The Harry MacIntosh Project – Such is the Vulture’s Love

Photo courtesy of (c)liarbillyt132014

Photo courtesy of (c)liarbillyt132014

Returning with their first collection of new songs in around seven years, UK experimental punks The Harry MacIntosh Project unleash the Such is the Vulture’s Love EP to remind the British rock scene what an exciting proposition they are. Berkshire based, the quintet contrary to what the band name might suggest, create a bracing brew of punk and noise rock wrapped in alternative rock tenacity. There is still more to their sound as proven by the new release, but imagine a brew of Richard Hell, At the Drive In, The Jesus Lizard, and Blood Brothers, and maybe add a thick pinch of Pere Ubu and you get a clearer idea.

As said it has been quite a while since the self-release of their Macrophage EP in 2006, though there has been a live album to keep us happy too, but with their recent signing to London-based Zube Records the band is back to incite ears and psyche in fine style once again. The time between releases has also seen a line-up change and a more defined and mature handle on their ever warped ability to stir things up with instinctive, noise fuelled invention. It is all in evidence upon Such is the Vulture’s Love and it is fair to say that it is good to have fresh and raw sounds from the band in the British rock ‘n’ roll landscape again.

10291714_10153149234802438_5040363608279764080_n     It all starts with Error Terror, a warped sonic disturbance of jazzy intent brewing up to the point where the band step forward with sharp hooks, wiry grooves and bustling rhythms. It is an immediate flavoursome tonic of sound, becoming more acidic and tangy with the vocals of Trip Hazzard, his appearance seeming to spark a more citric touch to the guitar enterprise of David Anderson and Thomas Cox. The song continues to prowls the senses as the meaty beats of Paul Hopgood collude with the throaty lines cast by Thom Draven’s bass, but throughout and just as potent is an infectious almost virulent swing to the track. It is a mighty and compelling start to the release and quickly matched by its successor.

…and this Cat has a similar swagger to its body and presence too, guitars spilling catchy grooves whilst rhythms are more boisterous than aggressive. It is a gripping entrance soon leading to greater reactions as the track slips into a melodic calm with evocative resonance and invasive, slightly Parisian charm. The track is outstanding, too short maybe causing a moan when it stops such the enjoyment given, but a tapestry of hues suggested by many of the bands previously mentioned. They are just small hints of colour though to a sound which comparing it to anyone borders on selling it short, certainly from within the second song upon Such is the Vulture’s Love.

(I Spent the Night In A) Washing is a voracious rock ‘n’ roll stomp doing its best to steal top honours on the EP. Rugged on its punk side and bewitching in its sonic endeavour, the track bullies and entices ears simultaneously, rhythms the most volatile protagonist, though the gripping bass part of their invention with its catchiness tempers the ferocity of the drums. With Hazzard spilling more and more expression, and at times animosity with every song, the encounter is another to leave like-minded bands wishing it was them and the listener feeling like they are being serenaded by a pissed off hornet.

The release closes with Mouldy Water, a dark intimidation of a song with a muddy atmosphere and a seemingly antagonistic nature caressing the senses with caustic melodies bullied by tempestuous rhythms. As in the other songs we are only giving glimpses to the emotional and atmospheric turbulence and raw beauty pervading the encounter, every moment in a song a new wash of invention and wonderful agitation hard to replicate in words.

Hopefully it will not be another vast stretch of time before The Harry MacIntosh Project unleashes some more of their impressive new direction of sound. Such is the Vulture’s Love is an excellent and enthralling treat for the now but it also leaves pleasure in the arm of want, a need for more, and even its superb body can solely satisfy that for too long.

Such is the Vulture’s Love is released April 25th via Zube Records on CD, seven-inch coloured vinyl, and as a digital download.

http://www.facebook.com/theharrymacintoshproject

RingMaster 23/04/2015

Copyright RingMaster: MyFreeCopyright

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Entropy OAC – Dark Clouds and Clarity

 

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Though not a new band, Entropy O.A.C. will be making their introduction to most outside of their local fan base with new EP, Dark Clouds and Clarity. A rather flavoursome and enjoyable proposition it is too; not one tearing up the melodic rock/metal scene but certainly one bristling with potential and great ideas brought with a craft and maturity developed by seasoned veterans of the heavy music scene. Consisting of three tracks, the release is a constant spark in ears and imagination. It most likely will not have anyone roaring from the rooftops but for an entrance into a much broader global spotlight by the band, Dark Clouds and Clarity is a strong and captivating persuasion.

Formerly just called Entropy, the Spooner in Wisconsin hailing quartet self-released their debut album Smiles For Stab Wounds around 2004-05. It was well-received by fans and critics alike but followed by a period of line-up instability before the band returned in 2011 with the What Nightmares Are Made Of EP. Its success and potency led the band to a developmental record deal with Pavement Entertainment and now the release of Dark Clouds and Clarity. In many ways the last three years or so has been a fresh start for Entropy OAC, one which you get the sense from their new release and words offered that the foursome of original band members Ben Poulin (vocals) and Josh Aalto (bass) with Austin Wagner (guitar) and Brandon Hall (drums) are going to make the most of.

DCaC_Cover     The Ryan Guanzon produced Dark Clouds and Clarity opens up with Failure to Thrive, and instantly builds an imposing wall of intimidating rhythms, equally predatory riffs, and a part spoken vocal delivery from Poulin which reeks of discontent. It is a strong and compelling start with a feel of Stone Sour to it and continues to entice and grip until the song erupts into a belligerent stride punctured by the sinew swung beats of Hall. Guitar and bass create their own raw causticity and menace as Poulin merges melodic and snarling tones in his delivery to fine effect. The track does not explode and rampage as you think it would once hitting its stride, as it suggests it might and personally we wanted it to, but there is no denying it loses none of the hold it gained by its potent start. Grooves and hooks spark throughout the mix of melodic metal and emotion fuelled rock ‘n’ roll, again to pleasing success and temptation even if originality is less potent. The willingness of the band to mix soft and harsh elements, light and dark textures is a plus too, and the fluidity they achieve it with.

It is a great start to the EP soon overshadowed by the excellent Endless Fire. The song almost sidles up to ears, though heavy bass resonance and drums thumps means it swiftly gains eager attention, as do the spiralling strains of guitar and again strong vocals. Melodies and scythes of sonic invention are like flames against the earthier canvas, licking the more aggressive essences of the song whilst helping breed a contagious air. Simultaneously roaring and crooning, the track is a thrilling example of the band’s talent and potential, and easily inspiring an appetite for their sound.

Realm of Grey completes the EP’s offerings, a track straight away leaning into the band’s metal voracity whilst bringing a raw edge and attitude to their melodic endeavour. Again Stone Sour comes to mind, which is no bad thing, whilst invention wise the track is maybe the least dynamic and adventurous compared its predecessors but has plenty to engage ears and thoughts with. Subsequently increasing its persuasion with the addition of small twists within a greater voracious intensity to the song, it makes a highly satisfying end to the release.

There are only things to enjoy about Dark Clouds and Clarity and plenty of promise to get excited over, and right now with their highly satisfying release, Entropy O.A.C has announced themselves to wider awareness in solid and potent style.

Dark Clouds and Clarity is out now via Pavement Entertainment at most online stores.

https://www.facebook.com/Entropyofall   https://twitter.com/entropy_oac

RingMaster 22/04/2015

Copyright RingMaster: MyFreeCopyright

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Deathblow – The Other Side of Darkness

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There is nothing quite like the voracious roar of thrash metal, especially when it is as ferociously raw and uncompromising as upon the new EP from US metallers Deathblow. Consisting of five tracks bred from the heart and soul of the genre, The Other Side of Darkness is a tirade in the ear and the fuse to the primal instincts of thrash metal and its following hordes.

The band’s second release follows their well-received debut album Prognosis Negative of 2014, and explodes with the same unbridled antagonism and intensity which marked out its predecessor. In many ways you really do know what you are going to get with the Salt Lake City trio’s sound, certainly in regard to its character and sonic intent as well as its overriding breeding but it cannot stop it, and indeed the new release from Deathblow with its additional inventive adventure, leaving nothing but rich satisfaction in its hellacious wake.

Recorded with and mixed and mastered by Andy Peterson, the self-released incitement opens up with Beyond Obsession, a song immediately prowling, no stalking the senses with a deliciously heavy and intimidating bassline joined straight away by more raucously animated riffs. The drums too soon lend their muscle to the threat, everything coming together in one breath of a pause before unleashing a hellacious united storm of metallic aggravation. Driven by just as hostile vocals, the track rumbles and charges with an ever shifting gait, revelling in its violent prowess and leaving the senses battered and blissfully bruised.

CD_Digipak_Outside The excellent start continues with Means To An End, where grooves and riffs seem to be even more inhospitable and contagious. After a relatively kind start it becomes a full on barrage of sonic animosity and rhythmic brutality yet still slips in varying turns of energy and an infectious enterprise which grips the imagination as skilled and melodic exploits escape from the guitars. Old school thrash meets modern ingenuity the track is a glorious rampage and rich evidence that there is much more to the band than aural viciousness.

The EP’s title track is next, bringing what can only be called a punk attitude to vocals and the fury lined bones of the song. Spiky in nature and creatively fluid in its entwining of melodic temptation and rabid virulence, The Other Side Of Darkness as the EP provokes body and emotions with consummate ease, enlisting both in its exhausting tempest.

The release is completed by firstly the simply furious and thrilling Headless Throne before the corrosively anthemic Death Wish brings everything to a riotous end. The first of the two is a sonic haranguing of the senses, a fearsome and exhilarating turbulence of rampant riffs and savage rhythms bound in a melodically sculpted lashing whilst its successor is as much punk ‘n’ roll as it is extreme metal vehemence, and simply irresistible.

The Other Side Of Darkness is thrash at its rawest best, not trying to reinvent the genre but taking long bred essences and ideation into fresh destructive climates. It works a treat and could/should be the spark to making Deathblow an eagerly spoken and recognisable name in the widest thrash circles.

The Other Side of Darkness is out on April 21st @ http://deathblow1.bandcamp.com/album/the-other-side-of-darkness

https://www.facebook.com/dethblo

RingMaster 21/04/2015

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

SSanahtes – Debut EP

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If we had to choose one word to describe the Debut EP from French extreme metallers SSanahtes, it would be primal. The four track release is a ravenous almost pestilential trespass of the senses which is sure to be a blissful listen for some and a desperately uncomfortable one for others. It is also a potent introduction to and starting point for the band and their rabid fusion of flavours like sludge, post metal, doom, and hardcore, and a rather enjoyable encounter too.

Based in Bordeaux and Paris, the band first emerged in 2013 and taking thick inspirations from the likes of Meshuggah, Electric Wizard, Neurosis and the New Orleans metal scene set about creating their own unique fury. It is too early to say how distinct to the band that sound will be, the EP offering plenty of healthy spices from their influences. Brave its squalls though and look into the dark depths of the songs and it is fair to say that some of the invention and sonic twists have a potential and lure to suggest SSanahtes will be a potent force ahead and is a compelling proposal right now. Taking their time with the creation of their first release, and recording it in their own bedrooms, the quintet of Fabien Loustalot (vocals, synths), Thomas Daniel (guitars, songwriting, production), Nicolas La Rosa (guitars, production), Franck Roder (bass, production), and Dylan Hyard (drums, samples) have bred a tempest which belies its humble creation and makes a striking first step for the band.

The instrumental Blue Druidess starts things off and immediately provides inviting and anthemic rhythmic bait. The drums are soon joined by the heavier grizzled growl of the bass and sonic swipes from the guitars, all aligning for a portentous air but one which holds court on real hostility. The track prefers to seduce the fear from the psyche, the keys of Loustalot a haunted and gently sinister air around the melodic intrigue cast by Daniel and La Rosa. The piece of music is fascinating and gripping, the increasingly more predatory bass presence and jabbing beats a dark intimidating shadow over the melodic and creative elegance within.

The tempest hinted at in the opener is soon consuming the senses in The Edge, though it too prowls into view with restraint. It is coated in an intensive doom breath and corrosive impact though which translates into every predacious riff and throaty bass line. The raw, throat wrenching vocal squalls of Loustalot similarly come with venomous expression and toxic intent, but all tempered by the more contagious rumbling of drums. They make a persistent tempting within the invasive tsunami of malevolence and sonic aggression, lending their infection to the unpredictable and pleasing slips into melodic calm and post rock ambiences. EP and songs do need plenty of time and effort to reveal all their nuances and underlying invention but as here reward with some sparkling ideation and provocative enterprise brought with open individual craft.

     Black Dragon allows no time for a breath, instantly expelling a blistering flame of guitar and vocal vitriol next. Riffs and another gripping bass offering provides the addictive element to the song this time, whilst the swings of Hyard simply resonate with every meeting of wood and skin. The best track on the release, it proceeds to create a contrasting sonic and melodic weave within the tempestuous and oppressive onslaught of the song’s predominant ravaging. As mentioned before, it is an exploration which at times you need to specifically focus on whilst braving the surface savaging but once it is locked in, it reveals just how much promise is in this band.

The release ends with Words, where you now know what to expect and what you will be challenged by whilst another thick swamp of erosive grooves, numbing riffery, and vocal ire bring new exploits to devour. The song arguably, other than the instrumental, is the most accessible on the EP, those tangy grooves an immediate invitation and given potent clarity until the sludge voracity and doom bred insidiousness of the song builds and spills its toxic hues over the senses and psyche in an overwhelming sea of sonic malignancy.

SSanahtes has made an impressive and fully satisfying introduction with the EP and if their inspirations match the same artists which light your tastes then the French band is well worth checking out.

The Debut EP is available now @ http://ssanahtes.bandcamp.com/

https://www.facebook.com/ssanahtes

RingMaster 21/04/2015

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

Lawless Hearts – Creatures Of Habit

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Coming off a highly successful 2014 which saw the band play Austin’s renowned SXSW and undertake a praise earning European tour, Florida quintet Lawless Hearts look to make this year just as potent in their emergence with the release of debut EP Creatures Of Habit. Offering four songs which draw on some of the best essences of classic rock for a modern slice of rock ‘n’ roll, the release is an attention grabbing and thoroughly enjoyable introduction to the band.

Hailing from Jacksonville, Lawless Hearts takes inspirations from the likes of Bon Jovi, Guns N Roses, Led Zeppelin, Boston, and Foo Fighters into their energetic and melodically expressive sound but equally as their EP pleasures the ears, it is easy to suggest that maybe artists like Heart, Fleetwood Mac, and The Pretenders have made some impact on the band’s tastes too. Creatures Of Habit is not a proposition which blows you away or reeks of major originality, due to those influences maybe, but equally it does have a blaze of freshness and enterprise which ensures the band is not just one of the crowd.

Creatures_Large     The EP’s title track is the first song to touch ears and instantly wraps them in a sonic embrace which soon broadens into a potent stroll framed by pungent rhythms and coloured by a guitar bred melodic enticing. Things settle down with the full entry of Alex Marie’s magnetic vocals, her impressive voice swiftly a full engagement between ears and pleasure backed strongly by members of the band. The guitar of Michael Thomas also brings another rich ‘voice’ to the encounter, infusing the song with more imagination melodies around a flame soiling solo. As riffs from rhythm guitarist Justus Sutherland similarly entice and the dark throaty tones of Rob Joseph’s bass enthrals, the song blossoms into a flavoursome captivation.

The fiery air and textures of the first song continue to be explored by the following If I Have To which erupts with an immediate pop rock infectiousness. The crisp beats of drummer Corey Ahlquist hold court across the infectious encounter, driving things on in a vivacious stroll as vocals and guitars cast their individual tenacity and feisty charm. Like its predecessor, and the EP as a whole, it is hard to say you will hear anything startlingly new yet for enjoyable and refreshing rock sounds and imagination Lawless Hearts leaves no one wanting. The delivery of Alex Marie, as the sounds seems, to gain even greater heat in its passion too whilst the guitars once more dazzle in craft and adventure.

Oblivion is the source of that earlier mentioned hint of The Pretenders, the evocative hues around its verse especially reminiscent of the distinct flavour found in the UK/US band. A more restrained but no less impassioned proposition, the track provides a rock pop croon thick on emotion and full to the gills with transfixing vocals and harmonies.

It is final song Fallout which steals the show though, opening with a reflective balladry which evolves into a mighty rock ‘n’ roll stomp complete with rumbling rhythms, vocal roars, and melodic intoxication. The track is irresistible and alone reeks of the potential within Lawless Hearts which suggests this is a band really going places. The other tracks on the EP are no slouches in making similar hints, but the last proposition on the EP simply soars above their accomplished and enjoyable presences to majorly impress. Once more it is probably right to say no new templates are being set in place with the song but rock music does not often come much better or thrilling.

With their first album also appearing to be in the works for 2015, it is looking like being another big year for Lawless Hearts with Creatures Of Habit a rich and pleasing start for it and the suspected wakening of big spotlights upon the band.

Creatures of Habit is available from April 21st via Pavement Entertainment on most online stores.

http://www.lawlesshearts.com/   https://www.facebook.com/LawlessHeartsMusic

RingMaster 21/03/2015

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

 

 

 

 

Morass of Molasses – So Flows Our Fate

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UK rockers Morass of Molasses have been locked on our radar and feeding primal needs ever since the first moment the band emerged from its founder’s previous impressive band Karn8 in 2013. Since then Bones The Beard with his soul grasping vocals and salacious baritone guitar lures, Phil The Mountain with his treacle thick grooves and rapacious riffs, and Chris The Beast whose rhythmic swings induce more physical earth tremors then fracking, have become one of the most potent and compelling, not to mention sonically tempestuous propositions in British stoner and heavy rock. After some seismic slabs of temptation posing as singles, the trio now unleash their debut EP, So Flows Our Fate. It is as epic as it is thunderous and further evidence that UK rock is not only ready to take on the world but poised to teach it some new and template shaping tricks.

Hailing from Reading, Morass of Molasses has earned a deserved and mighty reputation for a live presence which has seen them a constantly acclaimed and eagerly devoured provocation, especially across the south of England. Now is time for a national awakening and there is no doubt in their fan’s and indeed our minds that So Flows Our Fate is the incitement to do it, with the potential to ignite a much broader landscape simultaneously.

Morass-of-Molasses-Front-Cover-Final   Rotten Teeth is the first infestation of ears and psyche, also the first single from the band igniting a horde of slavering appetites all on its own in 2013. Its opening air is immediately portentous but swiftly defused by the dirt clad seduction of grooves and equally inviting riffs. There is also a predatory nature to the offering which descends straight away on the senses as well as a delicious and unpredictable character which sees the track, out of the blue, slip into a seductive lure of restrained and hypnotic rhythms alongside a bordering on toxic caress of guitar. Bones’ vocals discover a mellower character to the rasping snarls which lit the track from the start, and the whole twist provides a mesmeric spark for the imagination, if also a deceitful wrong-footing as you just sense it is toying with the listener and luring them in before unleashing its tempest again which of course it does after more of the insidious romance. When the eruption does come with the caustically flavoursome and intensive chorus, another wave of pleasure washes emotions before the delicious cycle begins all over again.

The track is superb, one which has only gained in stature and quality since its first unveiling two years ago, and a trait matched in the following Ashtabula. It too is an earlier song from the band which just seems to get richer and more intoxicating over time and listens, something easy to expect the new songs on the EP to similarly do. The second song has an even richer and thicker blues lilt to its magnetic sound and citric grooves, as well as that fascinating unpredictable tenacity which again from a fiery and ferocious start toys with expectations and imagination, moments of eye of the storm calm and virulent sonic explorations colliding and uniting with more hellacious and ravenous almost overwhelming heavily boned rock ferocity.

In the first two songs alone a depth and diversity to the Morass of Molasses sound, which truly sets the band apart from the rest, is open and stretched once again by Fear to Tread. As its predecessors, rhythms pound as the song prowls ears and psyche whilst at the same time casting a tribal bred tempting which frames and flirts with the winding tendrils of sonic ingenuity posing as melodies and the ‘soft spoken’ tones of Bone’s vocals. Of course it is all relative and the song from start to finish is a beast, again predator being the best word to use as it stalks with addictively sick grooves and bone shaking rhythms whilst stroking the senses with its lithe moves and venomous voracity.

The sludginess of the song is explored in another individual way by Bear River, the EP’s closing and just as mighty incitement. Rhythms again are shamanic in presence and resonance, their inescapable bait entangled in a vine of melodic reflection before it all brews up into noise driven smog of virulence which has elements of lighter almost pop like rock, erosive causticity, and scorching flames of delta blues bred devilry. This is all on top of the instinctive rich grooves and bracing riffs aligned to ravenous rhythms the band exhales like air from lungs.

It was hard not to expect great things from So Flows Our Fate because of those previous singles but the EP has brought home the sheer raw majesty and unbridled potential in the Morass of Molasses invention and imagination. Watch out world is all there is to add, oh apart from only a fool would ignore this exhilarating offering.

So Flows Our Fate is available now via Wicked Boy Records on CD and as a name your price download @ http://morassofmolasses.bandcamp.com/

https://www.facebook.com/MorassOfMolasses

RingMaster 20/04/2015

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

 

Kill The Silence – Self Titled

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Inspirations to UK band Kill The Silence are said to include the likes of Lower Than Atlantis, Bring Me The Horizon, and Reuben and it is the latter which most comes to mind as the band’s debut release sets about inciting an excited appetite for their sounds. The self-titled EP from the Leeds quartet is an explosive roar of imagination and fierce energy with potential oozing from every idea and twist whilst an already nurtured enterprise simply floods the four-track rampage. Release and band straight away stirred up a bloom of pleasure in ears and emotions but now after numerous excursions across its raging sonic rapids it is fair to say that responses offered now come with a healthy dose of lust.

Kill The Silence emerged in mid-2013 and it was not long before their ferocious mix of alternative rock, post-hardcore, and melodic metal was earning invites to play shows and appearances at festivals. The time since forming has seen the foursome of vocalist/rhythm guitarist Jason Walsh, lead guitarist Sam Rickerby, bassist Jack Townend, and drummer Reece Cockayne play with bands such as Fearless Vampire Killers, Blitz Kids, Max Raptor, The Family Ruin, Attention Thieves, Ashestoangels, Yashin, Mallory Knox, The Defiled, Dinosaur Pile-Up and Rolo Tomassi across the north of the UK. Now the whole of Britain is their target and it is easy to suggest that their first EP just might be all it needs to push the band into the broadest national spotlight.

Kill The Silence Cover Art     The EP opens up with the band’s current single Get Out, Get Out! and swiftly has ears engaged in a blend of riffs and melodies. It is a raw introduction mellowing out with the clean vocals of Walsh who in turn reveals his prowess at offering raucous throat bred squalls and angst hued harmonies. His delivery is nothing less than impressive, something applying to all elements of the band to be fair. Bleeding addictive citric grooves and disorientating rhythms, the track continues to explore a widening expanse of rock music for a potent start to the EP, though the song is the ‘weakest’ on the EP for personal tastes with the major excitement and might of Kill The Silence coming in the following trio of tracks.

Darling is next and from a muffled rhythmic shuffle explodes into an intimidating blaze of sonic ferocity and vocal hostility, both soaked in instant anthemic persuasion. The track proceeds to lurch and scythe through the senses with its volatile animosity and virulent contagion, that Reuben spicing a loud whisper in the tempest of punk and metal with melodically lined rock ‘n’ roll. The searing and psyche seeded hooks of the song are irresistible on top of this whilst the sheer energy and passion of the band is fuel to its voracious fire and indeed ire.

The major inciting of ears and emotions continues just as forcibly with S.S.D.D, its opening prowl of low key but suggestive riffs courted by a nagging single-minded bait of beats. There is a menace and intensity to the track from its first breath too, one slowly brewing up a storm which erupts in a web of riffs and cantankerous rhythms driven by rawer but no less magnetic vocals. The muscularly swinging beats of Cockayne dominate the sound in some ways, a very small niggle over the production there, but it only adds to the confrontation and explosive character of the outstanding song. Though again openly infectious, the song is a predator, from voice to beats, riffs to barbarous hooks, it looks to challenge the senses as it takes the EP up another level.

It is a step soon outshone by the best song on the release in Chapter II. A waspish groove almost instantly emerges to seduce and bind ears and appetite, springing from a bracing bluster of guitar and bass aligned to again wickedly swung beats. It is a toxic and intoxicating lure buffeted by another strong variety of vocals and the tempestuous heart of the dirty and ravenous song. Drawing on the most metal honed and carnivorous aspects of the band’s sound, the track equally entangles catchy pop rock and melodic ferocity into its tempest, creating a song the Reuben boys would have been more than proud of.

The EP is a seriously exciting and attention stealing introduction to Kill The Silence, the first of many impressive and incendiary offerings ahead we suspect as they do indeed spark a pungent nationwide spotlight on their blistering sound and presence.

The Kill The Silence EP is available from April 20th through all stores.

https://www.facebook.com/KTSilenceOfficial      https://twitter.com/ktsilenceband

RingMaster 20/04/2015

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