms and thrash fire in their hearts insatiable provocation driven in top gear. There is plenty of twist and turns to keep predictability at bay too, the first with its spiralling guitar endeavour and varied textures and the second by the vocal scourge of Skliros crawling over the senses as wiry tendrils strikingly vein the tempestuous proposition.

Leather Militia reveals thick eighties inspiration from start to finish but within a muddy tone and air which lifts it into something more intriguing and threatening than it might have been whilst Trapped in a Vicious Circle is a maelstrom of raw fury and adventurous tenacity. At times it is a tapestry of creative clarity and in others smog like intrusiveness on the senses, contrasts working a treat throughout just as Blood Countess does with its torrential invasion of biting rhythms and smothering riffery. It too is a wall of pleasing noise and ferocity veined by searing flames of guitar and captivating grooves, and equally skilled in creating a ravaging as inviting as it is destructive.

A surface familiarity between some tracks is not a major issue when looking deeper into the openly crafted encounters. The excellent Hypnos is a great example, its start and core shape similarly related to its predecessor but quickly given its own character by the cauldron of sonic and melodic enterprise unveiled by the band.

Another lofty highlight comes with Evoke Perdition, the track a hell for leather trespass that bewitches with its nagging grooves and repetitive forcefulness in riff and rhythm, Skliros once again courting the demonic depths with his black metal spiced vocal predation. A definite favourite, the song makes way for the closing assault of Lurking Evil and a dynamically thrilling end to Revel in Demise. The track is a predator, living up to its title with an urgency and creative rabidity which not so much lurks but swarms over the senses to thick success.

The album certainly ends on its biggest high with the last trio of incursions on ears and the soul, but from start to finish Revel in Demise hits the spot perfectly. Uniqueness is maybe not as potent as the instinctive creativity and energy which definitely enriches the encounter, bands such as Kreator and Exodus often reminded, but for an invigorating and thoroughly enjoyable experience Endless Recovery masterfully gets the job done.

Revel in Demise is out now via Witches Brew @ https://endlessrecovery.bandcamp.com/album/revel-in-demise

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Pete RingMaster 05/01/2015

Copyright RingMaster: MyFreeCopyright

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Scarlet Echo – An Exact Portrayal of Nothing in Particular

SE_RingMaster Review

Starting off 2016 in fine style, we look at an album released just a few weeks back with keen intrigue inspired by the more recent single taken from its compelling body. An Exact Portrayal of Nothing in Particular is the debut album from Scarlet Echo, a UK band whose sound, self-described as ferocious echospheric music, expertly sparks ears and imagination into eager involvement.

Proof came with the single Emergency Exit last month, a song stirring up ears and appetite with invention sprung from a fusion of post punk and indie rock. An Exact Portrayal of Nothing in Particular quickly shows that its nature is only one hue in the musical tapestry of the band, a design equally woven from varied electronic and shoegaze nurtured threads. Since forming in 2012, the Essex hailing quartet of Hannah (vocals/guitar), Jamie {guitar), Miles (Bass), and Alex (drums/samples) has incited a healthy buzz and following through their live presence, the sharing of stages with the likes of Bassment Jaxx, Rat Boy, Hadouken, Buzzcocks, The Hoosiers, and Department S amongst highlights. Now they have begun brewing a greater intensity of attention their way through An Exact Portrayal of Nothing in Particular, a tempting in force from its first moments.

Album opener Mainstream swiftly stirs ears with bounding rhythms and dramatic melodies, both aspects as shadowy as they are vibrant whilst laying down the platform for the distinctive vocal presence of Hannah. Miles’ throbbing bassline makes a just as gripping entrance; its post punk throatiness the perfect foil to the Lesley Woods (Au Pairs) like tone of Hannah’s voice. The emerging catchiness of the song draws in all these magnetic hues, in turn creating a flirtatiously gripping stroll part eighties and part modern persuasion.

ALBUM-ARTWORK-FRONT_RingMaster Review   It is a thrilling start to the album, fully waking ears and attention for the following calmer mystery of Factory Floor to play with. Coldly atmospheric and romantically melodic, the track taunts and caresses the imagination with, again, a blend of melodic and raw textures. The Passions come to mind as the song writhes impressively within ears, but as shown time and time again, Scarlet Echo twist any elements into their own imaginative devilment; a Talking Heads spiced bassline perfect evidence from within the excellent encounter.

A fiery climate is explored by the sonic heat of Mass Production next, the addictive song a sultry resonance of sound and emotion driven by tenacious rhythms quickly matched in success by the sizzling blues wrung blaze of Technophobia. Its fire is interspersed with evocative slithers of calm, though it is the almost occultist air of the blistering rock expulsions which steals the show within the brief but scintillating proposition. The song shows yet another side to the band’s sound, its volatile might at times like a mix of Jingo and Jess & the Ancient Ones.

Falling Prey offers an instrumental relaxation from the fire, its shimmering melodic beauty and warm ambience enticingly mesmeric before making way for the boisterous adventure of Emergency Exit. The track opens with a splattering of guitar tempting, those bubbling lures soon joined by The Cure like potency of the bass. The minimalistic landscape of the song is beguiling, almost Young Marble Giants like on its way to brewing a livelier and thicker contagion driven by dynamic rhythms, guitar jangling, and the excellent character of the vocals. As a single the song impressed but fair to say it has only grown in stature over time, creating another major pinnacle of An Exact Portrayal of Nothing in Particular.

The smoky jazzy air of Paradigm envelops the senses straight after to fine effect; its charm and muggy seducing an absorbing temper to the revelry of its predecessor whilst casting its own hard to resist instrumental flight into imagination feeding pastures and provocative aural scenery. Its potency is emulated and surpassed by the outstanding Silicone City, its unique exploration a trigger to adventurous thoughts and heavily pleased ears as guitar and voice simmer and sway over the tempestuous incitement of bass and drums.

The album is brought to a close by firstly the sonically evocative, ambience soaked Ataraxy and lastly the poppier shuffle of Lose Control. Neither track quite lives up to what came before them yet each has body and satisfaction eagerly on board with their creative and dramatic captivations.

Scarlet Echo is a band destined to further transfix and thrill as they grow and creatively spring from this impressive debut. An Exact Portrayal of Nothing in Particular may have been released at the tail end of 2015 but for a new year of musical exploration we could not have got things off to a better start.

An Exact Portrayal of Nothing in Particular is out now through iTunes or at http://scarletecho.bigcartel.com/product/an-exact-portrayal-of-nothing-in-particular

http://www.scarletecho.co.uk/   https://www.facebook.com/scarletecho    https://twitter.com/scarletecho

Pete RingMaster 04/01/2016

Copyright RingMaster: MyFreeCopyright

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Order Of 315 – Antipi

 

Photo_RingMaster Review

Three years ago French metallers Order of 315 awoke ears and attention with their debut album Near-Birth Experience, a fierce and tenacious offering which only grew in persuasion and stature over time. Now the Paris quartet have returned with its successor Antipi, raising the heat of the qualities and potential found in the first album whilst creating an even more compelling and varied confrontation. Antipi is a rousing incitement and cantankerous roar bred across eleven individual stirring aggravations of sound and imagination. Fair to say the band’s music still wears open inspirations at times but is now really showing its own character whilst unleashing tapestries of varied and aggressively delivered flavours.

Formed in 2010, Order of 315 draw on a host of styles from metalcore and hard-rock to progressive, djent, and alternative-metal; flavours bred in the experiences and tastes of its members with bands such as Black Label Society, Pantera, Machine Head, Slipknot, Stone Sour, Five Finger Death Punch, and Korn amongst individual sparks to their sound and imagination. The 2012 released Near-Birth Experience earned strong attention and acclaim from certainly the metal underground and media with its striking tempest, its seeds now blossoming into the creative voracity that is Antipi. The new album is more brutal yet equally richer in melodic tempting and certainly a more atmospherically volatile confrontation around a heart feverish in its resourcefulness.

Cover_RingMaster ReviewAntipi opens with A Slap On The Wrist and an initial sample stroked by an innocence drenched, single strand melody. It caresses the imagination, awakening ears ready for the swift assault on the senses of jagged riffs, beefy rhythms, and the instantly recognisable and welcome grizzly tones of Edgar Jabberwocky. His voice and delivery is a mighty lure alone easily igniting a pleased reaction in ears to match that being sparked by the growing rabid swing and antagonistic rumble of the sounds around him. The song is bullish rock ‘n’ roll, an easy anthem to get eager teeth into and a hungry appetite from, both fed with every passing swell of bruising enticement.

It is an outstanding start to the album quickly continued by Telescope. From its first groaning breath the track is a more imposing and intrusive proposition with the rhythms of drummer Pablo Civil unruly in their skilled design. Aligned to the predacious air of Grm Lecouflet’s bass, they make for a hostile yet gripping frame entwined by the thick winy grooves of Klaus Kersey, his guitar just as magnetic in primal riffery and sonic enterprise too. As with its predecessor, the track has hips violently gripped with its swinging challenge and ears hooked by its rapacious sound, Jabberwocky leading the incitement as masterfully as ever before The Feather Factor takes over with its industrial metal breeding and groove meets heavy/alternative metal tempestuousness. Subsequent switches into melodic flames bring a relatively undefined familiarity to things but only adds to the thick and captivating drama unfolding within ears.

Without quite finding the same dynamic impact as the first tracks, Abelian still keeps satisfaction fully whetted with its spidery melodic enterprise around a fierce tempest of a heart whilst the following Meiosis almost beats pleasure from the senses with the brutal rapier swings of Civil, though the atmospheric melodies, scything sonic trespasses, and unpredictable landscape of the assault are just as thickly tempting and alluring. Once more there is something recognisable in the spicing of the song but warped perfectly by its great bedlamic nature.

A creative composure lines Rumble Fish, the bass of Lecouflet a prowling protagonist leading the listener into the awaiting animus of the song. It never breaks its pleasing chains though, hinting and provoking with subtlety and atmospheric imagination whilst showing more of the growth in songwriting and maturity of the Order Of 315 sound, something clear across the whole of the album and indeed next up Data Warfare with its Korn meets Bloodsimple like turbulence with just a touch of Fear Factory adventure to it all.

Both the magnetically wiry Greyscale and the senses enveloping Densen keep things mean and keen; the first an inflamed mix of heavy metal and alternative rock as flirtatious as it is menacing whilst its successor crawls through ears with a slight but definite salacious sway to its evocative and intensive rock ‘n’ roll design. Both carry an attitude and hearty intimidation which, with the sonic imagination, sparks a want for more, a success just as easily drawn by the spiralling textures of Unperfect Circles. The track perpetually winds around the senses, the guitars especially influential in tempting out lusty enjoyment.

Drone brings Antipi to an end, the track a tangle of sonic craft and expression ridden by the brawly tones of Jabberwocky amidst a rhythmic tempest. Though in some ways the song takes longer to get to grips with, it is a fine end to another thrilling offering from Order Of 315. To be picky, there is a slight diminishing of unpredictability towards the rear of the release, until the final encounter anyway, but each track only ignites body and imagination to declare Order Of 315 one of the potent fresh roars within the metal scene.

Antipi is available now through numerous online stores.

https://www.facebook.com/OrderOf315

Pete RingMaster 21/12/2015

Copyright RingMaster: MyFreeCopyright

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Gloomy Hellium Bath – Sistema Solera

ARTWORK GHB_RingMaster Review

Always partial to some creative bedlam or a seemingly deranged adventure which, no matter how much you think you understand it, never fails to surprise and leave a vacant expression of pleasure on the face, Sistema Solera was destined to spark an eager appetite here for its sonic psychosis. It is easy to predict that the riveting debut album from French trio Gloomy Hellium Bath is not going to be for everyone but if the likes of Pryapisme, Mr Bungle, or 6:33 light the fires, then this unique fusion of industrial, electronic, and metal bred incitement is well worth exploring.

Gloomy Hellium Bath is the union of former guitarist Würm Edgard Chevallier (guitar/machine/samples) and Christophe Denhez (guitar /vocals), the latter no stranger to exciting ears through his work and releases with Nerv, Mur, and Område. Emerging in 2014, the Val d’Oise hailing project, with a line-up completed by bassist Neil, also previously of Würm, takes no prisoners with its infestation of the senses and emotions. Their sound is compelling aural violence and off-kilter enticement spun with black humoured mischief and realism caked antagonism; the result a cacophony of raw and intricate ideas honed into a roaring storm of gripping chaos and as shown by Sistema Solera, deviously captivating.

Fight is first, instantly throwing a melee of voices and fizzing sound at ears before leaping into a psychotic stomp with carnivorous walls, ravenous vocals, and warped electronic flirtation. Imagine Mindless Self Indulgence and Rabbit Junk in a dirty fusion with Young Gods and you get a whiff of the lunacy soaked enterprise, though from its ‘mid-season’ break it returns as another fresh industrial shaped punk of a proposal with the vocal alone insanely bewitching.

It is a great start continuing with Alcoholique Djerk, the track organically evolving from certain aspects of its predecessor to explore an even more industrial metal hued canter quickly working its way into the psyche. Equally it is unafraid to expose raw nerves with caustic eruptions and abrasing animosity, or indeed to throw one or two exotic or incendiary sonic slithers of surprise in to the mix too.

Fuck It swings in next, warm yet fuzzy air and sound coating ears as melodic rock with grunge lined edges colours the song’s sinister intent before hardened and rapacious provocation blends with funk urged enterprise and vocal revelry. Across its body, the track reveals a host of flavours, country rock and jazzy scented essences amongst the metallic turbulence again walling in varied endeavours within the song.

The album’s title track merges haunted and dark natured ambience with atmospheric volatility straight after, its Nine Inch Nails toned electronic grumble drawing in lighter exploits throughout to evocatively spark ears and imagination whilst setting up the tenaciously energetic and dynamic Lady Boy with its steely schizophrenic rock ‘n’ roll carrying elements of Trepalium and We All Die (Laughing) to it.

Across the sonic dissonance of Ouarchhh and the industrial neurosis of Bloody Mary, band and album wrong-foot, ignite, and twist body and thoughts inside and out. The first of the pair has a slight whiff of US band Pere Ubu to it in many ways as essential grooves and hooks lurk and spear an unpredictable landscape of dark intrigue and disorientating aural dementia with emotions to match whilst its successor scythes through and permeates the senses via a debilitating cyber invasion.

A melodic calm of sorts mellows things a degree or two through Fucking Mashine, its emotive and enveloping croon expectantly laced with provocatively disturbed and manipulative additives bringing light and dark, reserved and twisted elements in potent collusion. The track brings another open and striking variation to the album as too the CD version’s closer Dead Rising Horse, a drama of piston driven rhythms and scuzzy temptation aligned to melodic seduction and tempestuous extremes in sound and creative provocation. It is a rousing conclusion to a release which might need time to get fully under the skin but is ultimately very likely to if the kind of warped imagination it holds is the kind of pleasure which gets the senses and passions inflamed.

As suggested for some it might be an adventure too far, but Sistema Solera for the rest of us is as easy to greedily devour treat.

Sistema Solera is out now via Dooweet Records @ https://itunes.apple.com/fm/artist/gloomy-hellium-bath/id1057587349

https://www.facebook.com/gloomyhelliumbath

Pete RingMaster 17/12/2015

Copyright RingMaster: MyFreeCopyright

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TankrusT – The Fast Of Solace

TankrusT_RingMaster Review

There is no compromising when it comes to attitude and intent within French metallers TankrusT, certainly creatively going by their new album The Fast Of Solace. The debut full-length from the Parisian bred quintet, it is a barbarous and dynamically textured onslaught of ears and senses, but one unafraid to weave a web of diversity and adventure within its merciless ferocity. It is also an encounter which impresses first time around but reveals its strongest assets over subsequent plays to grow into an even more stirring and heftily satisfying proposition. Whether The Fast Of Solace has enough uniqueness to set the metal world ablaze time will tell but certainly it is going to savage it until attention is strongly given the way of the band.

Formed towards the end of 2006 initially under the name Eleusis, TankrusT has drawn on its members varied backgrounds in varied extreme metal and hardcore for its sound, merging those essences with a death and thrash seeded roar of their own. As shown by The Fast Of Solace, it is a debilitating tempest with a wealth of invention and enterprise within its depths. Live the band has earned a potent name for themselves, the sharing of stages with bands such as M:Pire of Evil, Septicfelsh, and Debauchery adding to their own shows over the years, a success backed in 2013 by the release of the four-track Beyond Thresholds EP. It whipped up certain attention in their homeland and online but nothing to that expected to be ignited by The Fast Of Solace.

DMZ is the first mighty trespass from the album, the track looming in on a sonic swirl only gaining more impact and hostility as it nears and explodes into a volatile bellow of heavily swiping rhythms, rabid riffs, and a great mix of vocal confrontation driven by the ravenous tones of KooTôh. Spidery grooves are a just as swift enticement within the turbulence, the invention of lead and rhythm guitarists Garth and Will respectively, creating an increasingly magnetic web to get hooked up in.

couv-FoS-HD_RingMaster Review   It is a pungent and increasingly gripping start to the album matched in kind and hostility by Draw the Line. Instantly rugged with bruising rhythms from drummer Schuff leading the forage into the senses, the hardcore aspects in the band’s breeding come to the fore, vocals and a raw punk virulence entwining and festering within the death metal blossomed raging to magnetic effect. The track is superb, eclipsing the great opener with its own tirade of violent variety and fierce imagination before Apollo Is Dead throws it’s cantankerously abrasing animus into the persuasion ring. Vocally KooTôh, with presumable backing across the band, fluidly spreads vocal diversity as blackened as it is death bred or hardcore seeded, a blend matched by the groove veined metal enmity in its varied shades.

Autonomy steps forward with purpose and rancor next, intrusive beats and a rally of riffs its frontline before the great carnal tones of Jule’s bass offers a toxic flirtation and lead into a swinish vocal infesting of song and senses. That sparks a filth coated rock ‘n’ roll stroll with barbarous twists and cancerous turns to its resourceful persuasion but as expected by now, voice and sound always comes with evolving turbulence and invention, many familiar essences woven into a tempest as fresh to the ear as it is dramatically hostile.

Both Improvisation 28, with its raw bitterness and again expectations defeating landscape of invasive but seriously contagious ideation, and the creatively mercurial Dead Pools keep ears and appetite greedy whilst Barbarians is a feud on the senses. Unrelenting in its barbarity and similarly full on in imagination, the track is a weave of contrasting and adventurous textures and enterprise. Each only leave a want for more; something the hellacious Grow Some Balls can immediately satisfy with its hardcore honed stalking and violating of ears, adding another distinct twist to the character of the album at the same time.

Through the similarly honed and bad blooded rock ‘n’ roll of 10:22 and the enticingly uncomfortable yet enthralling soundscape of Cleaver, TankrusT ensures The Fast Of Solace departs as potently as its ferocious animosity was launched, and in the closing song with maybe the most imaginative incursion on the listener within the release.

It is fair to say that at times there is a surface familiarity and intensity which smothers the individuality of moments and tracks but the rewards for time spent digging deeper and close attention given are irresistible. The Fast Of Solace continues to impress and thrill with every listen suggesting at the same time that TankrusT has the qualities and imagination to make an even bigger impact ahead.

The Fast Of Solace is out now.

https://www.facebook.com/Tankrust   http://www.tankrust.com/

Pete RingMaster 17/12/2015

Copyright RingMaster: MyFreeCopyright

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Motel Transylvania – They Dig After Midnight

Promo Photo_RingMaster Review

If your local graveyard seems a bit dull, feeling a touch lifeless, then an invitation to Italian rockers Motel Transylvania and their new EP They Dig After Midnight will be sure to get things ravenously rocking again. Fusing horror punk and psychobilly in a salaciously dirty punk ‘n’ roll stomp, the Savona hailing trio whip up a keen revelry with their latest encounter, create a sonic hex able to get decayed bodies jerking in tandem with the moves of the living. It is raw, untamed, and an easy trigger for excitement over its wares and the open potential of the band to dig down to deeper success ahead.

Formed in the final throes of 2013, Motel Transylvania began as a solo project for stand-up drummer/vocalist Toxi Ghoul. Within a few months it had grown by two more corpses with the addition of bassist/backing vocalist Vec and guitarist Eli. Inspirations to the band’s sound include, unsurprisingly listening to They Dig After Midnight, Misfits, Zombie Ghost Train, Mad Sin, and Demented Are Go, whilst equally the likes of Frankenstein Drag Queens From Planet 13 and The Order Of The Fly spring to mind at times across the release. Fair to say though, the Motel Transylvania sound breeds its own character from that healthy mix of influences, resulting in a compelling and thoroughly enjoyable introduction for ears to their tenacious incitements.

From the scenery setting Intro and its dank atmosphere around cinematically gothic and carnival-esque suggestiveness, They Dig After Midnight explodes into life with the rousing Go Psycho! Rhythms and swipes of guitar grab ears from the first breath of the track, Toxi subsequently reinforcing the bait and hold with a solo roll of addictive beats before everything unites again in a heated invitation. The grizzly tones of his vocals growl just as potently as the bass of Vec drops an addiction lighting bassline through the fiery mist from Eli’s guitar, and though the track never explodes into rowdy life as it might it becomes more persistent in its catchy temptation with every rhythmic swing and caustic hook. There is a moment when a thought arose that if The Rezillos were psychobilly, they would sound something like this, a hint to the virulence and mischievous charm fuelling the encounter.

They Dig After Midnight_RingMaster Review   The track Motel Transylvania comes next and immediately makes a more forceful but equally infectious blaze of sound and intent. Group calls make an early pungent lure, they sparking the more belligerently energetic heart of the track within a body and nature carrying a contagious provocation with an always welcome Misfits scent to its grouchy temptation.

There is a great strength of variety within They Dig After Midnight, the first pair of songs quick evidence backed by the rockabilly revelry and psychobilly irritation of The Room. Like Guana Batz meets Norm and The Nightmarez whilst digging in a punk grave, the track rocks and rolls like a devil hound on heat. The bone splitting beats of Toxi are a prime instigator of the raucous toxicity fiercely pleasing ears with guitar and bass similarly devilish and antagonistic cohorts.

Summer In the Grave arrives on the sound of waves lapping a dark beach, the guitar carrying a matching tone in its surf lined charm as calm vocals caress ears. There is a devilish wink to the moment though, one which spins a subsequent slim bodied and irresistible Tiger Army meets Buzzcocks rock ‘n’ roll tale with a further glint in its punkish eye. Its warm light within romancing shadows is a thrilling proposal quickly contrasted by the carnivorous temptation of Night of the Living Dead. Graves are emptied as The Meteors toned predation spins a deliciously essential hook as a core to rapacious grooves and hungrily badgering rhythms, they matched by the rabid urgency and snarl of the vocals. The track is glorious, one of the biggest highlights of the album especially with its venomous swagger midway setting up another tempest of savage rock ‘n roll.

It is a triumph more than matched by It’s Not So Bad, the band’s recent single. Slipping in on a heavy noir coated bassline, becoming more vocal with another of the irresistible hooks and grooved enterprise the band has already shown themselves to be potent at sculpting, the song is like a skeletal tango. Its elements unite to form and wrap the song’s volatile frame, offering individual dances in the making of one boisterous romp. There is an old black and white animated film showing skeletons in a demented shuffle, bones twisting and coming unravelled but simultaneously performing an increasingly compelling devilry; It’s Not So Bad is a sonic equivalent.

The release closes with I Wanna Be Your Ghoul, a Morricone-esque croon within a sultry climate scattered with spicy hooks for a dark blood-coated romance for the imagination. It is not a track which grabs the psyche and passions as forcibly as its companions within They Dig After Midnight though but still only pleases as it reveals another strain of imagination in the Motel Transylvania songwriting and sound.

As They Dig After Midnight infests ears for another thoroughly enjoyable romp whilst writing final thoughts, expectations are that Motel Transylvania has all the potential to grow into a formidable and even more striking proposition, and no doubt with plenty more successes like this littering the way.

They Dig After Midnight will be dug up and unleashed on December 18th via Undead Artists.

https://www.facebook.com/moteltransylvania/    https://twitter.com/MotelTransylvan

Pete RingMaster 17/12/2015

Copyright RingMaster: MyFreeCopyright

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